Guitar AUV3 Final Guide — Folk & Country Clean Tones

Taylor T5z

// Hollow-body Hybrid · 5-Position Selector · Neck & Bridge Humbuckers · Body Sensor

FOLK · COUNTRY · DREAMY · JAZZ

Tone philosophy: The T5z is your most versatile guitar — five distinct voices from one instrument. Position 1 is your acoustic-leaning hybrid voice, Position 2 is your warm jazz voice, Positions 3–5 are electric voices. Each position has its own signal chain, ToneX model, and character. The dreamy tone (Position 4 → ToneX → FAC Chorus → Pro-R2) is a completely separate preset worth saving on its own.

5-Way Selector Switch — Position Reference

Position	Pickups Active	Character	Best Use
1	Neck HB + Body Sensor	Warm, open, acoustic-leaning hybrid	Acoustic voice, singer-songwriter, IMPULSation chain
2	Neck Humbucker only	Smooth, dark, warm sustain	Jazz, warm clean leads, mellow solos
3	Bridge Humbucker only	Bright, biting, electric crunch	Country leads, bright electric rhythm
4	Neck + Bridge Parallel	Hollow-body character, mid-scoop, open	Dreamy tone, strummed folk/country, ambient
5	Neck + Bridge Series	Thick, powerful, full-bodied	Leads, experimental, light breakup

Gain staging note: Position 3 (bridge HB) runs hottest. Position 1 with body sensor active runs slightly lower. Use TB Compressor Makeup to compensate between positions rather than adjusting the Scarlett knob.

Scarlett Solo — T5z

Gain knob~50%

Peak target−13dBFS

Position 1 (body sensor)May need Makeup adjustment

Position 3 (bridge HB)Hottest — watch halo

Inst buttonON

Air modeOFF

TB Compressor — Gain Stage

Ratio1:1 (compression off)

Amount100% (wet/dry — full wet)

MakeupAdjust per position

Dry GainINF (muted — correct)

Wet GainAuto (correct as-is)

Target−12dBFS into ToneX

ToneX — Per Position

Position 1Fender Deluxe clean

Position 2Polytone SC / Fender dark

Position 3Tweed / Princeton bright

Position 4Fender Deluxe clean

Position 5Tweed edge of breakup

Mix100% always — not 50%

IMPULSation — Position 1 Only

When to usePosition 1 only

IR typeMartin 000 / Parlor body

Wet85–90%

Dry10–15%

Decay1.5–2.0s minimum

Spread100%

Pre-delay0ms

Pro-C3 — Opto Mode

Pro-C3 Opto · gentle & musical

Attack

35ms

Release

Auto

Ratio

2.5:1

Threshold

−18dB

Dry Gain

INF

Wet Gain

Auto

GR target 3–4dB · Knee Soft 6dB · Not used in Dreamy chain

Pro-Q4 — Natural Phase · Positions 1 & 4 (Folk/Country/Acoustic)

Pro-Q4 Natural Phase · Dynamic cut on 400Hz · Not used in Dreamy chain

100Hz

Cut

Warmth

180Hz

+0.5

Box ★

400Hz

−2

DYN EQ

Clarity

2kHz

Air

10kHz

−1

★ Dynamic EQ on 400Hz — cuts hollow-body boxiness only when problematic. Position 1 acoustic chain: add −2dB at 2.5kHz and +2dB at 900Hz for acoustic character.

Pro-R2 — Warm Room (Standard)

Pro-R2 Standard clean tone · not Dreamy

Space

1.4s

Decay

50%

Pre-delay

18ms

Mix

18%

Ducking

20–25%

T5z — All Five Positions Documented

Position 1 · Neck HB + Body Sensor · Acoustic Hybrid

ToneXBYPASS — not used

Guitar Treble knob6

Guitar Bass knob6–7

Loopy HPF100–110Hz · Q 0.7

IMPULSation IRYork TLR414 SB1 · SR25 mic

IMPULSation Wet75–80%

IMPULSation Dry20–25%

IMPULSation Decay1.5–2.0s minimum

IMPULSation Spread100% · Pre-delay 0ms

IMPULSation SVF LPF3kHz · low resonance

TB Comp MakeupAdjust to −15dBFS

Pro-C3 StyleOpto 1.8:1 50ms

Pro-C3 Threshold−20dB · GR 1–2dB

Pro-C3 Dry/WetINF / Auto

Pro-Q4 Low-mid cut−2 to −3dB at 150Hz, Q 1.2

Pro-Q4 Body+0.5dB at 200Hz (reduced — was +2dB)

Pro-Q4 Spruce warmth+2dB at 900Hz

Pro-Q4 Piezo cut−2.5 to −3dB at 2.5kHz (honk)

Pro-Q4 Attack cut−1.5 to −2dB at 4.5kHz

Pro-Q4 High-E cut−2.5 to −3dB at 1.65kHz, Q 4–5

Pro-Q4 Air−2dB at 8kHz shelf

Pro-R2 Space1.4s

Pro-R2 Mix12–14%

Pro-R2 Pre-delay25ms

Pro-R2 Character55–60% (brighter — acoustic)

Pro-R2 Ducking20%

Pro-R2 Lo cut200Hz −15 to −18dB Low Shelf

Best forSinger-songwriter, acoustic hybrid, open tunings

Position 2 · Neck HB Only · Warm Jazz / Clean Lead

ToneX modelPolytone SC (Tone.Net)

Cab simOFF — cab in capture

Amp gain3–4 (very clean)

ToneX Mix100% always

Bass6 · Treble 4 · Presence 2–3

TB Comp MakeupAdjust to −12dBFS

Pro-C3 StyleOpto 2:1 30ms

Pro-C3 Threshold−20dB · GR 2–3dB

Pro-C3 Dry/WetINF / Auto

Pro-Q4 HP90–100Hz · Loudbox / 60Hz · headphones

Pro-Q4 Warmth+1dB at 200Hz

Pro-Q4 Body+1.5dB at 800Hz

Pro-Q4 Bite cut−2dB at 3–4kHz

Pro-Q4 Air cut−3dB at 8kHz high shelf

Pro-R2 Space0.8–1.0s (very dry)

Pro-R2 Mix8–12%

Pro-R2 Pre-delay10ms

Pro-R2 Character25–30% (dark tail)

Pro-R2 Ducking10%

Pro-R2 Lo cut200Hz −12dB · Loudbox / 120Hz · headphones

Best forJazz, warm clean leads, mellow solos

Position 3 · Bridge HB · Bright Country Electric

ToneX modelTweed / Princeton bright

Amp gain5–6 (slightly driven)

ToneX Mix100% always

Presence5–6 (bright)

Cab simON — 1x12 Alnico

TB Comp MakeupWatch halo — bridge runs hot

Pro-C3 StyleClean 3:1 8ms

Pro-C3 Threshold−14dB · GR 3–5dB

Pro-C3 Dry/WetINF / Auto

Pro-Q4 HP90Hz

Pro-Q4 Body cut−1dB at 180Hz

Pro-Q4 Twang+2dB at 3kHz

Pro-Q4 Air (Dyn)−2dB at 8kHz Dynamic

Pro-R2 Space0.8s

Pro-R2 Mix12%

Pro-R2 Pre-delay8ms

Pro-R2 Character50–55%

Pro-R2 Ducking20%

Pro-R2 Lo cut200Hz Pre-EQ 100% line

Best forCountry leads, bright electric rhythm

Position 4 · Neck + Bridge Parallel · Dreamy / Folk Strum

ToneX modelFender 65 Deluxe Reverb

Amp gain4 (clean — slightly lower)

ToneX Mix100% always

Presence2–3 (dark for dreamy)

Treble4 (pull back)

Bass6 (add warmth)

FAC ChorusAfter ToneX — dreamy chain

FAC Delay18ms

FAC Rate0.3–0.4 Hz (very slow)

FAC Depth30–40%

FAC Character65–70%

FAC WaveformSine

FAC Dry/Wet25–30%

FAC Gain0dB

TB CompNot used in dreamy chain

Pro-C3Not used in dreamy chain

Pro-Q4Not used in dreamy chain

Pro-R2 Space3.5–5.0s (long tail)

Pro-R2 Decay70–80% (dense)

Pro-R2 Pre-delay25–35ms

Pro-R2 Mix35–45%

Pro-R2 Character30–35% (dark warm)

Pro-R2 Thickness65–75% (lush)

Pro-R2 Distance60–70% (far back)

Pro-R2 Ducking5–10% (let shimmer sustain)

Pro-R2 Lo cut150Hz Pre-EQ 100% line

Best forDreamy ambient, atmospheric passages, slow folk

Position 5 · Neck + Bridge Series · Thick Leads / Experimental

ToneX modelTweed at edge of breakup

Amp gain6–7 (push into breakup)

ToneX Mix100% always

Presence5–6

Cab simON — 1x12 Alnico

TB Comp MakeupAdjust to −12dBFS

Pro-C3 StylePunchy 3:1 10ms

Pro-C3 Threshold−14dB · GR 4–5dB

Pro-Q4 Box (Dyn)−2dB at 400Hz Dynamic

Pro-Q4 Grit+1dB at 1.5kHz

Pro-R2 Space1.4s · Mix 20%

Best forLeads, solos, expressive playing

JC-120 Edgy · Positions 4 or 5 · Light Distortion / Edgy Clean

ToneX

ModelRoland JC-120

Amp gain6–7 (solid-state edge)

Mix100% always

Bass5 · Middle 6 · Treble 5

Presence5–6 (JC character)

Cab simON — 2x12

TB Comp MakeupAdjust to −12dBFS

FAC Chorus — JC-120 Style

Delay10–12ms (shorter)

Rate0.8–1.0 Hz (livelier)

Depth20–25%

Character50%

WaveformSine

Dry/Wet20%

PlacementAfter ToneX, before Pro-C3

Pro-C3

StylePunchy

Attack10–15ms

Ratio2.5:1

Threshold−16dB

Dry GainINF

Wet GainAuto

GR target3–4dB

Pro-Q4

HP90Hz

Low cut−1dB at 200Hz

Presence+1.5dB at 800Hz

Edge (Dyn)−1.5dB at 3kHz Dynamic

Air cut−2dB at 6–8kHz shelf

Pro-R2

Space1.0–1.2s (shorter)

Decay40%

Pre-delay20ms

Mix14–16%

Character55–60%

Thickness35–40%

Ducking30% (higher — keep edge)

Lo cut300Hz Pre-EQ 100% line

Best Positions

Position 4Mid-scooped edgy — open

Position 5Thicker — more sustained

CharacterPolice / Andy Summers / Scofield

Save as"T5z JC120 Edge" preset

Signal Chains — Per Position

Position 1 — Acoustic Hybrid

Scarlett Solo→ Loopy HPF 85Hz→ IMPULSation (000/Parlor)→ TB Comp (gain)→ Pro-C3 Opto→ Pro-Q4→ Pro-R2→ Spark Edge In3

Position 2 — Jazz / Warm Clean

Scarlett Solo→ TB Comp (gain)→ ToneX (Polytone SC)→ Pro-C3 Opto→ Pro-Q4→ Pro-R2 (dry)→ Spark Edge In3

Position 3 — Bright Country Electric

Scarlett Solo→ TB Comp (gain)→ ToneX (Tweed)→ Pro-C3 Clean→ Pro-Q4→ Pro-R2→ Spark Edge In3

Position 4 — Dreamy (separate preset)

Scarlett Solo→ ToneX (Deluxe clean)→ FAC Chorus→ Pro-R2 (long tail)→ Spark Edge In3

Position 5 — Thick Leads

Scarlett Solo→ TB Comp (gain)→ ToneX (Tweed breakup)→ Pro-C3 Punchy→ Pro-Q4→ Pro-R2→ Spark Edge In3

JC-120 Edgy — Separate Preset (Pos 4 or 5)

Scarlett Solo→ TB Comp (gain)→ ToneX (JC-120)→ FAC Chorus→ Pro-C3 Punchy→ Pro-Q4→ Pro-R2→ Spark Edge In3

Save six named presets — one per voice in each plugin. Position 4 Dreamy and JC-120 Edgy are both completely separate templates in Loopy Pro. The dreamy chain is intentionally minimal (ToneX → FAC Chorus → Pro-R2 only). The JC-120 edgy chain puts FAC Chorus before Pro-C3 — compression catches the modulated chorus signal giving it a punchier, more aggressive character. The JC-120 stays clean longer than a Tweed then gets harder and more articulate when pushed — solid-state character is very different from Fender tube breakup.

Telecaster

// Solid Body · Bright Single-Coils · Hot Bridge · Classic Country Machine

OLD SCHOOL COUNTRY · TWANG

Tone philosophy: The Telecaster is the defining instrument of old school country. Clean, twangy, and bright with that distinctive bridge pickup snap — think Merle Haggard, Buck Owens, early Waylon. The goal is preserving every ounce of natural Telecaster character: the click, the spank, and the chime. Resist the urge to smooth it out too much.

Scarlett Solo — Telecaster

Gain knob~55%

Peak target−12dBFS

Bridge pickupCan run hot — watch halo

Noise gate (first)Brusfri at −50dB

Inst buttonON

TB Compressor — Gain Stage

Ratio1:1 (compression off)

Amount100% (wet/dry — full wet)

PlacementAfter Brusfri, before ToneX

ToneX — Tweed/Princeton Clean

ModelFender Tweed / Princeton

Input gain+1 dB

Cab simON — 1×12 or 2×10

Presence6 (let the Tele breathe)

Depth4

Pro-C3 — Clean Mode

Pro-C3 Clean · 8ms lets twang through

Attack

8ms

Release

120ms

Ratio

3:1

Threshold

−14dB

Knee

Medium

GR max

3–5dB

Pro-Q4 — Country Tele Voicing · Dynamic cut 8kHz

Pro-Q4 Linear Phase · Dynamic bell 8kHz for Sony headphones

90Hz

Cut

Low

180Hz

−1

Honk

600Hz

−1

Twang

3kHz

Air ★

8kHz

−2

DYN EQ

★ Dynamic EQ at 8kHz — cuts brightness only when you dig in hard, keeps the Tele's natural chime at lower picking volumes. Essential for Sony closed-backs.

Pro-R2 — Short Room/Spring

Pro-R2 Tight · short · country feel

Space

0.8s

Decay %

45%

Pre-delay

8ms

Mix

12%

Ducking

15–20%

Complete Signal Chain

Scarlett Solo In1→ Brusfri Gate→ TB Compressor (gain)→ ToneX (Tweed)→ Pro-C3 Clean→ Pro-Q4→ Pro-R2→ Slap delay (opt)→ Scarlett Monitor Out→ Spark Edge In3

Country slap delay option: Old school country tone loves a slapback delay — single repeat, 80–120ms, no feedback, very low mix (10–15%). Add it after Pro-Q4 and before Pro-R2. This is the signature sound of 1950s and 60s country records. Keep Pro-C3 in Clean mode with the 8ms attack — that brief window before the compressor kicks in is where the Telecaster's pick attack and string snap lives. Don't let the compressor eat it.

Stratocaster

// Solid Body · SSS · Positions 2 & 4 Quack · Folk & Country Versatility

FOLK · COUNTRY · SONGWRITER

Tone philosophy: The Strat's strength for folk and country is its sweet, glassy clean tone — especially in position 4 (middle + bridge) for that distinctive quack, or position 1 (neck) for a warmer fingerpicking voice. Think James Taylor clean, or the chiming country rhythm of early Eagles. The goal is never harsh — always musical and open.

Scarlett Solo — Stratocaster

Gain knob~52%

Peak target−13dBFS

Positions 2 & 4Output drops ~2dB — normal

Noise gate (first)Brusfri at −52dB

Inst buttonON

TB Compressor — Gain Stage

Ratio1:1 (compression off)

Amount100% (wet/dry — full wet)

PlacementAfter Brusfri, before ToneX

Position 2/4 boost+1.5dB for pickup output drop

ToneX — Blackface Clean

ModelFender Blackface / Deluxe

Input gain0 dB — stay clean

Cab simON — 2×12 Alnico

Presence4–5 (musical not harsh)

Depth4

Pro-C3 — Mastering Mode

Pro-C3 Mastering · near-invisible

Attack

20ms

Release

Auto

Ratio

2:1

Threshold

−20dB

Knee

Soft wide

GR max

2–3dB

Pro-Q4 — Folk/Country Strat Voicing · Dynamic 3kHz

Pro-Q4 Zero Latency · Dynamic bell 3kHz

80Hz

Cut

Body

250Hz

−1

Quack

1kHz

+1.5

Edge ★

3kHz

−1

DYN EQ

Silk

10kHz

★ Dynamic EQ at 3kHz — Sony closed-backs emphasise this range; auto-tames harshness when picking hard without losing the Strat's natural sweetness at lower volumes

Pro-R2 — Open Plate

Pro-R2 Plate · opens headphone stage

Space

1.2s

Decay

1.2s

Pre-delay

15ms

Mix

16%

Ducking

20–25%

Complete Signal Chain

Scarlett Solo In1→ Brusfri Gate→ TB Compressor (gain)→ ToneX (Blackface)→ Pro-C3 Mastering→ Pro-Q4→ Pro-R2 Plate→ Scarlett Monitor Out→ Spark Edge In3

Position compensation: Strat positions 2 and 4 output slightly lower than 1, 3, or 5 due to pickup cancellation. Rather than adjusting the Scarlett knob, add +1.5dB on TB Compressor's input gain for those positions. Pro-R2 in stereo Plate mode is particularly effective for folk and songwriter work through Sony closed-backs — it creates the sensation of playing in a room rather than directly into your ears, which is the closest you'll get to the feel of an acoustic space without FRFR.

Les Paul Custom

// Solid Body · Gibson Burstbuckers · Thick & Warm · Mahogany Sustain

FOLK · BLUES · JAZZ · WARM CLEAN

Tone philosophy: The Les Paul with Burstbuckers is thick, warm, and sustaining — very different character from your single-coil guitars. For folk and country clean tones, the neck pickup is your friend: full-bodied without being muddy, sweet without being harsh. Think Paul Simon's "Still Crazy After All These Years" or Mark Knopfler's clean Les Paul tones. For jazz, this is your strongest guitar — the neck humbucker through a clean Fender or Polytone-style amp model with the high end rolled back is genuinely in jazz territory. Two distinct voices documented below.

Scarlett Solo — Les Paul Custom

Gain knob~48–52%

Peak target−12dBFS

Burstbucker outputHotter than single-coils

Neck pickup levelSlightly lower than bridge

Inst buttonON

TB Compressor — Gain Stage

Ratio1:1 (compression off)

Amount100% (wet/dry — full wet)

PlacementBefore ToneX

ToneX — Warm Clean

ModelFender Deluxe / Brownface

Input gain−2 to −1 dB

Cab simON — 1×12 or 2×12

Presence3–4 (keep it warm)

Depth4–5

CharacterRich, not bright

Pro-C3 — Opto Mode

Pro-C3 Opto · enhances sustain

Attack

25ms

Release

Auto

Ratio

2.5:1

Threshold

−18dB

Knee

Soft 8dB

GR max

3–4dB

In Pro-C3: Set Style = Opto, Attack = 25, Release = Auto, Ratio = 2.5, Threshold = −18, Knee = ~8

Pro-Q4 — Les Paul Clean Voicing

Pro-Q4 Natural Phase · controlling mahogany warmth

90Hz

Cut

Mud

250Hz

−1.5

Warmth

800Hz

Clarity

3kHz

Air

10kHz

+0.5

In Pro-Q4: Band 1 = HP 90Hz, Band 2 = Bell 250Hz −1.5dB Q=1.5, Band 3 = Bell 800Hz +1dB Q=1.2, Band 4 = Bell 3kHz +1dB Q=2.0, Band 5 = High Shelf 10kHz +0.5dB

Pro-R2 — Warm Hall

Pro-R2 Hall · rich tail

Space

1.6s

Decay

1.6s

Pre-delay

20ms

Mix

16%

Character

Warm 45%

In Pro-R2: Space = Hall 48%, Decay = 1.6s, Pre-delay = 20ms, Mix = 16%, Character slider toward warm side

Les Paul — Two Voices: Folk/Country vs Jazz

Voice 1 — Folk/Country · Warm Clean

ToneX modelFender Deluxe / Brownface

Amp gain5 (12 o'clock)

ToneX Mix100% always

Cab simON — 1x12 or 2x12

Presence3–4 (keep warm)

TB Comp Ratio1:1 (off)

TB Comp MakeupAdjust to −12dBFS

Pro-C3 StyleOpto 2.5:1 25ms

Pro-C3 Threshold−18dB · GR 3–4dB

Pro-C3 Dry GainINF · Wet Gain Auto

Pro-Q4 HP90Hz

Pro-Q4 Mud cut−1.5dB at 250Hz

Pro-Q4 Warmth+1dB at 800Hz

Pro-Q4 Clarity+1dB at 3kHz

Pro-Q4 Air+0.5dB at 10kHz shelf

Pro-R2 Space1.6s

Pro-R2 Mix / Pre-delay16% · 20ms

Pro-R2 Character45% warm

Pro-R2 Ducking15–20%

Pro-R2 Lo cut250Hz Pre-EQ 100% line

Best forFingerpicking folk, country rhythm, songwriter

Voice 2 — Jazz · Dark & Round

ToneX modelPolytone SC (Tone.Net) — confirmed

Cab simOFF — cab in capture

Amp gain3–4 (never breaks up)

ToneX Mix100% always

Bass3–4 (reduced from 6 — fixes boom)

Volume8–10

Presence2–3 (dark — critical)

Guitar Volume knob10 — always full up

Guitar Tone knob7–8 (darkness control)

PickupNeck ONLY — always

Pro-C3Bypass — humbuckers don't need it

Pro-Q4 HP100–110Hz · Loudbox / 60Hz · headphones

Pro-Q4 200Hz boostRemoved — was +1dB

Pro-Q4 Boom cut−1.5 to −2dB at 160Hz, Q 1.5

Pro-Q4 Body+1.5dB at 800Hz

Pro-Q4 Bite cut−2dB at 3–4kHz

Pro-Q4 Air cut−3dB at 8kHz high shelf

Pro-R2 Space0.8–1.0s (very short)

Pro-R2 Mix / Pre-delay8–12% · 10ms

Pro-R2 Character25–30% (dark tail)

Pro-R2 Ducking10% (light)

Pro-R2 Lo cut200Hz −12dB · Loudbox / 120Hz · headphones

Best forStraight-ahead jazz, chord melody, bebop

Key difference between the two voices: Folk/country pushes presence and air upward — bright, open, cutting. Jazz does the exact opposite — roll the high end down significantly (−3dB shelf at 8kHz, Presence at 2–3 in ToneX, tone knob at 7–8 on the guitar). Jazz tone lives in the low-mids and mids. The amp gain should never break up — if you hear any hair or edge, drop the gain further. Reverb should be barely perceptible — jazz is traditionally very dry.

Complete Signal Chain

Scarlett Solo In1→ TB Compressor (gain)→ ToneX (Deluxe/Brownface)→ Pro-C3 Opto→ Pro-Q4→ Pro-R2→ Scarlett Monitor Out→ Spark Edge In3

Les Paul versatility: This is your most versatile electric — folk, country, blues, and jazz all work with the same guitar and the same basic signal chain. The difference is entirely in ToneX model selection, Presence setting, and Pro-Q4 EQ direction. Save two named presets in each plugin — "LP Folk" and "LP Jazz" — so switching between voices is one tap per plugin.

Taylor 316ce

// Acoustic-Electric · Grand Symphony Body · ES2 Undersaddle Pickup · Hot Output

FOLK · SINGER-SONGWRITER · FINGERSTYLE

Tone philosophy: The 316ce is your primary songwriter and fingerpicking instrument. The Grand Symphony body gives you a wide, full sound with strong low-end — gorgeous live but needs careful management through headphones. The goal is natural, open, and warm — like sitting in a well-treated room, not processed.

Scarlett Solo — 316ce

Gain knob~35–38%

Peak target−16dBFS

ES2 outputHot — start lower

Verify withHard strum first

ToneXBYPASS — not needed

Direct to LoudboxChannel Input — works well

Via Loopy ProEffects Return — for looping

Signal Routing

First pluginPro-Q4 HP at 80Hz

Second pluginIMPULSation IR loader

IR typeGrand Symphony / Orchestra

IMPULSation mix75–80% wet

Third pluginTB Compressor (gain only)

ThenPro-C3 → Pro-Q4 → Pro-R2

Phase modeNatural Phase in Pro-Q4

Pro-C3 — Opto Gentle

Pro-C3 Opto · Stereo Link 50%

Attack

50ms

Release

Auto

Ratio

1.8:1

Threshold

−22dB

St. Link

50%

GR max

1.5–3dB

Pro-Q4 — Natural Phase · Grand Symphony Correction

Pro-Q4 Natural Phase · two instances (HP first, then full EQ after IR)

80Hz

Cut

Box ★

320Hz

−2

Nasal

750Hz

−1.5

Presence

3kHz

Air

12kHz

+1.5

★ −2dB at 320Hz is the single most important adjustment for the 316ce — removes the Grand Symphony body resonance that becomes "boxy" through headphones

Pro-R2 — Concert Hall

Pro-R2 Hall · long · wide · 25ms delay

Space

2.2s

Decay

2.2s

Pre-delay

25ms

Mix

24%

Ducking

25–30%

Complete Signal Chain

Scarlett Solo In1→ Pro-Q4 HP 80Hz→ IMPULSation (GS body IR)→ TB Compressor (gain)→ Pro-C3 Opto→ Pro-Q4 (main EQ)→ Pro-R2 Hall→ Stereo widener→ Scarlett Monitor Out→ Spark Edge In3

ES2 practical tip: The ES2's three saddle sensors can occasionally have one that's slightly hotter than the others — if you notice one or two strings jumping out in the mix, this is the culprit. There's no fix in software (it's a hardware pickup balance issue), but the Pro-C3's Stereo Link at 50% helps smooth this out subtly. The 25ms pre-delay in Pro-R2 is critical for the singer-songwriter context — it creates the sense of being in a real performance space, which is grounding when playing folk and country in headphones. In IMPULSation, use Holy Grail Grand Symphony or Orchestra body IRs at 75–80% wet for the most natural 316ce tone.

Taylor GS Mini

// Compact Acoustic-Electric · GS-Go Passive Undersaddle Piezo · No Blend Control

FOLK · TRAVEL · CAPO WORK

Tone philosophy: The GS-Go is a simple passive undersaddle piezo — pure, direct, no body sensor blending. What you get is honest undersaddle character: slightly bright, very clear, detailed pick noise. The goal is to warm it up and make it feel like the acoustic instrument it is — the IR loader and Pro-Q4 do most of this work. Keep everything gentle and natural.

Scarlett Solo — GS Mini / GS-Go

Gain knob~40–43%

Peak target−15dBFS

GS-Go outputPassive — may need +2dB vs 316ce

No blend knobSingle source — EQ shapes all

ToneXBYPASS — not needed

Direct to LoudboxChannel Input — works well

Via Loopy ProEffects Return — for looping

Signal Routing

First pluginPro-Q4 HP at 100Hz

Second pluginIMPULSation IR loader

IR typeParlor or small body

IMPULSation mix70–75% wet

Third pluginTB Compressor (gain only)

AvoidDreadnought IRs — too big

Phase modeNatural Phase in Pro-Q4

Pro-C3 — Opto Very Gentle

Pro-C3 Opto · barely there

Attack

60ms

Release

Auto

Ratio

1.5:1

Threshold

−24dB

Knee

Soft 8dB

GR max

1–2dB only

Pro-Q4 — Natural Phase · GS-Go Piezo Correction

Pro-Q4 Natural Phase · taming piezo character, adding warmth

100Hz

Cut

Warmth ★

200Hz

Woody

900Hz

Piezo

2.5kHz

−2

Air

10kHz

+1.5

★ +2dB at 200Hz adds warmth the passive GS-Go lacks. The −2dB at 2.5kHz is the most important cut — that "quacky" piezo nasal quality lives right there.

Pro-R2 — Intimate Room

Pro-R2 Small room · keep it intimate

Space

1.0s

Decay

1.0s

Pre-delay

10ms

Mix

16%

Character

Bright 40%

Complete Signal Chain

Scarlett Solo In1→ Pro-Q4 HP 100Hz→ IMPULSation (parlor/small IR)→ TB Compressor (gain)→ Pro-C3 Opto→ Pro-Q4 (main EQ)→ Pro-R2 Room→ Scarlett Monitor Out→ Spark Edge In3

GS-Go passive piezo reality: Unlike the ES-B, the GS-Go has no onboard preamp or body sensor — it's a straight passive undersaddle transducer. This means it needs more EQ work than the 316ce to feel natural. The −2dB cut at 2.5kHz is the most important single adjustment — passive undersaddle piezos have a characteristic nasal honk right there that is the main reason they can sound "plastic." The +2dB at 200Hz adds back the warmth the small body and passive pickup both lack. Keep the reverb small and intimate — a parlour-sized room suits the GS Mini's character far better than the concert hall you'd use on the 316ce. In IMPULSation, use Holy Grail parlor or 00 body IRs at 70–75% wet — the smaller body size matches the GS Mini better. The GS Mini is a close-mic, living room folk instrument at heart; let the reverb reflect that.

Clean TonesFor Six Guitars

Clean Tones
For Six Guitars