Open the DFU updater on PC, if the MG-400 entered DFU mode, you can see it's connected with the DFU updater.
Then select the related bin file (firmware) to "Start Update".
Be patient to wait for the updating process. It may cost you 10~15 minutes.
While the firmware update is finished, the DFU updater will remind you, in the meantime, you will also see the hint on the device. Then remove the USB cable and reboot the device.
When you see the line graphic on the QuickTone™ editor and cannot enter the final interface, it means "USB Cable Issue", "USB Port Issue" or "USB HUB Issue".
Please make sure:
(1) The USB cable can do " DATA TRANSMISSION " instead of "Charging Only".
(2) USB port: QuickTone™ uses standard USB MIDI protocol, there is nothing special. So if you use a Lenovo laptop, and meet the connection issue. Please update the USB port driver.
(3) USB HUB： 請將USB接到電腦主機板上的根USB口（通常是離主機板最近的地方，桌機的話通常是主機背面）。 對於Win作業系統的電腦，要如何偵測USB口以及USB的連線狀態呢？ 可以試一下 『USB View』這個軟體。
Tips:
If the MG-400's firmware is older and cannot adapt with QuickTone™ editor, you have to do firmware update. So after the update, don't be hurry to do FACTORY RESET & EXP CALIBRATION. Now you can connect QuickTone™ editor to export your existing patches. Then do the FACTORY RESET and EXP CALIBRATION. Import the patches into MG-400 with QuickTone™ editor.
If you think your device may meet defective hardware issue, you can do " Hardware Inspection": Press & Hold " SELECT knob + left button + CRTL button + right button ", the device will enter Hardware Inspection mode, then you can tweak the knobs, press the buttons, press the footswitches, roll the EXP Pedal, then the DISPLAY will tell you the result.
Note: The MASTER knob is analog to control the overall volume, so it cannot be inspected in "Hardware Inspection".
You can see the current firmware version in "INFO".
在『INFO』下，你可以看到當前韌體版本。
EXP:
While entering EXP, firstly you will see EXP IND., which means you can set the Expression Pedal to be independent with patches. For example, while you engage EXP in preset 01A as WAH, then while you go to preset 01B the EXP is still engaged.
If you want to do EXP CALIBRATION, press CTRL 2 footswitch.
Cause different guitars have different output signals. If you use another guitar and don't want to modify the current presets you have already done, you can tweak the INPUT TRIM to adapt to the existing presets.
Parameter Follow means MG-400 can detect your parameter tweaking habits and remember them. While you use the effect model, the parameters will stay at the last time you leave.
For the modelers, in the 1st step for "TONE TWEAKING":
Please bypass all the effect blocks, and set the dry signal volume as you want. (Tweak the MASTER knob from minimum to the desired comfortable volume so that you feel it loud enough and it won't hurt your ears.)
Then start to add the blocks like AMP, IR, dynamic effect, ...etc.
The first block I will add is AMP (add the related “CAB / IR” at the same time), so in the beginning, I have to decide the Amp Category I want for the patch.
Let's classify the amps as Cleanish (Fender Clean), Edge-of-Breakup (Vox Drive), British-Crunch (Marshall Crunch), and Lead-Distortion (Modern Distortion).
In the MG-400, the cleanish amps are Roland JC-120, Fender Deluxe Reverb, Fender Twin Reverb, Fender Vibro King, and Fender Super Reverb.
My favorite clean amp in MG-400 is SUPER RVB.
在MG-400裡面，清音類型的音箱有 Roland JC-120，Fender Deluxe Reverb，Fender Twin Reverb，Fender Vibro King，以及Fender Super Reverb。
我在喜歡的清音音箱模型為SUPER RVB。
The Edge-of-Breakup amps are VOX AC15, VOX AC30, Fender Bassman, Fender Tweed Deluxe, HIWATT DR103, Mesa Boogie Mark I, BUDDA SUPER DRIVE, Dr. Z MAZ 38, Marshall Bluesbreaker, and Matchless DC30.
過載邊緣的音箱有： VOX AC15， VOX AC30， Fender Bassman， Fender Tweed Deluxe， HIWATT DR103， Mesa Boogie Mark I， BUDDA SUPER DRIVE， Dr. Z MAZ 38， Marshall Bluesbreaker，以及 Matchless DC30。
The British-Crunch amps are Marshall Super 1959, Marshall JTM45, Marshall JCM 800, Marshall 1987X, and Marshall JCM 2000.
*All of the brand and model names mentioned on this page are Trademarks of their respective owners, which are in no way associated or affiliated with NUX Effects and Cherub Technology CO. LTD.
After I chose the amp model, what I will do:
Set the EQ flat, then adjust the GAIN and LEVEL as balanced as the flat dry signal.
Dig the EQ according to BASS, MID, TREBLE, and PRESENCE.
While I dig the bass, I will play the 5th & 6th open strings and tweak the BASS knob from minimum to the BASS critical point. In the meantime, you will hear the BASS frequency volume increase quickly.
Same as the MID, I will play the 3rd & 4th open strings and tweak the MID knob from minimum to the MIDDLE critical point. In the meantime, you will hear the MIDDLE frequency volume increase quickly.
Same as the TREBLE, I will play the 1st & 2nd open strings and tweak the TREBLE knob from minimum to the TREBLE critical point. In the meantime, you will hear the TREBLE frequency volume increase quickly.
Same as the PRESENCE, I will play the 1st & 2nd open strings and tweak the PRESENCE knob from minimum to the PRESENCE critical point. In the meantime, you will hear the PRESENCE volume increase quickly.
*NOTE: The VOX-style amp uses a CUT knob, I will tweak it counterclockwise.
Then I will adjust the GAIN and LEVEL again, and find the sweet spot for the AMP model.
In the last step, choose the CAB IR's microphone style and position.
Depending on the need, I will add a compressor for the cleanish amp, an overdrive pedal for the Edge-of-Breakup amp even the British-Crunch amp. Sometimes you can add a compressor for the Lead-Distortion amp to enhance the gain of high position notes.
If there is too much gain with noise, add "Noise Gate" just in case.
Here I listed the MOD models I use mostly. For the Chorus, I usually add it to a cleanish amp model and play the arpeggios for pop accompaniment. For Phaser and Tremolo, I would like to put it before the British-Crunch amp to make it sound fatter or stereo-like.
Delays, there are various types, and it's an advanced skill to use delays related to the sound characteristics and delay time. I won't talk about it here, if you are interested in this topic, please visit my previous posts:
Usually, I add the delay for the solo part. If I want the sound has more room or space, I will add reverb to it. Same as Reverb, it's also an advanced skill to use the reverbs related to the sound characteristics and decay time. I won't talk about it here, if you are interested in this topic, please visit my previous post:
There is an import tip of delay I would like to mention, Sub-Division. You can choose the desired time signature in "SUB D.", then assign the CTRL foot switch to do "TAP TEMPO". In the meantime, the delay time parameter will follow the related TAP TEMPO SPEED (BPM) and SUB-DIVISION. If you rotate the TIME knob (parameter), then the delay time will follow the TIME knob.
For the solo part, my favorite delay sub-division setting is DOTTED EIGHT (3/4). It makes your solo more melodic and musical.
It's almost the last step of TONE TWEAKING. Basically, I don't like to use EQ to shape my patch. While I dig the sound, Amp Model & IR already determine the fundamentals, the Boost will shape the tone a little bit, and it still keeps the natural sound and playability.
EQ can shape the sound a lot, sometime it will affect your playability, that's the reason I usually don't use it.
But while I play the patch with a song, and I find the sound is not as " front " as the song need, I will use EQ to shape it.
This is the 10 Band EQ setting I usually use to shape my sound.
這是我經常用來修飾音色的10段EQ參數設置。
The final step: Re-Level the patches.
In the MG-400, you can adjust the overall patch volume through P.L (Patch Level) block. Actually, I don't use it, if you follow the TONE TWEAKING steps correctly, you won't need it. For me, it's just in case. But I use P.L to set my Volume pedal order, I usually put it after AMP & IR, before MOD, DLY, and RVB. This can make the sound keep trails while I decrease the volume.
Under PRESET mode, press the CTRL button to enter CTRL SETTING, as you can see on the display, the CTRL settings can be saved into the patch.
You can assign the CTRL footswitch to do TAP or engage/disengage CMP/NG/EFX/EQ/MOD/DLY/RVB block or SCN. I mostly assign CTRL 1 as TAP to tap tempo the delay time, and assign CTRL 2 as SCENE.
你可以指定CTRL踩釘作 TAP 或者 開啟/關閉 CMP/NG/EFX/EQ/MOD/DLY/RVB 模塊，又或者作為SCN控制。 我最常指定CTRL 1作為TAP來『拍點定速』延遲效果的時長，指定CTRL 2作為『SCENE』（場景）使用。
For the SCENE, you can sequentially go from S1 to S2 to S3, and back to S1. (SCN3: ON) Or you can sequentially go from S1 to S2 and back to S1. (SCN3: OFF)
SCENE means you can engage/disengage a couple of blocks at the same time.
場景功能，你可以依序從S1->S2->S3再回到S1。(SCN3: ON)
或者，依序S1->S2再回到S1。(SCN3: OFF)
SCENE（場景）意味著你一次可以 開啟/關閉 多個效果模塊。
5. JAM (Drum & Loop) ｜ 即興 （鼓機 ＆ 樂句循環）
Press JAM button to enter DRUM & LOOP. Press CTRL/PAGE button can go to JAM page2.
按壓JAM按鍵進入DRUM & LOOP。 此時按壓CTRL/PAGE按鍵，可進入到JAM頁面2。
Under JAM page1, you can rotate SELECT knob to choose the desired rhythm. (RIGHT & LEFT buttons can select the rhythm style.)
KNOB 1 controls DRUM VOLUME, KNOB 2 controls LOOP VOLUME, and KNOB 3 controls BPM. You can also use TAP button (Tap Tempo) to control BPM.
Rotate SELECT knob to select STEREO/MONO or NR/AR.
KNOB 1/2/3 are related to DRUM EQ.
Note: NR=Normal Recording as a regular loop. AR=Auto Recording, which means while you press REC, it's ready to record until you play the guitar signal to start.
MG-400 supports USB audio stream, you can use it as a USB recording interface. If you use WIN OS, please go to the product page to download the related ASIO driver.
I use MAC, so I will demo the recording tutorial with Logic Pro.
Follow the connection, and remember to set MG-400's OUTPUT MODE as STUDIO DIRECT.
Let's start to record a simple song. As you can see, I played Cleanish Arpeggio as the main accompaniment. Then I created a "Drummer Track" to follow the accompaniment.
In order to let the song sounds more stereo, I add the Rythm Left and Ryrhm Right.
Of course, the bass track is needed. MG-400 offers MLD bass amp model, you can hear the bass track.
Till now, I almost finished a simple song, then let's play the solo part!
While you setup Dry Out, what you heared is processed signal, but what you recorded onto DAW is dry signal.
Solo的部分，我使用了Dry Out跟Reamp技巧。
當你設定Dry Out時，你聽到的是處理過（帶有效果）的信號，但你錄上去DAW的是乾信號。
After you recorded the dry signal track, then create a new track for Reamp. While you want to record the Reamp track, remember to mute all the other tracks and only play the dry signal track to record the Reamp signal.
