![]() ![]() Often times when you are not getting any audio in Rocksmith, it comes down to the Real Tone cable or your device not interfacing with it. 07:52 pm GMT How To Fix Your Rocksmith Audio One of these solutions is likely to get you back to playing. With these main problems identified, we can address some easy fixes for both of the described issues. This can be a very frustrating issue, as it can easily throw off your timing while playing or otherwise make the game experience very difficult. Latency occurs when you play a note on the guitar and there is a small delay when you hear the note in-game. This issue can also include intermittent audio that cuts out, or a very low volume signal. Having no audio is mostly self-explanatory your guitar is plugged in, but it’s not making any noise. ![]() The issues commonly associated with the real tone cable can be broken down into two categories: No audio and Latency. In this guide, we will walk through some common fixes with the cable and get you playing again! Common Issues ![]() Luckily, problems with this hardware are usually easy to diagnose and have some simple solutions. The Real Tone Cable is a fundamental part of playing Rocksmith, and it can be very frustrating when something goes wrong with it. In this article, we talk you through some audio and latency common fixes.For that reason, it’s extremely frustrating when something goes wrong with it.Rocksmith’s Real Tone Cable is an essential part of playing the game.Also in the rack, next to the Peterson Strobe Tuner, is a TC Electronic D-Two delay, which runs through the effects loops of the two Bludotone heads.Disclosure: We may receive commissions when you click our links and make purchases. The splitter works in conjunction with two custom 2X Amp Selector rack units made by John Suhr. From there, the signal goes into a Pete Cornish AC Powered 3 Way Signal Splitter/Mute. This runs into a Pete Cornish LD1 line driver and then a Real McCoy Custom RMC4 Wah Pedal made by Geoffrey Teese. He starts with a 50' Canare GS-6 cable with Switchcraft and Neutrik connectors. Santana’s pedalboard is about as minimal as it gets. One cab is loaded with four Celestion Vintage 30s, the other sports two Celestion Vintage 30s and two Celestion G12-65s. The amps drive a pair of paisley-covered PRS 4x12 cabs. Santana also plays through a pair of Dumble Overdrive Reverbs and a pair of Bludotone Universal Tone heads-one of which is a prototype. Paul had a design drawing within a few days and we had them installed on the ‘Salmon’ a short time after.” When Santana wants to bust out some old-school Spanish guitar, he goes to his Jazz Electric Nylon model built by luthier Toru Nittono.Īfter being retired from use for some time, Santana’s original, snakeskin-covered 100-watt Mesa/Boogie is back onstage with the master. According to Adair, each guitar has a few modifications: “The locking saddles are the third generation of a design that Paul Reed Smith and his team came up with. At the moment, “Salmon” and “Son of Salmon” are in heavy rotation. Although he has a lot of backups, Santana tends to play the same guitar all night. Santana tours with a rack full of his signature PRS models. Adair walked us through Santana’s collection of custom PRS guitars, a Pete Cornish- and Teese-stocked pedalboard, and a collection of holy grail amps. On April 23, 2014, Premier Guitar met with Carlos Santana’s guitar tech, Ed Adair, before a show at the Ryman Auditorium in Nashville. ![]()
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