Axe FX III - the Blog

octatonic · August 2022

Apparently I am near the top of the list for the shipment of the FX9 Turbo's that are coming in the next few weeks.
Should be fun.

mrkb · November 2022

Interesting comparison between AXEFX and real amp by Paul at Studio rats. I preferred the same version on all the clips and was glad it was the AxeFX.

Guitar Amp vs Modeler - Can You Tell The Difference - YouTube

ToneControl · November 2022

mrkb said:

Interesting comparison between AXEFX and real amp by Paul at Studio rats. I preferred the same version on all the clips and was glad it was the AxeFX.

Guitar Amp vs Modeler - Can You Tell The Difference - YouTube

same here
I love my Matchless DC30 for the basic gutsy thrill, and I had an Independence once.

For me, both the AF3 and Matchless sounded great, but the AF3 sounded like the recorded tone had been tweaked to final mix standard, whereas the Matchless sounded like it needed to be re-EQ'd and possibly multiband-compressed,
which is what I'd expect

FarleyUK · November 2022

Firmware 21 is out now, including new and improved Cygnus X-2 modelling. Cooper's done a comparison video:

I played a gig with it last week, and it does indeed sound awesome. The Marshalls are even better now!

Gadget · November 2022

Perhaps it's a 'feel / in the room' thing, but I don't hear much difference in that Youtube vid and certainly nothing that a modest tweak of EQ wouldn't match (?)

DavusPG · November 2022

Downloaded the beta version for my FM9. Let's be clear, we're talking marginal gains at this stage as it's already so good. Whether it's in our heads or what, I don't know but it just feels good to play. Response and dynamics are great, but they have been for a long time. Either way it's the unit that keeps on delivering. Reduced CPU use is a welcome bonus too

Roland · November 2022

My experience of firmware upgrades over the years is that some don’t do anything for me, and some introduce more clarity by taking out modelling artefacts. I used to watch people on the Fractal forum talking about how a particular update was magnificent, and I wasn’t hearing much different. Then there was an update which affected clean sound that I thought a massive step, and they were not noticing a change. I realised that we listen for different things based on our chosen equipment and playing styles.

I’ve been too busy to upgrade to v21 yet, but I did try one of the beta versions, and thought it brought an improvement in clarity.

DavusPG said:

Let's be clear, we're talking marginal gains at this stage …

As far as Amp modelling goes I think we are. There’s still something to do with amp-in-the-room, but that is as much about monitoring as modelling. Most of my work goes into other features. Lately it’s been set lists and lighting changes.

Nerine · November 2022

Yeah, as far as the Fractal modelling is concerned, it’s there. It’s the delivery of the sound to the listener/audience that is the remaining variable.

I’ve been direct on the last few gigs and it’s sounded epic, but then we have a good PA.

I’ve also used it through some passive Peavey PAs at jam sessions and rehearsal rooms and it’s sounded a bit rough. I don’t blame the FM9 for that, because everything else that goes through those speakers sounds rough, too.

But it does demonstrate that the playback/reproduction/amplification device does need to be considered.

Roland · November 2022

Cooper Carter advocates setting up your sound using IEMs, and letting the desk engineer sort out FoH.

Roland · November 2022

Gadget said:

Perhaps it's a 'feel / in the room' thing, but I don't hear much difference in that Youtube vid and certainly nothing that a modest tweak of EQ wouldn't match (?)

I’ve just listened to the video on an iPad, and I can hear the difference quite clearly. To my ears there’s an increased clarity to the sound, and definition and texture to the notes. That’s not something I could achieve with EQ. Is it a big difference though? Maybe once or twice in a gig I’d notice it, but the audience certainly wouldn’t.

Jonathanthomas83 · November 2022

The gas is strong...again!

Can anyone advise...I heard that in order to find well matched IR's for amps in the Axe FX, a good starting place is to find the corresponding factory preset for the amp you're looking for and copy and paste the amp/cab into a new preset of your own?

I just can't put myself through the IR hunt again! It's an absolute ball ache.

For reference, I find that I get solid (and quick) results with the Two Notes stuff - but IR's are a pain, IMO.

mrkb · November 2022

Jonathanthomas83 said:

The gas is strong...again!

Can anyone advise...I heard that in order to find well matched IR's for amps in the Axe FX, a good starting place is to find the corresponding factory preset for the amp you're looking for and copy and paste the amp/cab into a new preset of your own?

I just can't put myself through the IR hunt again! It's an absolute ball ache.

For reference, I find that I get solid (and quick) results with the Two Notes stuff - but IR's are a pain, IMO.

All the factory cabs and what they represent in the real world are listed in the wiki.

https://wiki.fractalaudio.com/wiki/index.php?title=Cabinet_models_list

I think there’s an amp to typical cab list somewhere as well.
Yep - found it in Yeks excellent Fractal Amp Models guide

https://wiki.fractalaudio.com/wiki/index.php?title=Yeks_Guide_to_the_Fractal_Audio_Amp_Models

Roland · November 2022

IRs of the speakers and microphones which you’d use with a real world amp are a good starting point. Recent IRs from Fractal are pretty good. The Fractal stable includes both their own captures, and selected IRs from Ownhammer, York Audio, and others. Looking any further than that is a rabbit hole which is only worth going down if you want a specific sound for a specific track in a recording.

firepaulmusic · November 2022

I’ve had good results lately copying and pasting the amp and IR from the factory presets. Also just sticking with the stock TV Mix 1 for all Marshall types seems to work…

Styxelectric · November 2022

I learned so much from this. Thanks.

Gadget · January 2023

I am now back in the club

Roland · January 2023

One of the things I’ve missed with the AxeFX is the ability to get feedback at the end of a solo or song. With an amp it’s easy to touch the guitar headstock to the cabinet.

This morning I found a way to do it at any volume. I’m excited because it’s new to me, although other people have been doing it for years. Basically it’s a Synth block with two sine wave voices tracking the pitch. The first voice is pitch shifted up an octave, and the second an octave plus a fifth. The clever bit is that the volumes swell in, the first over 1,000ms, and the second over 2,000ms. I don’t have any spare buttons on the FC12 to devote to this. For now I’ve used a copy of my Solo scene, and switch to it by holding the Solo button.

susbemol · January 2023

Very clever solution but how does that actually sound?

Beexter · January 2023

Roland said:

One of the things I’ve missed with the AxeFX is the ability to get feedback at the end of a solo or song. With an amp it’s easy to touch the guitar headstock to the cabinet.

This morning I found a way to do it at any volume. I’m excited because it’s new to me, although other people have been doing it for years. Basically it’s a Synth block with two sine wave voices tracking the pitch. The first voice is pitch shifted up an octave, and the second an octave plus a fifth. The clever bit is that the volumes swell in, the first over 1,000ms, and the second over 2,000ms. I don’t have any spare buttons on the FC12 to devote to this. For now I’ve used a copy of my Solo scene, and switch to it by holding the Solo button.

Sounds like a useful trick. How long will it sustain for and is that adjustable?
There is a feedback preset from Mark Day on Axechange which uses a pitch block and compressor combo but I'd be interested to try your solution..
Where in the chain do you run the synth block?

Nerine · January 2023

I’ve been able to get feedback ok, but I have my wedge quite loud. Spose if you’re on IEMs, you’re shit outta luck.

I dicked about with the synth block yesterday actually, so this sounds like a cool thing to try.

Jonathanthomas83 · January 2023

Gadget said:

I am now back in the club

Welcome back to the man who helped start my journey off in 2017! I have you to thank :-)

Roland · January 2023

Beexter said:
Sounds like a useful trick. How long will it sustain for and is that adjustable?
There is a feedback preset from Mark Day on Axechange which uses a pitch block and compressor combo but I'd be interested to try your solution..
Where in the chain do you run the synth block?

The Synth block is straight after Input1, and in parallel with the main connection so that I can turn it off without losing the original note. The synth volumes rise, then follow the pitch and envelope of the input signal. It sustains for as long as the string keeps moving, which depends on stage volume, and how much vibrato you apply.

susbemol said:

Very clever solution but how does that actually sound?

Traditional acoustic feedback centres on one frequency. Usually this is first the harmonic because that’s the one with the most energy, and feeds back most easily. Once you’ve got traditional feedback running you can vary your distance from the speaker to get 2nd and 3rd harmonics. Gary Moore used to mark positions on the stage with chalk so that he knew where to stand.

Using a synth sine wave, and putting it through the Amp, Cab and FX chain, is going to give you a very similar sound to traditional feedback. However you can’t vary the frequency by moving around. It would be possible to vary the frequency using footswitches. For the moment I’m going to keep it simple.

Roland · January 2023

Nerine said:

I’ve been able to get feedback ok, but I have my wedge quite loud. Spose if you’re on IEMs, you’re shit outta luck.
I dicked about with the synth block yesterday actually, so this sounds like a cool thing to try.

Yes, I’m on IEMs. I use a “wedge” on the floor to add some life to the guitar, but not the volume I’d need to generate feedback.

Beexter · January 2023

Roland said:

Beexter said:
Sounds like a useful trick. How long will it sustain for and is that adjustable?
There is a feedback preset from Mark Day on Axechange which uses a pitch block and compressor combo but I'd be interested to try your solution..
Where in the chain do you run the synth block?

The Synth block is straight after Input1, and in parallel with the main connection so that I can turn it off without losing the original note. The synth volumes rise, then follow the pitch and envelope of the input signal. It sustains for as long as the string keeps moving, which depends on stage volume, and how much vibrato you apply.

susbemol said:

Very clever solution but how does that actually sound?

Traditional acoustic feedback centres on one frequency. Usually this is first the harmonic because that’s the one with the most energy, and feeds back most easily. Once you’ve got traditional feedback running you can vary your distance from the speaker to get 2nd and 3rd harmonics. Gary Moore used to mark positions on the stage with chalk so that he knew where to stand.

Using a synth sine wave, and putting it through the Amp, Cab and FX chain, is going to give you a very similar sound to traditional feedback. However you can’t vary the frequency by moving around. It would be possible to vary the frequency using footswitches. For the moment I’m going to keep it simple.

Thanks for the response @Roland. I have an FM3 and the voices in the Synth block have a maximum attack time of 1000ms so I'm going to see if I can use modifiers to extend this...

Roland · January 2023

Currently I’m using modifiers. The first raises the volume of the Synth block over 1,000ms, which brings in voice 1. The second raises voice 2 over 2,000ms. For modifiers I’m using CS1 and CS2, and switching them on as I change to the copy of my Solo screen.

Beexter · January 2023

Roland said:

Currently I’m using modifiers. The first raises the volume of the Synth block over 1,000ms, which brings in voice 1. The second raises voice 2 over 2,000ms. For modifiers I’m using CS1 and CS2, and switching them on as I change to the copy of my Solo screen.

Thanks for the response Roland

Gadget · January 2023

Jonathanthomas83 said:

Gadget said:

I am now back in the club

Welcome back to the man who helped start my journey off in 2017! I have you to thank :-)

Not sure you would thank me for pushing you into that rabbit hole lol

Nerine · January 2023

I’ve probably said something similar in the FM9 thread, but owning it has made me feel a bit silly for previously dismissing modelling as a completely viable alternative to a valve amp.

I actually really enjoy that I can turn on a piece of digital gear and be completely satisfied with my sound, both out front and what I hear on stage.

It’s quite liberating in a lot of ways.

I used to troll and berate the Axe Fx fanbois back in the earlier days of the internet and the Harmony Central forums. Perhaps then it was slightly more justified, but nowadays, nah.

The Fractal platform is so fucking good. What I’ve been getting back through my rig this week has been sublime. Chewy, dynamic, greasy, toneful, inspiring, thick, fat, present, etc etc. y’know… the classic buzzwords and tone word cliches.

I really wish people could hear what I’m hearing through my rig because as a prior high end, boutique valve amp snob, I’m feeling quite foolish. It’s the real deal, provided you’re willing to approach it as a new way of doing things. A scary prospect for some, perhaps. It was for me, too. Now I’m getting familiar with it, though. Wow. Epic stuff. The hype is more than justified, IMO.

Gas for amps has completely disappeared. I can just clone my preset and select a new one confident that the modelling is as accurate as it gets based on the A/B testing I’ve done. It’s so impressive.

susbemol · January 2023

Nerine said:

I’ve probably said something similar in the FM9 thread, but owning it has made me feel a bit silly for previously dismissing modelling as a completely viable alternative to a valve amp.

I actually really enjoy that I can turn on a piece of digital gear and be completely satisfied with my sound, both out front and what I hear on stage.

It’s quite liberating in a lot of ways.

I used to troll and berate the Axe Fx fanbois back in the earlier days of the internet and the Harmony Central forums. Perhaps then it was slightly more justified, but nowadays, nah.

The Fractal platform is so fucking good. What I’ve been getting back through my rig this week has been sublime. Chewy, dynamic, greasy, toneful, inspiring, thick, fat, present, etc etc. y’know… the classic buzzwords and tone word cliches.

I really wish people could hear what I’m hearing through my rig because as a prior high end, boutique valve amp snob, I’m feeling quite foolish. It’s the real deal, provided you’re willing to approach it as a new way of doing things. A scary prospect for some, perhaps. It was for me, too. Now I’m getting familiar with it, though. Wow. Epic stuff. The hype is more than justified, IMO.

Gas for amps has completely disappeared. I can just clone my preset and select a new one confident that the modelling is as accurate as it gets based on the A/B testing I’ve done. It’s so impressive.

Maybe you could post a sound or video clip with the audio properly recorded.

firepaulmusic · January 2023

susbemol said:

Nerine said:

I’ve probably said something similar in the FM9 thread, but owning it has made me feel a bit silly for previously dismissing modelling as a completely viable alternative to a valve amp.

I actually really enjoy that I can turn on a piece of digital gear and be completely satisfied with my sound, both out front and what I hear on stage.

It’s quite liberating in a lot of ways.

I used to troll and berate the Axe Fx fanbois back in the earlier days of the internet and the Harmony Central forums. Perhaps then it was slightly more justified, but nowadays, nah.

The Fractal platform is so fucking good. What I’ve been getting back through my rig this week has been sublime. Chewy, dynamic, greasy, toneful, inspiring, thick, fat, present, etc etc. y’know… the classic buzzwords and tone word cliches.

I really wish people could hear what I’m hearing through my rig because as a prior high end, boutique valve amp snob, I’m feeling quite foolish. It’s the real deal, provided you’re willing to approach it as a new way of doing things. A scary prospect for some, perhaps. It was for me, too. Now I’m getting familiar with it, though. Wow. Epic stuff. The hype is more than justified, IMO.

Gas for amps has completely disappeared. I can just clone my preset and select a new one confident that the modelling is as accurate as it gets based on the A/B testing I’ve done. It’s so impressive.

Maybe you could post a sound or video clip with the audio properly recorded.

.....or even post your patches on Axe Exchange for us to try?

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