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To get enough clearance between the "value" knob on the FM9 and the top of the case I mounted the FM9 further back on the Temple, removed the rubber side panels on the FM9, and used a 10mm piece of foam on the bottom of the case with the thick foam cut snugly around the board. Holds it all in place nicely
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Thread 'FM9 Firmware Version 4.00'
https://forum.fractalaudio.com/threads/fm9-firmware-version-4-00.189514/
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1. Don’t expect your first rig build to be the best. You will change it and tweak it. And it will improve a lot in the first few iterations.
11. It works great in a band mix. It doesn’t get lost. It plays well alongside regular guitar amps if another guitarist isn’t going direct. I’d say that I sound much more defined and present in my bands mixes nowadays.
Guitar into input 1.
That chain terminates at output 3 on the edit grid.
Switch 1: changes “channel” 1 of my amp. From clean to crunch. So channel one can either be clean or crunch.
Amp boost assigned to a control switch is probably my most used method for changing tone, along with the volume knob on the guitar, which is a new revelation having spent decades with it always at 10
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So for example I have one attached to a filter block in every preset that adds a 2.5db boost across all scenes unless I turn it on/off. That's enough for my Tele to be the same volume as my Les Paul if I switch guitars, or just to give me a little volume boost if I feel I'm being overpowered by the rest of the band
These should get you going:
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So the patch was literally input 1, drive block, output 3 to amp.
View my feedback at www.thefretboard.co.uk/discussion/comment/1201922
View my feedback at www.thefretboard.co.uk/discussion/comment/1201922
Added new amp model: "59 Bassguy Reissue Jumped”.
https://forum.fractalaudio.com/threads/fm9-firmware-version-4-01-public-beta-1.190863/
View my feedback at www.thefretboard.co.uk/discussion/comment/1201922
Add to that the huge selection of effects that are on tap if and when I want them, and the fact that say I have the urge to use an AC30, or a Mesa JP, or a 5150 and scores of other amps then they're already in the box, all of a sudden £2k seems a bargain.
Can honestly say that the fractal gear has been the biggest GAS killer for me. Only reason I swapped the 3 for the FM9 was portability.
I took the plunge on the FM9 as a bit of an experiment to be honest. I wanted a giggable solution that was portable, sounded decent and took the stress out of setup and teardowns. 2/3 gigs per weekend with a load of travelling in between will do that to a man.
The first time I plugged it in, I was quite impressed. Defo a step up from my previous modelling experiences, including the Kemper which I still owned at that point. This was through my studio monitors.
I then had a mate come over with the monitor he uses for his live Kemper rig. I liked what I was beginning to hear through a good/large FRFR monitor. This improved the experience. Moving a bit more air.
I then started doing a lot of messing about and comparisons. I think I had to believe the unit was doing what it claimed. That for me was the key to accepting it into my world. Some of those things are detailed in this thread.
The most recent was a shootout with a real Klon Centaur into a Two Rock Custom Reverb Sig. An amp that would likely show up any deficiencies in the model against the real thing. It was indistinguishable. Everyone in the room agreed.
I have also previously "replaced" the preamp in my Small Box with the digital version in the FM9 run straight into the fx return, and again, I couldn't tell a difference in tone or feel when playing through the modelled preamp and real power amp and cab. I should also add that I was actively trying to find differences, deficiencies, harshness, "digital-ness" etc.
I've not found any limitations as far as the modelling goes. So now I feel I can trust it. I know it's doing what it claims. I know I can't tell a difference between the models and the real life counterparts.
How's it been working live? I love it. The Yamaha DXR10 MkII I monitor through is superb. It's loud, gobs of low end etc. The experience of playing it live is great. I get a real kick out of engaging some of my more effected scenes and the audiences being slightly baffled with how the sounds are being created etc. I don't miss the "amp in the room" or "amp behind me" thing. In fact, I would even go as far to say that's not even really too much of a thing and is used as a excuse to not get into the "daunting" world of modelling. I used to use very loud amps behind me and still sometimes struggled to hear what I was doing due to logistical setup issues, or other band members. Now? Nope. I can always hear myself fine, I get loads of brute force coming back at me through the monitor, and I can have it as loud as I like without spoiling the experience for the crowd. I can coax feedback. I can do everything I could with my analogue rig. It's just as satisfying, if not more so.
Fast forward to today. Yesterday, for shits and giggles and another experiment, I decided to put my Murphy R9 Les Paul to the test and build a rig based on one of Bonamassa's (one of my favourite players) rigs. So, wide open Silver Jubilee and then some Dumbles mixed in that you can switch in and out, as Joe did live - or at least a variation thereof. Add a big plate, and some Leslie, bit of fuzz here and there etc. Couple of big Dumble and Marshall 4x12's with EV speakers in them loaded up. It's just sublime, and is the closest I have ever gotten to capturing his live sound I've heard on record so much. Once I'm done with the preset, I'm going to make it available for people on Axechange to check out. The point being is that it was totally inspiring and sounded so "right".
What's next? Well, I have no GAS other than for perhaps another DXR10 so I can build rigs in stereo and make them sound even huger. I'm considering offing my Small Box and some other stuff that I feel could become redundant.
I've never had so many Eureka moments with a piece of gear as this. It's as complex or simple as you want it to be. The editor is incredible, the sounds are amazing, the effects are ridiculous, the switching is hugely flexible.
I think it's a huge upgrade to my previous analogue rig in terms of flexibility, FOH sound, portability etc.
It actually makes my analogue rig feel very limited in comparison whenever I plug into that nowadays. Which is becoming rarer and rarer. It's also loads better for practice, I'm not burning through valves or power (defo a consideration nowadays), there's very little to go wrong, etc.
I was very wary at first and very skeptical as I've mentioned, but now I've gotten acquainted with it, I feel like it's a massive leap forward. It makes my valve amp feel archaic and old fashioned. It's inspiring. It makes me want to play. I can have any amp I want. I can have any pedal I want. I can create any sound I want. ALL with the qualification that I know the sounds are legit and what I am hearing is as close as I'm going to get to ever owning multiple £5k+ rigs for any style that I could possibly imagine.
That's not a lot to dislike...
View my feedback at www.thefretboard.co.uk/discussion/comment/1201922