"Tone Matching" Preview

that's correct. As a WHOLE rig is like a black box, you can't isolate the single contribution just having the TOTAL result. You have to do some breakpoints...if we're talking about isolated guitar tracks we're talking about NO break point or whatsoever...if we're talking about sampling loop or DI boxes we're talking about breaking points! ;)

That feature is for people that want to eq match a track.
For what you want cliff but in amp matching and cab matching. These treat each as black boxes.
 
but that was what Cliff said.you can match guitar isolated tracks tone...but if it's like you said that will solve the problem as the concept of taking an amp and putting it in a sampling loop that would be the solution! as it will take the amp as a black box, analizing what it's put inside and what is coming out...

There are two things being discussed in parallel here. Two new features. One is profiling physical amps. One is tone matching from a sample. End goal is nearly the same: you want to "play" that sound via the Axe-Fx. But the methods differ. For the samples Cliff posted at the start of the thread he used the technique I mentioned above.

The tone-matching-a-sample track I do not think, to date, has been previewed in this thread, right? It's only been discussed as a possibility. So how it works, how well it works, etc. is all speculation at this point.
 
Why does the process have to be identical to what KPA uses to be useful and relevant?


It doesn't, and will obviously be accomplished using a slightly different method to the KPA.

But the KPA is the point of reference at the moment that the technology is most associated with.
 
It seems like the word "profiling" - as used by Kemper. Has become synonymous with every process of capturing the sound of an amp or in this case allso a recorded track.

The technologies are so new that no other word has been invented for it yet(I think).

If you read the tread carefully everyone associated with FAS is careful NOT to use the word profiling.

I believe they try to put some distance between the two methods in this way. with good reason. They dont want this tread to develop into something we have seen in other treads recently.

Greetings and exitement

AAEN
 
Why does the process have to be identical to what KPA uses to be useful and relevant?

It is my guess that the 'process' will not identical to what KPA uses; as long as the results are at least as accurate or more so is all that matters to me.

Benefits over features, always. The only thing relevant is that you end up with useful and inspiring tones.
 
? no assumption, nor idiots....aaaah the internet ;)

Funny you should directly reply to my post. Did you assume it was meant for you? :) I’ll give you my humble take and then bow out of this nonsense as it really serves no purpose at this juncture.

We have a modeling box in which FAS took a particular path in creating. Without rehashing multitudes of threads and flame wars I’ll summarize and say it is MY OPINION that FAS took the approach they did because they found it to be an overall better approach than other paths taken by other competitors. It leaves us with options to create our own sounds based upon a grid that separates the signal chain into individual components and gives us lots of parameters to adjust them. I am totally happy with my II AS IT IS because I can pretty much create any sound I want be it from the past or something entirely new. However, there is a substantial learning curve and it takes time and a willingness to learn how to use it if you want that flexibility.

Many have been turned off by the learning curve and complexity and decided other products were more suited for them even though there are limitations, perceived or not, in the separation of signal chain components. Cliff has even commented, and this is NOT a quote, something along the lines that the other products may be more suited for the plug and play types and the AxeFx(s) would be more to the liking of the persons who like to dig deeper and tweak more.

So FAS announces they will incorporate a similar simpler approach (with respect to the end user) into the II and therefore we as customers have the best of both worlds at our fingertips and choices to use it in whatever manner suits our needs at the time. Win/Win in my book.

So here we are present day with a couple of sentences saying we will have both Amp Matching and Tone Matching added to our already purchased products and we are getting the Fanboy and Zombie rhetoric? Really? Why shouldn’t people get excited over free upgrades to our products? I completely understand your inquisitiveness and I am sure many share your questions and/or points of view but I never read anything where FAS has said they can or will overcome the limitations of the other approaches. To suggest others shut their brains down simply because Cliff talks is both condescending and to be honest, plain rude in my humble opinion. TO ME, it is calling people idiots.

And yes, it is all based on assumptions because neither you nor I have any clue what will eventually be incorporated into the II or how it is developed and implemented by FAS based on the two little snippets of information and associated clips.

As one poster commented prior, it’s not always about the content, but how you present it and I think some of your comments are presented in an offensive manner. And again, that is simply my humble opinion.

I am just happy to be along for the ride and learning process and would personally appreciate not being ridiculed for any excitement I or others may find in a POTENTIAL addition to a piece of gear.

Carry on... :)
 
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Oh FFS .... well now that we've sorted out all the problems on tone matching ..... let's speculate on the Axe FX 3 instead ... you know it's the one where the fan is on an telescopic tube that can be placed in your back yard and you just say the name of the amp you'd like to emulate into the built in mic and it magics it out of the air and alters the dynamics based on the biometric snapshots of your fingertips that you entered via it's special plug in finger reader which also scans your finger muscles and doubles as a sex aid. :razz
 
As I stated earlier, I'm far more interested in tone matching a recorded track than in profiling an amp/cab/mic setup. As far as I know, the Kemper cannot match an isolated track. If it could (and the Axe couldn't), I might be interested in the Kemper.

It will be interesting to see if Kemper adds this function after Cliff puts it in the Axe. It would be yet another example of how we all win in this "competition".
 
I am thinking we are still too early in the announcement but how many "profiles" can one store on the Axe-FX II? Or does one load an amp block as a starting point and run either the amp match or tone match process and the setting of the amp block are modified to reproduce what you are trying to match? And then if you wanted to use that "matched" tone in other presets would you set it as a global amp?
 
a bit off topic here but i would need to know: in the video that someone p[rovided earlier ClarkKent is making a IR can you actualy use this method to match sounds from people like Petrucci? Because if its IR only its still tweakable or am i wrong?
 
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