Axe-Fx III Firmware Release Version 15.01

There are very few full time session guys, and they are the only people I can think of who would be literally on the clock while dialing in sounds. And not all producers expect a session guy to be able to get every guitar sound known to man in the middle of a session.
Theater work can be that way, too, though you generally have at least one read-through or rehearsal where you have some breaks and take notes prior to the actual shows. Then you have to go home, build the sounds "blind" and hope for the best when the downbeat drops.

Still, though, the "time is money" mindset always exists when you're one guy in a 20-piece orchestra. They don't ever have to sit and wait for a trumpet or violin player to adjust their equipment.....
 
Everyone has their preference, but if you can't get it done with an Axe FX III than it's probably out of your reach. Maybe you need a 50,000$ Dumble but chances are it's your hands that aren't producing the right sounds.
 
Everyone has their preference, but if you can't get it done with an Axe FX III than it's probably out of your reach. Maybe you need a 50,000$ Dumble but chances are it's your hands that aren't producing the right sounds.
IDK...I played Ford's amp (and Tele) after a show a number of years ago in Portland. I sounded a lot more like Ford through that than using my Tele and home-built ODS.
We tend to try to say it's one or the other..."all in the fingers" versus "gotta have the right gear." In reality, it's the whole system. And which part of the system contributes most to tone/feel/mojo probably depends on what the situation is, even.
 
FWIW, before we went full Fractal for backline at all of our locations, our church tried Kemper's because it's seemed to make sense for guys to just plug their boards into. MBritt was the first profiles I purchased for them. I liked hardly any of them. They all have a sound, partly because he captures almost everything with the same Egnater cab. I don't get why people like them so much but he's the famous player/engineer and I'm not so what do I know, lol.
 
Not everyone likes the same things. I just question why he feels the need to go out of his way to say negative things about it.
sadly, because its the internet, its not just here , its all over Facebook for any topics imaginable , its really getting tiresome actually I can see when so Many are ditching social media
 
Would like to hear what you're doing there sir...
I Ran -

I do the guitar repeats decaying for the full 2 measures, 1 hit - 11 repeats at 310ms. Two ten-tap delays, the first handles the initial 10 repeats, the second just the one (11th) at 3410ms. I can program it to that value and it works, but when I go away from the patch and come back the setting reverts to 1650ms(?). Cliff looked at this before and pronounced it fixed - but I still have the issue.
 
Not everyone likes the same things. I just question why he feels the need to go out of his way to say negative things about it.

That was my point too. He goes out of his way to say negative things in multiple ways and also presents his very particular experience as if it were representative.
 
I dunno.....having been myself part of a couple orchestras so far and quite a few studio sessions, both pre and post axe fx, I can tell you I can setup physically, even create a basic patch and tweak with precision in a couple minutes TOTAL and be playing whereas I'd still be struggling to get my amp and cab up the stairs.

With a preset already loaded (which 99% of us would have), I just have to plug and play, with a basic tweak here and there. I can literally be ready before the string section is tuned. I maybe haven't done as high profile gigs as him, but I can tell you being in similar situations, the axe fx is a GODSEND!

Kudos to whoever wants to struggle with loud heavy tube amps in an orchestral setting, but I can tell you from my personal experience it's not a favorite of the conductor nor orchestra NOR audience when all they are hearing is your Marshall
 
Theater work can be that way, too, though you generally have at least one read-through or rehearsal where you have some breaks and take notes prior to the actual shows. Then you have to go home, build the sounds "blind" and hope for the best when the downbeat drops.

Still, though, the "time is money" mindset always exists when you're one guy in a 20-piece orchestra. They don't ever have to sit and wait for a trumpet or violin player to adjust their equipment.....
Yes, being on the clock creates pressure for us, but anyone with an electric/electronic instrument should be prepared both gear and workflow wise. As many have pointed out, there are multiple ways to streamline workflow with the Axe via the performance screen, Axe edit or having lots of relevant presets ready, either your own or aftermarket.

I suppose having all your very limited parameters permanently assigned to knobs does confer an advantage for those working in high pressure recording environments. But I’d rather prepare more and have a bunch of more impressive sounds to chose from, than be limited to strict replicas of amps and effects with limited adjustability...
 
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