AITR

It's up to Cliff to decided to "sacrifice" user bank 2 or not. Personally I use that bank, it's almost filled with commercial IRs from various vendors or free IRs from people like brother Leon etc. - I don't use them in my presets but they're there for reference. I would prefer to keep that 2nd bank, but I also want to check those room IRs, and I know I can't have both. I doubt I'll use fullres IRs a lot, let alone make my own, but it's gonna be interesting
 
I'm actually relieved that this is the feature I'm missing from the mk1 and not something bigger. I'm not crazy about irs. I use cabs from the legacy bank. I don't even know what's new in the axe III. I was excited for the feature for headphones. I'm just glad it's not a new block or profiling block. If that were the case I'd probably upgrade even though I probably don't need whatever new thing it is anyway lol. I'm one of those guys that tries to get his tone back to the way it was as soon as a firmware changes it. I'm happy with my sound. It's a good place to be.
 
vangrieg said:
Well, to bring things back into perspective, that necessity is called "mixing". A process where you cut out frequences, dynamics, "feel" from individual instruments so that the overall result sounds good.

Adding reverberation to each instrument may create that "feel" for players, but together in most cases the result will sound like a pile of mud. Especially if everyone brings some random room sound with him.
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That's very true. Maybe it was posted here, but I watched a video in which the worst guitar tones ever were highlighted. "Worst" meaning, in isolation, yet sounded fabulous in the context of a full mix. Over The Mountain was one, and I couldn't believe it.
Paul Gilbert has that same thing going on, wherein his isolated guitar sounds quite trebly, yet works perfect in the mix.
 
TSJMajesty said:
That's very true. Maybe it was posted here, but I watched a video in which the worst guitar tones ever were highlighted. "Worst" meaning, in isolation, yet sounded fabulous in the context of a full mix. Over The Mountain was one, and I couldn't believe it.
Paul Gilbert has that same thing going on, wherein his isolated guitar sounds quite trebly, yet works perfect in the mix.
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Don't forget that the isolated guitar tracks are often/usually/mostly post-mix. Meaning what is isolated is the sound after the engineer has worked his craft, chopping here, boosting there, etc. This has then little to do with the original tone of the guitar as it sounded coming out of the amp.

So when you "tone-match" an isolated track and say "that's what the original sounds like" well, no, not really. That's what worked in the mix with that specific bass track, these drums, those strings and synths, etc.
 
Patzag said:
Don't forget that the isolated guitar tracks are often/usually/mostly post-mix. Meaning what is isolated is the sound after the engineer has worked his craft, chopping here, boosting there, etc. This has then little to do with the original tone of the guitar as it sounded coming out of the amp.

So when you "tone-match" an isolated track and say "that's what the original sounds like" well, no, not really. That's what worked in the mix with that specific bass track, these drums, those strings and synths, etc.
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Patzag said:
Don't forget that the isolated guitar tracks are often/usually/mostly post-mix. Meaning what is isolated is the sound after the engineer has worked his craft, chopping here, boosting there, etc. This has then little to do with the original tone of the guitar as it sounded coming out of the amp.

So when you "tone-match" an isolated track and say "that's what the original sounds like" well, no, not really. That's what worked in the mix with that specific bass track, these drums, those strings and synths, etc.
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This. And this is why chasing exact tones from recordings is not a good idea, imho. What works within a specific mix is made to work FOR this mix. If you play in a cover band and want to have the exact guitar sound for each song you cover (from different bands), you'll be the FOH engineer worst nightmare.
 
Patzag said:
Don't forget that the isolated guitar tracks are often/usually/mostly post-mix. Meaning what is isolated is the sound after the engineer has worked his craft, chopping here, boosting there, etc. This has then little to do with the original tone of the guitar as it sounded coming out of the amp.
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Excellent point!
 
fremen said:
This. And this is why chasing exact tones from recordings is not a good idea, imho. What works within a specific mix is made to work FOR this mix. If you play in a cover band and want to have the exact guitar sound for each song you cover (from different bands), you'll be the FOH engineer worst nightmare.
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Also the exact reason why I tend not to jive with preset packs.

I'll run and hide now. :D

(Expressed in good fun.)
 
DougB415 said:
I still find it fascinating that some folks completely fill their User 1 bank and would be using User 2.
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At eg. 1 minute average per IR audition time, one bank would be 17 or so hours of work, but then I would guess one would need to compare more than a few to find out what IRs go into ones actual/active presets. 1 minute may appear to be high, but including back and forth comparisons, maybe not. 🤷‍♂️

Another vote for User bank 2 released to FullRes here.
 
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Patzag said:
Don't forget that the isolated guitar tracks are often/usually/mostly post-mix. Meaning what is isolated is the sound after the engineer has worked his craft, chopping here, boosting there, etc. This has then little to do with the original tone of the guitar as it sounded coming out of the amp.
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Another thing to consider is that a studio engineer is going to be a lot more heavy-handed with the EQ and compression than a live sound engineer.
 
vangrieg said:
Well, it's not that difficult - you just copy stuff there.

Using everything that you copied - that's the tricky part.
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Weeding out those you aren't using and defragging the remaining space while updating all the presets using the defrag-affected IRs is my pain point. It's a job which should replace a human with a small shell script....
 
@Admin M@ , @FractalAudio
FractalAudio said:
Yes. The two IR Player blocks have been combined into a single, stereo IR Player block with individual level and pan and a mix control.
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I don't think this has been answered yet. Would this break my presets with two separate IRP blocks, especially two separate IRPs in series (e.g. cab IR -> TM IR)?
 
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jasonmauer said:
What happens when you have a preset that references user cab 12, and you later replace user cab 1 with a Fullres IR (overwriting the space in IR slots 1 thru 32)? Just think of how this approach complicates things, and the additional work it would take to address those complexities.
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Before applying the upgrade:
1) Use FracTool to list all the links between User CABs and User Presets in a Excel file
2) Highlight the CABS at User Bank 2 that are linked to a preset
3) Move them to Bank 1 and re-link the preset

Coming soon:
Use the Axe-Edit "Save Preset + CAB bundle" feature to save you presets together with the CABs
 
vangrieg said:
While this argument is totally valid and understandable, you ARE connected and working with a computer when recording, right? And if you are, there's not much difference in workflow whether your IRs are stored on the computer or on the device itself. And if you're not recording, why would you change those IRs at all?
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You completely miss the point that you may be at a gig and need to build 80 presets between soundcheck and your first set. :cool:
 
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