AXE-FX IV - WISH List

AJ Vargas

AJ Vargas

Experienced
Discaimer:
IIRC it was mentioned that the Axe-FX III's development started around 2013-2014 so, it was about 4 to 5 years prior it's release. I don't know if it will be in 3, 5 or 10 years when the ever-hypothetical AXE-FX IV will be announced, but one thing's sure: FAS is always in R&D mode. Anyways, this thread isn't about speculation about WHEN or IF it will be released, so please let's not go there.

Having said that, the purpose of this thread is to list any kind of wish you have for a new unit, meaning, something that (given or our understanding) cant't be done on this current hardware generation. What I love about FAS is that they listen to their customers, so who knows? maybe your wish get's granted.

I'll start:

-Variable sample rate instead of fixed at 48 kHz
-USB C or Thunderbolt interface
-With a reworked audio interface, I ABSOLUTELY WOULD LOVE to create multiple sends from my DAW to the AXE (With current hardware you have 8 I/O via USB 2 protocol) to digitally integrate as much effects as possible into a multitrack mixing process, even the possibility of a MADI/DANTE expansion card seems like a dream.
-A DAW or MIX mode where you can unlock as many instances of an FX Block (except Amp/Cab) as long as there's CPU juice. As well as for integration with the aforementioned management of expanded I/O.
-1 or 2 XLR inputs with integrated Mic Preamps/Phantom power
- NO touchscreen, please
-USB port for uploading/creating backups, presets, setlist, wireless dongle for editing (I know, WIFI/Bluetooth capability could be wished for as well, just not my priority), etc...
- Audio player block so you can run Backing Tracks from a USB drive. You can control it like the Looper block and route it to any Output you'd want.

This one's special, maybe it could be done with the Axe FX III but I don't know, so no harm in putting it in here:

- If Cliff ever gets inclined to do so: FAS's take on Profiling/Capture

Maybe a future Axe-FX could run 4 or more amps at once, but it's been in my mind, why not having a Profile/Capture block with your favorite take and run it in parallel with the amp models? If your favorite amp (coughPEAVEYJSXcough ;)) isn't modeled by then, the option to run the utility to capture it and pair it with the Axe's plethora of amps & effects would be awesome.

Your turn.
 
AJ Vargas said:
-Variable sample rate instead of fixed at 48 kHz
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This would require tearing down his ENTIRE operating system architecture. Everything time-based (so, basically everything) is based on that rate. If FAS was going to do variable rate, it would have happened in the beginning. Now, it's such a core component of how everything runs, there's likely no way to change at the system level now. No one in the world would want to knock over the house of cards built over a decade+ and start from a clean sheet.

Unless he's been working on it the entire time, it's probably not possible at this point.

Integrated mic pre's would be cool especially for micing up acoustic guitars. That was a nice feature if the Eleven Rack (even if it was only just the one). Surpised it hasn't been seen elsewhere lately.

A DAW or MIX mode where you can unlock as many instances of an FX Block (except Amp/Cab) as long as there's CPU juice. As well as for integration with the aforementioned management of expanded I/O.
Click to expand...

Now you're asking FAS to design specifically to design and write code for macOS and PC's which are so wildly variable that you cannot account for every compatibility issue that will inevitable crop up due to the configurations and capabilities of each individual's system, as well as the billions of different ways Microsoft can trash the works with one of their infamous updates, driving their customer service lines red hot and driving htem bananas for a decade. They tested the waters with the Reverb plug-in and it's no surprise to me that they have not gone neat that market since and probably never will.

Designing to open standards like MIDI is likely as far as you'll ever see them go.
 
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New Wish list for the Future " Fractal Axe FX ??? + (Plus) "
Here's some of my ideas on what a future processor needs to be considered future ready!

#1 - * Wireless remote control (for real time editing & control) See item #8
#2 - Thunderbolt 3 + 4 connectivity
#3 - Fiber Optics Audio module to handle true digital signals without the regular hum & rf noise
#4 - 2+ Network connectors for more control options of the processor.
#5 - Use of Cat 6 cabling for the Foot controllers rather than the 3 conductor XLR currently being used.
#6 - * Reverse (Negative) lighting on the floorboard controllers to eliminate the white glare.
#7 - * 2 (or more cores of an expanded processor) dedicated to a permanent Reverb Module
#8 - Create software for an iPad to edit the FX ??? products both hard wired & wirelessly.
#9 - More intuitive way of use with a DAW to capture all the sounds on individual tracks to preserve all the effects.

  • Digitech 2101 employed this method back in 1994. It used a fluorescent display which was the clearest system ever used by a guitar processor floorboard. Sometimes looking back at the past lets us see some of the best innovations of the past that can benefit us today. I still use the Digitech 2101 processor today & on a dark stage it does not light up my eyes with the unnecessary glare that the current LED solutions. To top it off they are hard to read because the fonts are too small.
  • As an example, Windows 10 has now incorporated the *(negative, or reverse coloration) optional white fonts (lettering) on a black background on the entire operating system which makes things much clearer, & the eye strain & fatigue has been greatly reduced if not eliminated.
  • Wireless remote control so a user can mount an iPad on their mic stand & adjust any parameter required. This method would greatly help the user setup the processor as they are using it in a live environment without running back & forth to the racked processor. I use this method with the Roland i7 Integra which comes with a WIFI dongle & I adjust the entire system via an old v2 iPad. With the Fractal the user needs to either get down on all fours on the floor or stand in front of the Rack mounted processor to edit the parameters which really cramps your style. Being able to adjust these settings while playing live gives the user a better way to make changes in a more immediate way. Creating patches at home or at a rehearsal is currently the only way to make changes efficiently. Even though I've prepared patches at home they rarely work during a live gig, so I fiddle & fuddle till I get so pissed that I quit because I'm no longer engaged with the rest of the band & have pissed them off severely.
  • A dedicated reverb module would allow that module to remain on & available to each patch without loading it every time with the entire patch.
I hope I haven't bored everyone to tears with this long list of wannabe features?
Cheers to all
Tele'
* I will post a picture on a future post of the Digitech Control one for a better look at what I've used for nearly 30 years. It works really well on dark stages.
 
USMC_Trev said:
This would require tearing down his ENTIRE operating system architecture. Everything time-based (so, basically everything) is based on that rate. If FAS was going to do variable rate, it would have happened in the beginning. Now, it's such a core component of how everything runs, there's likely no way to change at the system level now. No one in the world would want to knock over the house of cards built over a decade+ and start from a clean sheet.

Unless he's been working on it the entire time, it's probably not possible at this point.

...

Now you're asking FAS to design specifically to design and write code for macOS and PC's which are so wildly variable that you cannot account for every compatibility issue that will inevitable crop up, driving their customer service lines red hot and driving htem bananas for a decade.
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I don't know why anyone (not working for FAS) would take time to explain how FAS can't fulfill a wish item. Why?
Instead, contribute to the flow, add your wishes, and express what would make the platform grow, rather than explain why it can't.

At my place of work, our studio is set to 96K. Like it or not, that's the broadcast standard I am held to by people way above my pay grade. I'd love not to have to convert from Analog back to Digital. It does not stop me from using the Axe. But a 96K Axe FX IV with ability to have multiple audio paths in and out of ProTools would be fabulous.
 
Patzag said:
I don't know why anyone (not working for FAS) would take time to explain how FAS can't fulfill a wish item. Why?
Instead, contribute to the flow, add your wishes, and express what would make the platform grow, rather than explain why it can't.

At my place of work, our studio is set to 96K. Like it or not, that's the broadcast standard I am held to by people way above my pay grade. I'd love not to have to convert from Analog back to Digital. It does not stop me from using the Axe. But a 96K Axe FX IV with ability to have multiple audio paths in and out of ProTools would be fabulous.
Click to expand...
Excuse the eff outta me for expressing the thoughts that occurred to me while reading the OP's post, and thank you so much for moderating from the peanut gallery, as well as your exemplary pro bono work as the OP's attorney.
 
USMC_Trev said:
This would require tearing down his ENTIRE operating system architecture. Everything time-based (so, basically everything) is based on that rate. If FAS was going to do variable rate, it would have happened in the beginning. Now, it's such a core component of how everything runs, there's likely no way to change at the system level now. No one in the world would want to knock over the house of cards built over a decade+ and start from a clean sheet.
Click to expand...
You're confusing processing sample rate with output sample rate. The problem AJ is referring to is one of interconnecting digital gear. In that use case, it's the output sample rate that matters, not the processing sample rate. The output sample rate can be variable, by doing conversion at the output, without making any architectural changes. In fact, that feature is quite common in digital gear.
 
AJ Vargas said:
-A DAW or MIX mode where you can unlock as many instances of an FX Block (except Amp/Cab) as long as there's CPU juice. As well as for integration with the aforementioned management of expanded I/O.
Click to expand...
+1. There are complications regarding remote control of parameters, but it can be done (I've implemented that very thing myself :)). But, you're right, the general principle should be: the number of instances of a type of block should be limited only by available cpu.
 
USMC_Trev said:
Excuse the eff outta me for expressing the thoughts that occurred to me while reading the OP's post, and thank you so much for moderating from the peanut gallery, as well as your exemplary pro bono work as the OP's attorney.
Click to expand...
QED
 
I'll chime in...
I'd like it if the amps & effects worked just as they do IRL, i.e., the controls on the Authentic page were exactly the same as the unit they model, and the effects would have a new page called 'Authentic.' Keep the Ideal page if wanted or needed, but being able to use a model exactly, or as close as possible, as it works on the physical unit I believe would be helpful.
 
Expandable memory that's user installable.
4 amp blocks.
Selection in the Power Amp tab to switch from various power tubes to Mosfet operation
Drag and drop implementation of stereo IR files into the cab block with Axe Edit
RTA mode in Axe Edit
 
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