Sigh - Still On The Fence

You can make it as Complicated or as Simple as you want to make it... You can get Killer tone by selecting a Factory Preset close to the amp you like, and select different IR's until you find a great combination for YOU... you can honestly get 90+% of your tone that easily... just monitor through the best, most flat Studio Monitors you can afford... Used Mackie HR824's are great, or Genelec...
You don't need to mess with everything deep in the models to get great tone... ( but you *can * )...
 
Chewie5150 said:
I like youtube channels like Pete Thorn and Tim Pierce. They have the experience and are very rounded out and fairly objective/fair in their appraisal of things. They don't trash talk gear really, if there is something negative they just don't touch on it really and focus on positive features/aspects.
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Personally Id rather get the pros with the cons instead of just the pros. If i want sugarcoating I’ll ask someone at work for an eta on something haha.
 
Rolf1 said:
I appreciate the positive reinforcement.
I didn't know Rhett's video had been so widely circulated. I do watch his videos and reviews as I think of him on the same level as Pete Thorn and Rick Beato in terms of credibility.

Thanks again.
I think I'm going to take the plunge.
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You're in for a treat. The FX3 has depth if you want to dive deep, but the amp models can be operated via the "tone" tab that is limited to just what controls that you would find on the front panel of the amp, without a feeling that you're missing out....
 
unix-guy said:
Based on what @FractalAudio has posted previously, it is true... Possible something has changed but if so I missed it.
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Yup. Pretty sure even Rhett mentioned in a video that it was a "loaner" he had for a couple of years--and that
he didn't do a video until the one the OP posted because he was "intimidated" by it's depth.

Even until recently you could still see it mounted on his studio desk. Recent videos and it is gone. Not sure where.
Probably in a closet. :)
 
OP here:

As I wait for my FX to be shipped, there is one question (for the moment) I do have for modeler's in general regarding "headroom".
I know I mentioned that my intention for the FX is to be used strictly in the studio, but IF I did play out with it, can it be heard and felt the same as a good-ol' analog hand wired tube amp? Or will I be steamrollered by the Ampeg driven bass guy?
 
Rolf1 said:
OP here:

As I wait for my FX to be shipped, there is one question (for the moment) I do have for modeler's in general regarding "headroom".
I know I mentioned that my intention for the FX is to be used strictly in the studio, but IF I did play out with it, can it be heard and felt the same as a good-ol' analog hand wired tube amp? Or will I be steamrollered by the Ampeg driven bass guy?
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The way I recommend learning it is getting Austin Buddy's Live Gold and use the matching firmware version to dial in live tones. They are an immense help in quickly gaining an understanding of how things work.
 
Rolf1 said:
Just so y'all know, this is what pushed me off the fence.

I'm a Jazz guy and Larry Carlton is one of my favorites. To me, this sounds very close to it.

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Thank you!!! I have been able to recreate all the Larry Carlton, Robben Ford, etc tones.... My studio monitors are Adam A7X's, and I really like them. If you're gonna use it live, eventually it'll be a good idea for you to get a good FRFR wedge. I find that 90% of my gigs are in-ear monitors, but for that other 10% where you can't trust the sound guy, or the band has high stage volume, you might want something to push some air.
 
camilovelandiamusic said:
Thank you!!! I have been able to recreate all the Larry Carlton, Robben Ford, etc tones.... My studio monitors are Adam A7X's, and I really like them. If you're gonna use it live, eventually it'll be a good idea for you to get a good FRFR wedge. I find that 90% of my gigs are in-ear monitors, but for that other 10% where you can't trust the sound guy, or the band has high stage volume, you might want something to push some air.
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Hey, thank you for chiming in!
In a live situation, I'm assuming you have no problem being heard through/above the mix?

And speaking of emulating other artists, have you tried to get a Metheny sound?

Looks like the A7X was replaced with the A7V. Thanks for the monitor suggestion.
 
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Rolf1 said:
OP here:

As I wait for my FX to be shipped, there is one question (for the moment) I do have for modeler's in general regarding "headroom".
I know I mentioned that my intention for the FX is to be used strictly in the studio, but IF I did play out with it, can it be heard and felt the same as a good-ol' analog hand wired tube amp? Or will I be steamrollered by the Ampeg driven bass guy?
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First off, it will depend on what you’re running it through. Volume is a factor that essentially occurs outside of the FM3, as it relies on other gear to make it loud enough to be heard.

The second part, however, does indeed occur inside of the FM3: How it is dialed in with regard to distortion and tone. This is where most people have problems.

A preset dialed in to sound great by itself at bedroom volume will, in most cases, disappear in the mix when played loudly in a band situation. This is true of tube amps as well as modelers.

The secret to a good live sound that will be heard in the mix is less distortion than you would think is required, and more midrange. My live rig, when played through quietly at home, sounded like an old AM radio. But loud with the band it sounded great.
 
Rolf1 said:
Hey, thank you for chiming in!
In a live situation, I'm assuming you have no problem being heard through/above the mix?

And speaking of emulating other artists, have you tried to get a Metheny sound?

Looks like the A7X was replaced with the A7V. Thanks for the monitor suggestion.
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The
Frodebro said:
First off, it will depend on what you’re running it through. Volume is a factor that essentially occurs outside of the FM3, as it relies on other gear to make it loud enough to be heard.

The second part, however, does indeed occur inside of the FM3: How it is dialed in with regard to distortion and tone. This is where most people have problems.

A preset dialed in to sound great by itself at bedroom volume will, in most cases, disappear in the mix when played loudly in a band situation. This is true of tube amps as well as modelers.

The secret to a good live sound that will be heard in the mix is less distortion than you would think is required, and more midrange. My live rig, when played through quietly at home, sounded like an old AM radio. But loud with the band it sounded great.
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The Electro-Voice PXM-12MP is highly regarded, it is a coaxial wedge FRFR (Full Range Flat Response) especially in live situations. A highly respected forum member (@ZenRigs Man - Sukh Ryatt) reviewed the Redsound MF10 Active FRFR and the sound is described as huge for the relatively small sized and easily portable (~26 lb/ 11.8kg) as well as sounding awesome! Especially when Sukh played them loud.

I have a pair of Friedman ASM12's and a pair of V-Botique with F12-X200 and they both sound great to me, but you might want to check out the latter two EV or Redsound because guys on this forum that are more knowledgeable than me use and recommend them. I just found the Friedmans on Reverb used and at a good price and I wanted something better than the headrush I got just to have a FRFR. BTW, the V-Botique is a passive speaker so I picked up a used Matrix GT1000FX single rack space but it comes in a 2 rack space size as well.

I get by without monitors, I use the headrush 112's as a monitors, I only record guitar tracks to songs with the guitar removed or something I am collaborating with others on. The A7V monitor you mentioned get nothing but stellar reviews.
 
Larry Ball said:
The

The Electro-Voice PXM-12MP is highly regarded, it is a coaxial wedge FRFR (Full Range Flat Response) especially in live situations. A highly respected forum member (@ZenRigs Man - Sukh Ryatt) reviewed the Redsound MF10 Active FRFR and the sound is described as huge for the relatively small sized and easily portable (~26 lb/ 11.8kg) as well as sounding awesome! Especially when Sukh played them loud.

I have a pair of Friedman ASM12's and a pair of V-Botique with F12-X200 and they both sound great to me, but you might want to check out the latter two EV or Redsound because guys on this forum that are more knowledgeable than me use and recommend them. I just found the Friedmans on Reverb used and at a good price and I wanted something better than the headrush I got just to have a FRFR. BTW, the V-Botique is a passive speaker so I picked up a used Matrix GT1000FX single rack space but it comes in a 2 rack space size as well.

I get by without monitors, I use the headrush 112's as a monitors, I only record guitar tracks to songs with the guitar removed or something I am collaborating with others on. The A7V monitor you mentioned get nothing but stellar reviews.
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I have to be clear - I got the MF10's at a time I wasn't involved with G66. After 18 months or so with them now - if I had the choice to choose again between keeping my 2 CLRs or switching to the MF10's, I'd go with the MF10's without a second thought. They sound great but, importantly, they 'feel' great. I've gigged them as a pair, and as a single speaker and I couldn't be happier with them.

Having said that.. I also know that a lot of folks get caught up in the whole 'is it really flat response' malarky and stay away from EQ'ing their FRFR to sound good based on the environment they're in. I get asked that (email, YouTube etc) about the MF10 a fair bit, i.e. 'how flat are they'. Honestly, I have no clue and actually don't care!

We have these wonderful output EQ options that you shouldn't be afraid to use to make whatever you're playing through sound great - and I bet a lot of speakers folks are unhappy with would sound a whole lot better if they tried EQ'ing them. I've been doing this since my first 'FRFR' (atomic - way back in 2010) right up to now with the MF10's and I've never had a 'bad' sound.
 
ZenRigs Man said:
I have to be clear - I got the MF10's at a time I wasn't involved with G66. After 18 months or so with them now - if I had the choice to choose again between keeping my 2 CLRs or switching to the MF10's, I'd go with the MF10's without a second thought. They sound great but, importantly, they 'feel' great. I've gigged them as a pair, and as a single speaker and I couldn't be happier with them.

Having said that.. I also know that a lot of folks get caught up in the whole 'is it really flat response' malarky and stay away from EQ'ing their FRFR to sound good based on the environment they're in. I get asked that (email, YouTube etc) about the MF10 a fair bit, i.e. 'how flat are they'. Honestly, I have no clue and actually don't care!

We have these wonderful output EQ options that you shouldn't be afraid to use to make whatever you're playing through sound great - and I bet a lot of speakers folks are unhappy with would sound a whole lot better if they tried EQ'ing them. I've been doing this since my first 'FRFR' (atomic - way back in 2010) right up to now with the MF10's and I've never had a 'bad' sound.
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Thank you for this detailed clarification. I was trying to express the fact that your review is trusted, and this would be a better choice than what I have. I will eventually get them 😀🎸🖖 First I had to blow over $100 on Zenrigs.com for my AxeFx and FC-6 "bling", lol. Anyway, I hope that the main point came through on my post that I was recommending the MF10's based on your review, and the ElectroVoice PXM-12MP based on other guys like @unix-guy and @Greg Ferguson ... all you guys are on a higher level than me, I have so much to learn. I love this forum, and I love the Fractal AxeFX-III. I get goose bumps tones.... I am trying to play everyday and every spare time I have, I enjoy it and it is my therapy 🙂

And I agree with your statement about technical specs on flat response... I would think uses EQ and even I can and I use my ears. I moved my speakers out the corner (very embarrassing that I didn't notice since I was EQing the bass and using low cut!) as was revealed to me in another thread. I really like the MF10's, but I will have to wait due to the price, and sell the Friedmans ASM12's I have, etc., blah blah blah, lol.

Thank you! Rock on!

Edit: and the fact that @Marco Fanton was involved the design should speak volumes about the quality of the MF10's from Redsound, the man is a genius and a great guitarist/musician. So grateful to have all of these great options to achieve amazing tone.
 
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Rolf1 said:
Hey, thank you for chiming in!
In a live situation, I'm assuming you have no problem being heard through/above the mix?

And speaking of emulating other artists, have you tried to get a Metheny sound?

Looks like the A7X was replaced with the A7V. Thanks for the monitor suggestion.
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Yeah Metheny sound is also doable. I think I usually spend most of my tweaking time on matching the right amp and cab. The rest is easy. You have fantastic chorus sounds, and also a synth that can kinda do the Metheny thing... Also the Pitch Block can do the octave thing. I think you'll have a lot of fun, but I definitely recommend you read the manual. I had an Axe FX 2 for 5 years and only used stock presets I tweaked... When I got the Axe FX 3 in 2018, I really took the time to understand the Amp and Cab blocks, and it totally changed my musical life!
 
I lost a lot of respect for Rhett after this video

It was lazy click bait, the III is the most versatile thing on the planet so it's gonna have lots of options.
But you start simple and add the complicated stuff as and when, or if, you need

It's a perfectly easy unit to use

Buy it, you won't be disappointed
 
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