Axe-Fx II Firmware 17.00 Released

I did the same all through the beta cycle - having access (or owning) all the UAD and owning all the Slate plug-ins. They are a necessary tool for my recording and mixing.

I found the Fractal lends itself perfectly with a lot less mess and fuss to doing much (if not all) the same those plug-in's do and though different, I think the end result is that you have it in the box ready to roll now. I still love my Slate plug-ins and the UAD (my friend has everything UAD has out currently, I'm still an old school first-gen UAD-1 owner (have 3 cards running in my DAW). The Fractal are not 1:1 with any of the plug-in's; but the goal for me isn't anything other than to give musical 'traction' and inspire better end tones. I am very - VERY - happy with what V.17 does.

Don't use "O" as you do in the DAW, I found settings I liked best. See my thread on the starting points for V.17 for my thoughts and settings for more on that if you are interested.

Completely agree Scott.

I was just responding to a post wondering about how the new CAB block preamp in the Fractal compared to the SSD VCC plug.

I had already done an A/B and did not post at that time because to me they are two different things; the plugins vs. the preamp sim in the CAB block.

The new preamp sim in the Fractal gives a perfect amount of "splat" or "smear" to mid gain presets. Loving it. It's that extra bit of "rip" you hear on a typical Marshall guitar track on a record.

The whole "0" thing wasn't a knock. I was dayum glad there is even a meter. Cool feature. It was just my observation it didn't work like a typical plug for those on the forum that wanted a comparison.
 
Completely agree Scott.

I was just responding to a post wondering about how the new CAB block preamp in the Fractal compared to the SSD VCC plug.

I had already done an A/B and did not post at that time because to me they are two different things; the plugins vs. the preamp sim in the CAB block.

The new preamp sim in the Fractal gives a perfect amount of "splat" or "smear" to mid gain presets. Loving it. It's that extra bit of "rip" you hear on a typical Marshall guitar track on a record.

The whole "0" thing wasn't a knock. I was dayum glad there is even a meter. Cool feature. It was just my observation it didn't work like a typical plug for those on the forum that wanted a comparison.

We were on the same path. During beta someone asked the same thing (in a slightly different way) and I was just reinforcing that. Typical tape saturation DAW plugs (UAD Struder, etc) all tend to act like old school meters where you want it to start hitting around 0db and peak out somewhere under +6db (centered around +3db) and the meter on the Fractal does not correlate to that - just as you indicate and I was trying to underline (and Cliff noted too on this thread). I wasn't challenging you or undercutting you; I was supporting what you said. :encouragement:
 
I think people may have taken my comments the wrong way.

My point wasn't that FW17 is awful, or anything like that. In fact it's great. There's lots of great stuff in there that I will play with, and hopefully make a part of new songs in the future.

My point IS that I think I may have actually come to that supposedly "happy" point where, when you turn on your gear, you feel no need to change a single thing. Everything is just right. Goldielocks is 100% happy with her tone.

However, in some weird way, it's also kinda sad. Here's this great new firmware, with some really neat new stuff to play with, and I can't find a use for any of it. At least now with what I'm currently doing. On some level I really like tweaking, so coming to a point where everything is doing exactly what I want it to do is so strange, especially when you've just been handed new toys. It's even more odd, considering I have never reach this same point with any other piece of gear I've ever used. No tube amp, pedal, rack piece, any other piece of gear has ever been able to satiate me to this point.
 
However, in some weird way, it's also kinda sad. Here's this great new firmware, with some really neat new stuff to play with, and I can't find a use for any of it. At least now with what I'm currently doing. On some level I really like tweaking, so coming to a point where everything is doing exactly what I want it to do is so strange, especially when you've just been handed new toys. It's even more odd, considering I have never reach this same point with any other piece of gear I've ever used. No tube amp, pedal, rack piece, any other piece of gear has ever been able to satiate me to this point.

It's not sad. It's just an embarrassment of riches. Since day one, there's always been a boatload of features of the Axe that I didn't use. But, it's kinda like money - better to have it and not need it than need it and not have it.
 
I personally think that this FW works wonderfully in conjunction with Slate's VCC when it comes to recording. The fact that I can record with a pream emulation has very little bearing on what I'm going to be doing in the mix other than having a nicer signal to start with. I wouldn't say that the strip emulation compares to Slate's VCC or VTM because it's apples to oranges. That said, I think the preamp emulations sound AWESOME and definitely add a really pleasant saturation to the DI sound with IRs.
 
0 on the VU meter indicates onset of clipping. It's not the same as your plug-ins in that regard. The problem with plug-ins is that you don't know where the onset of clipping is since the headroom isn't specified. Our way is superior since 0 dB indicates the point where things are clipping. The other way you have no idea where things start clipping. So 0 dB on the Axe-Fx is NOT equivalent to 0 dB on a typical plug-in. I figured that should be obvious but I was mistaken.

Thanks for the tip, Cliff. No, not obvious to me, but that speaks as much to my ignorance as anything else. Now I know something I didn't previously, and have better tools at my disposal. I will back some of my presets off a couple dB to make sure they don't go past 0dB.
 
I will back some of my presets off a couple dB to make sure they don't go past 0dB.
Except that, in this case, a little taste of that clipping is exactly what most users are going for. :)

This is the friendly analog clipping that you get when hitting an analog preamp hard, not the digital clipping that causes that nasty little red light to come on.
 
I just ran my first practice with fw 17 at practice last night... heard some hubub about FAS Modern III and decided to give it whirl. It was very meaty and dark. I initially liked it but decided to try the trusty FAS Modern I which sounded 'thin' in comparison (without changing any settings after initializing the amp block). So I then proceeded to use FAS Modern II (which I had previously tried several firmware revisions before and didn't initially like it). But man... so far it is my little red riding hood of the FAS Modern series... it's just right!

Great job as always Cliff and Co.!

P.S. The VU meter was a nice way to get it in the ball park... it would be nice to have in the amp block section as opposed to the utility section or maybe I just missed it if it was somewhere else. Still have to eventually use your ears (as always!).
 
My point IS that I think I may have actually come to that supposedly "happy" point where, when you turn on your gear, you feel no need to change a single thing. Everything is just right. Goldielocks is 100% happy with her tone.

You mean the unaccounted for DC sag due to unmodeled quiescent bias currents wasn't simply driving you batsh*t insane? Then count yourself among the lucky!! :D
 
Thanks Fractal. Here's release notes

*******************************************************************************
17.00
Added preamp simulation to Cabinet block. The simulations recreate the sound of overdriven channel strips, preamps, tapes, etc. The Drive parameter controls the gain of the simulation. The Sat parameter controls the ratio of even/odd harmonics. The Preamp Mode parameter (on Page 2) allows selecting between Economy and High Quality modes. In High Quality mode oversampling is employed to prevent aliasing but this results in higher CPU usage.
Added “3 Band Console” types to Graphic EQ and Amp blocks.
Added “Fast RMS” detector type to Multiband Compressor.
Added “SDD Preamp”, “FET Preamp” and “Ruckus” types to Drive block.
Changed Cabinet Type parameter behavior so that the value wraps around at limits.
The Flanger block has been completely rewritten. The new algorithms now model the behavior of classic bucket-brigade device (BBD) units (except they are true stereo). Any existing presets will need to be auditioned and possibly edited. The Depth parameter works somewhat differently now and sets the maximum delay time (up to 20 ms). When Auto Depth is not off the maximum delay is reduced as the rate is increased. There are now three Auto Depth values: Low, Medium and High. Turning Auto Depth to Off allows complete control over the delay time. The minimum time is set by the Delay parameter and the maximum time is set by the Depth. Several new Flanger types have been added which demonstrate the new algorithms.
The Chorus block has a new algorithm based on the BBD algorithm developed for the Flanger block. All the “Analog” chorus types now use this algorithm. Several new types have been added which demonstrate the new algorithms.
The EQ page of the Amp block now supports changing the EQ Type using the Up/Down Nav buttons. The type of EQ will be briefly displayed after it has been changed. The type is also briefly displayed when first switching to that page.
Added “DYN EQ” GUI page to Amp block. This page now holds the Dynamic Depth, Dynamic Presence, Character Amount (Char Amt, previously named “Character”)
and Character Freq parameters as well as two new parameters: Character Type and Character Q. Character Type selects between a shelving behavior or a peaking behavior. The previous behavior was always shelving. Character Q controls the bandwidth of the response when the peaking behavior is chosen. The Character parameters now control a powerful dynamic equalizer that can be used to achieve tones and feel impossible with a real amplifier. Negative values of the Character Amount along with a peaking behavior result in midrange scoop where the scoop increases as you play harder. Positive values result in a midrange boost as you play harder. Experiment with the frequency, Q and amount to achieve interesting dynamic response.
Added VU meters to Utility menu. The meters show the relative loudness of the channels. These readouts can be used to help set preset levels to the same apparent volume. For convenience the level of the Amp blocks can be set from this page. Also, the value of the Output Level knobs is displayed in this page for reference (note that this is only for reference and does not affect the VU meters as the measurement is prior to the Output Level potentiometers).
Added “1959SLP Jump” amp model.
Added “FAS Modern III” amp model. Similar to a Recto but with tighter bass and a cathode-biased power amp.
Added shortcut to Ref Solo in first page of Tone Match block. Pressing the Down button will toggle the Ref Solo value allowing one to switch between the reference sound and the local (user) sound with the press of a button.
The level of the USB input signal when NOT routed to the input (when Main Input Source is NOT set to USB) has been reduced by 6 dB to prevent clipping when playing along with tracks that have been mastered at very high levels (near 0 dBFS).
Improved Amp block power supply modeling by accounting for DC sag due to quiescent bias currents.
Changed name of “ODS-100 Lead” and “ODS-100 Lead Mid” to “ODS-100 HRM” and “ODS-100 HRM Mid” respectively to indicate that they are based on the “HRM” version of the ODS circuit. The names of the “ODS-100 Lead 2” and “ODS-100 Lead 3” models have been changed to “ODS-100 Ford 1” and “ODS-100 Ford 2” respectively to indicate that they are based on the “non-HRM” version of the ODS circuit.
Fixed minor math error in Amp block transformer matching calculations.
Fixed wrong CF Comp value in Solo 100 amp models.
All the ODS-100 models have been redone and re-MIMIC’d based on errors found in the models (wrong negative feedback values).
Added “ODS-100 Ford MD” model which is the same as ODS-100 Ford 1 but with the Mid switch engaged.
Added “Rumble HRM” tone stack type which is based on a plate-driven Plexi-style tone stack found in a Dumble “Hot Rubber Monkey” amplifier.
An exact solution has been implemented for the power amp feedback network in the “USA” amp models. As such all these amp models have been redone accordingly with the exception of the “USA Pre” amp models which use a more conventional power amp model. Any presets using these amp models should be reset either by deselecting then reselecting the amp model or by using the “Update Amps Default” in the Utility->Preset menu. Note: due to the unique topology of the feedback network in these amps the Depth control is non-functional.
A “Presence Shift” switch has been added to certain “USA” amp models (those based on amps with a “Pull Shift” on the Presence knob). This switch is found under the Presence control and replicates the behavior when the Presence knob is pulled out on these amps. Note that the behavior of this switch is authentic and may result in volume reduction when active since the negative feedback is increased which lowers the loop gain.
Replaced the two 4x12 “Kalthallen” cabs with two UltraRes samples from Cab Pack 7.
Fixed several wrong values in Fox ODS amp models.
Fixed wrong value on input plate network in PVH 6160 II model.

Did not fix my playing ability. :(

Awesome update. Thanks guys!


Sent from my iPhone using Tapatalk
 
My point IS that I think I may have actually come to that supposedly "happy" point where, when you turn on your gear, you feel no need to change a single thing. Everything is just right. Goldielocks is 100% happy with her tone.

However, in some weird way, it's also kinda sad. Here's this great new firmware, with some really neat new stuff to play with, and I can't find a use for any of it. At least now with what I'm currently doing. On some level I really like tweaking, so coming to a point where everything is doing exactly what I want it to do is so strange, especially when you've just been handed new toys. It's even more odd, considering I have never reach this same point with any other piece of gear I've ever used. No tube amp, pedal, rack piece, any other piece of gear has ever been able to satiate me to this point.

I get the sad. Many of us had the 'I need the NEXT tube amp that comes out...awesome!' Then move on a few mere months later for the next 'awesome'.

Don't despair young Skywalker. I'm completely happy with the tone's I've always been in search for...then I pull up an amp I've never played with, love ensues, and my world is stretched again. Even if you ignore all the new 'toys' that are there, don't forget you have so many new amps (don't forget FX) that are new horizons.

-R
 
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You mean the unaccounted for DC sag due to unmodeled quiescent bias currents wasn't simply driving you batsh*t insane? Then count yourself among the lucky!! :D

Actually the last few updates seem to be filling in the small yet critical gaps that I've always thought were the difference between the AFX and the real deal.

Things are sounding awesome.

But you (jokingly) make a good point...

Can someone explain in layman's terms what the quiescent bias current is, and more importantly how it affects the sound/feel if the models?

I always thought a quiescent current was what a circuit draws when it's idle.

Is it that the circuit's starting point has a DC offset which manifests in a change in headroom?
 
However, in some weird way, it's also kinda sad. Here's this great new firmware, with some really neat new stuff to play with, and I can't find a use for any of it…..It's even more odd, considering I have never reach this same point with any other piece of gear I've ever used. No tube amp, pedal, rack piece, any other piece of gear has ever been able to satiate me to this point.
I get the sad. Many of us had the 'I need the NEXT tube amp that comes out...awesome!' Then move on a few mere months later for the next 'awesome'….
Cliff Chase…the man who killed G.A.S.
 
Actually the last few updates seem to be filling in the small yet critical gaps that I've always thought were the difference between the AFX and the real deal.

Me too.

I hate to say "amp in the room" and I don't want to say there is no room for improvement, but 17 is pretty spot on to my ears. Especially the clean amps. For me the clean sounds were the furthest from the real amp in the room.
 
I haven't really heard or felt much improvement over the last several updates, but that's actually a compliment. It's SO good right now that I don't even care. The gear-head in me wants to want a real amp, but I'm disappointed in any of them that I try when I compare what I have in the Axe's models. There literally isn't an amp out there that would do what I want or need. This was cemented for me when my worship leader stopped playing and turned to me and said, "THAT is the Strat tone I've been hearing in my head!". This from a guy playing a Matchless C30 / 65 Amps dual amp setup and pedals.

I'm glad we get these regular updates, but if they had stopped two major revisions ago, I don't think I would have noticed or cared. Thanks, Cliff and team!
 
I haven't really heard or felt much improvement over the last several updates, but that's actually a compliment. It's SO good right now that I don't even care. The gear-head in me wants to want a real amp, but I'm disappointed in any of them that I try when I compare what I have in the Axe's models. There literally isn't an amp out there that would do what I want or need. This was cemented for me when my worship leader stopped playing and turned to me and said, "THAT is the Strat tone I've been hearing in my head!". This from a guy playing a Matchless C30 / 65 Amps dual amp setup and pedals.

I'm glad we get these regular updates, but if they had stopped two major revisions ago, I don't think I would have noticed or cared. Thanks, Cliff and team!

Yes it is splitting hairs at this point for me.

I'm still confounded by programming some of the efx but that is on me and not the fault of the Fractal. The sounds are in there.
 
Yes it is splitting hairs at this point for me.

I'm still confounded by programming some of the efx but that is on me and not the fault of the Fractal. The sounds are in there.

I love the fact that hairs will continue to be split until the algorithms are a precise model of the real world.

THAT is what I love about Cliff's approach to this.

There is never a 'that's not perfect but it's good enough' mentality behind what he and FAS do.

Alongside the laborious task of modelling 70 years worth of guitar amps, pioneering digital modelling technology and running a business, he somehow finds time to work on other aspects of the firmware besides the amplifier modelling.

Amazing.

The new chorus/flange, delays and reverbs are STUNNING. Traditionally, some of us would have justified the cost of a box like the AFX for these alone. Again, amazing.

Anyway, back to my question about quiescent bias currents... Anyone know how they impact on how the amp models react?
 
...back to my question about quiescent bias currents... Anyone know how they impact on how the amp models react?
Quiescent bias current is the current drawn from the power supply by biasing the tubes into an active state when there is no signal. This causes the power supply to sag. I would expect the largest quiescent sag to occur in class A amps, which are biased so that the the quiescent current nearly equals the average current, which means there is significant sag even with no signal. Which would mean that the effects of power supply sag would exist even at low signal levels.
 
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