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Axe-Fx II "Quantum" Rev 7.00 Firmware Release

Jackp

Inspired
I played for 3 hrs running through presets
I didn't experience anything, but I wasn't building any presets
 

Ed DeGenaro

Experienced
Yeah, we discovered some fascinating things recently. I was reading a paper about measuring the distortion characteristics of microwave amplifiers and that led us to a new class of analytic signal that reveals a lot about the distortion characteristics of tube amps. The reason the release took so long is we had to remeasure nearly every amp and collect and enter this new data.

I'm so happy with the new modeling that I've removed the old algorithms to make space for new stuff. I had just finished a new optical compressor algorithm but it wouldn't fit into memory. Now it can. Sounds like an LA-2A (but maybe better).
Curious why a LA2A? I mean I et since L6 has one it makes sense. But it really isn't something I'd look at for guitars as my first choice.
I mean 1176, 33609,160, LA3a in that order before if take the LA2A for guitar.
I'm gonna assume that you will give it the option for a faster attack than it has. Then it might be interesting actually.
 
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FractalAudio

Administrator
Fractal Audio Systems
Moderator
Just thinking aloud:
Textbook "analytic" in RF/DSP means simply that I zap the negative frequency component (Hilbert) and I get a continuous envelope at the signal, e.g. also at zero crossings of the original signal.

For us microwave oven guys this has a deep physical meaning because the nonlinearity of a RF amplifier mainly depends on this "modulation envelope" of the signal.

But this only works when the carrier frequency is much higher than the modulation bandwidth.

For audio frequency nonlinearity, "analytical" is a purely mathematical construct because this latter assumption doesn't hold: With a Hilbert transform I essentially calculate what a 2nd orthogonal pickup on the strings would see (e.g. peaks during a zero crossing of the original signal). But a real amp cannot access this information (causality / impulse response length for the HT), so the methods for RF signals will be limited at audio where the fractional bandwidth is much higher.
This only as some random thoughts on the topic, maybe you find something useful in there, maybe not :)
It might work pretty well to estimate how group delay varies, and build on that.
I didn't mean analytic in the Hermitian sense. I meant in the sense that these signals allow us to analyze the distortion characteristics of the amp and extract information about the shape of the distortion and its symmetry. Maybe a bad choice or words.
 

FractalAudio

Administrator
Fractal Audio Systems
Moderator
Curious why a LA2A? I mean I et since L6 has one it makes sense. But it really isn't something I'd look at for guitars as my first choice.
I mean 1176, 33609,160, LA3a in that order before if take the LA2A for guitar.
I'm gonna assume that you will give it the option for a faster attack than it has. Then it might be interesting actually.
It's not an "LA-2A" but it can sound like one. It's a generic optical compressor that can be adjusted to sound like a variety of compressors. It has adjustable attack, release and compression.
 

dupere11497

Experienced
Cliff, on your clip, where did you put the compressor on the signal chain? Before or after the amp? This always confuse me. Great playing by the way! You didn't loose your chops despite all this time and work you've dedicated to improve your baby! Keep them comming!!
 

lqdsnddist

Axe-Master
Is that clip Cliff actually playing over a Floyd backing track or is it David Gilmour playing the studio recording, and Cliff shared it just because the uses of the compressor figured into the tone...

I assumed the later, but having seen several people asking for the patch, consider me gobsmacked if that is Cliff. Amazing tone, dynamics and phrasing on equal the Gilmour himself
 

FractalAudio

Administrator
Fractal Audio Systems
Moderator
Cliff, on your clip, where did you put the compressor on the signal chain? Before or after the amp? This always confuse me. Great playing by the way! You didn't loose your chops despite all this time and work you've dedicated to improve your baby! Keep them comming!!
Before the amp. Tried it both ways. That solo has this really unique attack when you dig in that sounds like an optical compressor to me so that's why I chose it as an example.

I used the Super 6G4 amp and the new Super Verb mix IR from Ownhammer and then slathered it in reverb. I didn't really put much effort into the amp block. Just tried a few Fender models until I got something that had the breakup I was looking for.
 

FractalAudio

Administrator
Fractal Audio Systems
Moderator
Is that clip Cliff actually playing over a Floyd backing track or is it David Gilmour playing the studio recording, and Cliff shared it just because the uses of the compressor figured into the tone...

I assumed the later, but having seen several people asking for the patch, consider me gobsmacked if that is Cliff. Amazing tone, dynamics and phrasing on equal the Gilmour himself
Flattering but I flubbed the attack on the two high F's. You need to really dig in on them but I just kind of plinked them.
 

Hyper Planet

Power User
Yeah, we discovered some fascinating things recently. I was reading a paper about measuring the distortion characteristics of microwave amplifiers and that led us to a new class of analytic signal that reveals a lot about the distortion characteristics of tube amps. The reason the release took so long is we had to remeasure nearly every amp and collect and enter this new data.

I'm so happy with the new modeling that I've removed the old algorithms to make space for new stuff. I had just finished a new optical compressor algorithm but it wouldn't fit into memory. Now it can. Sounds like an LA-2A (but maybe better).
As a Mark II user from 2012 I have to say this the best FW, most realistic tone I'v ever had through the years of having Axe-Fx II, super happy with Mark series, Rectos, Friedman, 5150, amps :blush:, and yes we'll have an optical tube compressor and it's far beyond of my expectations.

GOD bless you Cliff
 

lqdsnddist

Axe-Master
Flattering but I flubbed the attack on the two high F's. You need to really dig in on them but I just kind of plinked them.
Hats off to you sir, sensational chops, missed note or two not withstanding! The overall fluidity and phrasing was spot on. Tons of people can play a solo with all the correct notes, but they fail to get the overall feel right. Gilmour solo's are typically pretty simple runs, but the phrasing with which he plays the notes just always makes him stand out from other guitarist, along with his spot on bends and a great tone certainly doesn't hurt either.

Cliff Chase: amazing guitar player, engineering genius the likes of which the world has never seen, owner of one of the best companies in America...... Good thing the guy also doesn't have Tom Brady's looks or else I'd have to be start being a little jealous LOL
 

dgzieg

Inspired
Flattering but I flubbed the attack on the two high F's. You need to really dig in on them but I just kind of plinked them.

Well, obviously you need to practice more ! NO, WAIT! I meant it was perfect, couldn't be better!
Thanks again to you and the crew for adding more bang to the buck on the best money I ever spent.
 

edo

Power User
Before the amp. Tried it both ways. That solo has this really unique attack when you dig in that sounds like an optical compressor to me so that's why I chose it as an example.

I used the Super 6G4 amp and the new Super Verb mix IR from Ownhammer and then slathered it in reverb. I didn't really put much effort into the amp block. Just tried a few Fender models until I got something that had the breakup I was looking for.
If I remember correctly, i read somewhere that tone in the album was a p90 equipped les Paul plugged straight into the desk using the mixer's pre and comp, and then the track was played back from the tape recorder into a mic'd guitar amp and rerecorded. Cool stuff...
 
Yeah! Can't wait to hear the new compressor!
I've gotten used to using software versions of classic compressors when I mix with Waves (and other) plugins. It's exciting to hear that the compressors in the Axe are evolving.

Thank you FAS for the tireless, relentless research! We love you for it!
 

USMC_Trev

Fractal Fanatic
yes, the amp sound was mixed with the di sound...(he doesn't say what the amp was, though)

According to Gilmourish.com for The Wall sessions which I have no reason to doubt as of yet:
Hiwatt DR103 All Purpose 100W heads
- with Mullard 4xEL34’s power tubes and 4xECC83’s pre-amp tubes.
Yamaha RA-200 revolving speaker cabinet
Alembic F-2B tube preamp
- Yamaha preamp.
WEM Super Starfinder 200 cabinets
- with 4×12” Fane Crescendo speakers.
 

guitarzen

Inspired
Just downloaded Quantum 7 and tried the Plexi 6550 amp with the ML Brit PR55 (pre rola 55 Hz) cab from cab pack 20. Unbelievably good, pure sonic heaven to me. Used the default settings, just adjusted the usual BMTPD, added some Depth like 5 or so and input trim for a little more gain and some neg feedback like 3 or so. No advanced tweaks necessary at all for the 1st time ever. Fantastic!
 

ODboy

Inspired
Before the amp. Tried it both ways. That solo has this really unique attack when you dig in that sounds like an optical compressor to me so that's why I chose it as an example.

I used the Super 6G4 amp and the new Super Verb mix IR from Ownhammer and then slathered it in reverb. I didn't really put much effort into the amp block. Just tried a few Fender models until I got something that had the breakup I was looking for.
Very cool.
I had great time with FW6.0.3 and this solo.
Here's a link to a thread where I uploaded the solo and my preset.
Hope it can be usable:
https://forum.fractalaudio.com/threads/another-brick-in-the-wall.124092/
 
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