Axe-Fx III 16.00 Beta 11 "Cygnus" Firmware - Public Beta #8

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. :D
 
ElectricPhase said:
My wife's acoustic combo had a lot of fun with the Men at Work chestnut Land Down Under, so when one of our principal musicians moved to another state, we gave him some Vegemite as a gag going away present.

We had a good laugh, and all was fine until a couple of months later when he reported that he had tried it.

He did not thank us. 🤣
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I love vegemite. And there’s a bit of an art to how to make a simple sandwich.
 
Ben.Last said:
Yep. I've narrowed my use down to 5 or so different types: Dunlop T3 in .73 and .88, Dunlop tortex in .88, Dunlop carbon fiber jazz 3, and Pickboy carbon in .88. Even just between thr T3 (which is tortex, but with a jazz 3 point) and tortex at the same gauge I can hear a difference when I'm just sitting and noodling. In a band setting... Not so much.

With this stuff it's all just a matter of "what percentage of the overall tone is it responsible for?" And we might be able to notice the 2% thing in some contexts, but probably not others.
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I completely agree. I played Dunlop .88s for years, but still have 400+ of some custom picks my wife got bought for me back in the '80's, that are a thinner plastic type. Sound totally different. Now I'm playing a Tortoiseshell-like pick my daughter found in Japan last year, that seems to have a faster snap-back (when bent back while attacking a string) and great articulation.

Early on, I thought getting specific gear (guitar, amp, ...) would make me sound just like whatever other guitarist you might insert, but the human part of the equation (hands, fingers, hearing, internal rhythm, touch, ...) is hugely responsible. My band in the '80's had two guitarists, myself and the talented Mike Fleming. We both played Mesa Mk IICs as well as Dean guitars. There were enough sonic differences so we didn't just become a muddy mess: I had a Dean Baby V, he had a Dean Strat style w HB pups; My Boogie was a IIC-, his came later and was a IIC+; My Boogie has an EVL speaker, he got his w their Black Shadow. He would ask to play my V occasionally, so I'd grab his guitar, and we'd just leave the guitars plugged into their respective Boogies. He immediately sounded like himself on my Basswood-bodied guitar, and I, like myself on his. That was a total eye-opener for me. Now, I want to play a guitar or amp first, to see if it gets along with ME, before deciding to buy. Although, there was this one little black box thingy that I've always bought without demoing... what was the name of that thing, ... oh yeah, The AxeFX (Ultra, II, IIXL+, III, III MK II). I totally love how Cliff and team have created and continue to evolve the Best Damn Modeler on the planet!

Cheers,
Lee
 
Piing said:
Exactly. I think that we are all at the same page. The issue is with the categorical sentence "The tone is at your fingers", because that is incorrect. Fingers just contribute to a percentage of the tone.
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I’ve given some serious thought to exactly how this works. Tone is created through a chain. Each component takes what the previous one gave it, modifies it, and passes it on to the next component. However, at the beginning of the chain, the thing that creates the original material that all the other components modify... is you.
 
Whenever I play someone else’s presets on my AX3, I hear way more low end that I do in the preset creator’s demo video. This happens time and time again, and I’m using the same studio monitors for my AX3 and for these videos. It has to be how I pick, resulting in a lot of low end.
 
The most important factor is the player's mental state, then fingers, from fretting pressure to finger sweat and dorito powder, calluses, where you actually fret on the fingerboard and then how you pick or pluck, or hand position for palm mutes being the other end of the equation.
It's way more pronounced with the player having a greater affect on tone with amps like superleads and jcm800s with big bright caps, or deluxe and twin, than like a dual recto.
Next comes the speaker and room and where the guitar is in relation to the amp and how loud or if anyone is recording or watching, since that throws everything out the window, especially if it's a girl you want to impress.
 
i've been hooked in the red Dava picks. Tried so many various picks along the way, but these seem to have a nice point and bounce off the strings. The grip and size just feel right for my fingers. Kind of ugly, but tried them on a whim and love them.

Looking forward to the next firmware. It's fun trying out new updates, though I've always been curious if particular params/algorithms get rolled back to previous configurations or not. The technical design of the software is super interesting.
 
I have always thought the feel of different players has a lot to do with their sense of time. I think that’s one of the magic qualities of Eddie Van Halen and why a lot of people struggle to play his stuff convincingly because his odd sense of time was like magic pixie dust. Very small variations, and you may not even hear it, but you can certainly feel it... It’s not perfect time mind you, it’s wrong in all the right ways.
I have heard a lot of players playing all the right notes, but I really wouldn’t want to listen to it.

I think that’s why so many of us like Leon Todd. There may be better “technical players”, but his sense of time, and his physicality, makes him WAY more interesting to listen to.

...what do you even call that?... Talent??
 
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