Axe-Fx III Firmware 22.00 Public Beta #3 (Beta 9)

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I'm finding I love all four mics in the Dyna-Cabs depending on the situation. There's not a stinker in there. I actually worked with the SM57 a bunch last night for different edge of breakup tones, and they were all just perfect, just totally perfect. The ribbon and the condenser are fantastic for me with anything with some gain, to be able to control the thump and the grain of the gain, but the be all end all to me is certainly the SM7; it's just the most powerful mic to my ears to use in almost any cab micing situation.

The quality of these IR captures is incredible, and the seamlessness of the way the sound changes as you move position is perfect. I can't overstate how utterly life changing it is to have the ability to place a mic freely. This is the one area where I used to go to Amplitube, TH-U, or Two Notes Wall of Sound to get the right placement for me, capture it as an IR, then import it to the Axe-FX III; then, if I feel the placement of the mic wasn't just right, well, I'd go through the process again. Now it's as I'd wished it to be: if you alter your settings in the amp and drive and still aren't quite getting the right tone, just nudge your mic a little, and you might just be where you want to be. Still not right? Just add another mic and nudge that sucker too! Want the time alignment to mess with the phase? Go for it on the front panel with your left hand while you move a mic in Axe-Edit with your right hand. Anyway, I really never thought this technology would come to the Axe-FX III, and the lack of a movable mic was the biggest hesitation point for me feature wise before buying the unit, so it's really like a Christmas present for me to have this now, especially with the fact that speaker impedance curves change with cab, if you so choose. I'm in hog heaven here with my tone. My compliments to the chef!
 
State of Epicicity said:
I'm finding I love all four mics in the Dyna-Cabs depending on the situation. There's not a stinker in there. I actually worked with the SM57 a bunch last night for different edge of breakup tones, and they were all just perfect, just totally perfect. The ribbon and the condenser are fantastic for me with anything with some gain, to be able to control the thump and the grain of the gain, but the be all end all to me is certainly the SM7; it's just the most powerful mic to my ears to use in almost any cab micing situation.

The quality of these IR captures is incredible, and the seamlessness of the way the sound changes as you move position is perfect. I can't overstate how utterly life changing it is to have the ability to place a mic freely. This is the one area where I used to go to Amplitube, TH-U, or Two Notes Wall of Sound to get the right placement for me, capture it as an IR, then import it to the Axe-FX III; then, if I feel the placement of the mic wasn't just right, well, I'd go through the process again. Now it's as I'd wished it to be: if you alter your settings in the amp and drive and still aren't quite getting the right tone, just nudge your mic a little, and you might just be where you want to be. Still not right? Just add another mic and nudge that sucker too! Want the time alignment to mess with the phase? Go for it on the front panel with your left hand while you move a mic in Axe-Edit with your right hand. Anyway, I really never thought this technology would come to the Axe-FX III, and the lack of a movable mic was the biggest hesitation point for me feature wise before buying the unit, so it's really like a Christmas present for me to have this now, especially with the fact that speaker impedance curves change with cab, if you so choose. I'm in hog heaven here with my tone. My compliments to the chef!
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So great to hear and also killing me. I decided to wait until the final release as I am currently tweaking my FM9T. That process started with the Axe3, and of course it sounds like there's going to be another period of tweak/gig with the Axe, followed by another with the FM9T. Not complaining...having so much fun with these last months of upgrades!!!
 
macfly said:
So great to hear and also killing me. I decided to wait until the final release as I am currently tweaking my FM9T. That process started with the Axe3, and of course it sounds like there's going to be another period of tweak/gig with the Axe, followed by another with the FM9T. Not complaining...having so much fun with these last months of upgrades!!!
Click to expand...

It also makes it much more personal of a tone. Even with just one mic I don't think the best placement of that mic for one guitarist will be the best placement for another. To go further, there's a lot you can do by mixing the phase of mics as you move them, quickly adjusting levels as you go along. With that you're EQing in a different way entirely, creating weird and wonderful effects. With this I find I can create tones that are far more interesting and inspiring for me to play through; I believe I may be creating a facsimile of the way comb filtering works on your ears in a room when you just plug in and play, where all the magic of the unfiltered sound of a raw cab hits you just right, where the frequencies round out in a way where you achieve the paradoxical state of a tone that feels warm and at the same time present. This type of tone wouldn't necessarily be what I'd record with, but it's just right for practice. I do think that for mixes, either live or in a recording, keeping to one mic or mixing mics in phase is almost always going to be easier to mix, because they'll more likely get the guitar to behave, to stay in its slice of the pie, and not to step on the toes of or disappear because of the rest of the mix.

But for me, as a player, I like to have the amorphous and messy sound of misaligning the phase of mics and muffling pick attack in that way (allowing a warmer feeling to the tone), which then focuses the tone on some kind of thickness in the attack (recovering a present feeling to the tone), which to me forms the amp in the room sound. I can then add Speaker Compression to taste for final messiness and aliveness, and, at least to my ears while I'm playing, even with headphones, it's absolutely just an amp in the room.

I obviously have a lot of zeal about this, but take it with a grain of salt. It's just what inspires me. I find that different aspects of tone inspire every player in a different way, and that's such a totally personal thing. But just the fact that this feature is in there now, with so many cabs, so much power to tweak them, with more on the way, just makes it utterly ideal for my use.
 
Chuck P said:
I think that's exactly what it does...?
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Yep. Start position, shoot, shift, shoot, shift, shoot, shift, shoot - until each desired position (permutations of distance from cone and distance out from grill) is covered. Likely each shift is whatever the granularity of the setting is in Axedit, which is why a robot is necessary. That requires a lot of precision.

I'm just making this up, but it seems right to me. :p
 
geetarplayer said:
Yep. Start position, shoot, shift, shoot, shift, shoot, shift, shoot - until each desired position (permutations of distance from cone and distance out from grill) is covered. Likely each shift is whatever the granularity of the setting is in Axedit, which is why a robot is necessary. That requires a lot of precision.

I'm just making this up, but it seems right to me. :p
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I think your right. I saw a video on YouTube awhile back showing IR capture. Not sure what IR manufacture it was.
 
Apologies for the question, I’m sure it’s probably buried in the thread somewhere.

when this is released, will it work with the original axe 3 or the original FM9? Thank you
 
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