Axe-Fx III Firmware 23.05 Release

IronSean said:
It wouldn't be the first amp model to have two gain pots. The Mark series, Fryette stuff, any jumped plexi models with normal and bright gain, etc.

That said, I don't know if the way they interact is easily mappable to something like the two plexi gain pots or would need to be a unique implementation.

I'd also be curious if someone could give a nice technical explanation about exactly what changes with the pot interaction (maybe Cliff or James Freeman) so we know if it's easily achievable in the ways you suggested, or it's own thing.

My 50W Stealth doesn't do it, so I haven't actually experimented with it before to see what it really changes.
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The Tweed Deluxe models have knobs for both channels where the current channel is affected by the "unused" channel.
 
I don't think having two knobs, maybe labelled as Blue Gain and Red Gain would be confusing. Way more intuitive than dialing in a Plexi for the first time haha. And each amp may have its own quirks, but that's why we have the wiki with Yek's guides to the amps. I don't think Cliff ever needs to dumb down the controls, since the hardware is so complex anyway. We all learn as much as we want. Not to mention, just dialing in two preamp gain knobs would be pretty intuitive. I've now heard a couple examples of this on YouTube videos, and I think it's awesome.

And, in keeping with the Fractal ethos, it would make the amp model closer to the real thing. My two cents.
 
millman said:
Local shop has a DGT. I was expecting to be blown away since it seems everyone else loves them and I love what come out of it when everyone plays it. However, this particular one didn’t speak to me when I played it. I have a 2019 Custom 24-08 (my first PRS ever), a 2022 McCarty 594, and just recently a 2023 McCarty 594 Singlecut. All of them just sing to me and I can’t stand to put them down!

Edit: I do still thing I want a DGT eventually but it has moved down my list.
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I have a triple P90 Cu22 with DGT neck profile and LOVE it. For me, unless I got a clunker, it'd likely be down to whether or not I like the pickups....
 
James Freeman said:
It's starting to be very clear to me that people don't like when things change even if it's closer and more authentic to the real amp.
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This is a surprisingly fascinating topic for me. You see the same kind of things in the engineering / mixing world: so many people these days are chasing the "authentic tape / console / analog / vinyl / whatever" sound, when the older engineers who actually worked with those mediums were desperate for higher quality and would've killed for the fidelity that even budget hardware has these days.

Personally, when it comes to guitar amps and tone and feel and stuff, I only really care about authenticity if it sounds good, and if it gets me a tone and feel that I enjoy. I've found that in several cases with actual amp heads, but each one has had its quirks and issues that I wish could've been fixed or different. To me, that's one of the biggest selling points of modeling, and especially Fractal's approach: We can start with these amazing reproductions of physical amps, warts and quirks and all, but with the flexibility to remove some of those warts and non-optimal bits and pieces. But, I also realize there's a very passionate portion of the community that yearns for true authenticity when it comes to modeling. I think Cliff's approach of saving the "FAS" models for those tweaked and idealized versions is a great compromise.

Personally, the 23.04 version of the 5153 Stealth model sounded and felt great, which was surprising because I never liked any of the EVH 5150 III amps. The new version does sound and feel like a 5150 III, which is probably why I don't like it. The 6160 Presence taper bothers me, even though it's more authentic, precisely because it's more authentic: I've always disliked the presence control on my 5150/6505 heads, it's practically useless.

I do want to be clear though: I'm still be ecstatic with my AxeFX III, even with these changes. I don't expect Fractal to always make choices I agree with, it just so happens that most of their decisions I do. So even though I'm bummed about the Presence taper and the tweaks to the Blue Stealth model, they aren't deal breakers, even if they're frustrating. There's just way too much good s--t in these units for me to be too unhappy about it. I try to keep a healthy perspective with these things, because all too often I see people laser focus on the negative without taking the positive into account 👍

(sorry, didn't mean to ramble on, sometimes I just start brain dumping and I can't help it)
 
rossipedia said:
This is a surprisingly fascinating topic for me. You see the same kind of things in the engineering / mixing world: so many people these days are chasing the "authentic tape / console / analog / vinyl / whatever" sound, when the older engineers who actually worked with those mediums were desperate for higher quality and would've killed for the fidelity that even budget hardware has these days.
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Amen! It certainly would've been nice to avoid tape's high end loss over useage/time, noise from serially stacked analog electronics and the attendant cabling, tape noise, taking Polaroids of console/outboard settings and patch bay routing before Total Recall, having a bunch of people operate the faders during the mix before fader automation, manually aligning machines, the costs of all the above and the heat generated by it all LOL, etc etc etc...

...yep, you nailed it @rossipedia!

Software/Firmware is what changed all the above for the better, and it is not restricted to mimic the limitations of hardware unless desired.
 
Nah. It's not always or only complaining, particularly for working musicians who have stuff dialed in, sometimes dozens or more presets. Communication by users on the forum is better than none because otherwise there is no feedback.

Sometimes there are accidents/bugs that are identified by users. Sometimes a particular change might be too disruptive overall so it gets rolled back or implemented in a different way (say with a switch). And, yes, sometimes change is hard and we need to adapt.

Getting the latest goodies needs to be balanced with maintaining the stability of one's presets/tones.
 
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FractalAudio said:
Well...

Fortunately for you I figured this might happen so I saved the 23.04 version. I was thinking of adding it as a "FAS Stealth Blue" model.
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Yes please, 23.04 stealth blue was probably my favourite modern hi gain tone in a whole unit.
But to be honest, it had to be a mistake, because it sounded like 5150 with precision drive in front of, but a lot less noisy.
Anyway, I vote for this FAS Stealth blue 23.04 version.
 
I must chime in with how relieved I am to not have any expectations of or desire for authenticity. My only expectation is great sounds. IDGAF if the tone pot does not act like that flawed design from 19XX, I just want stuff that sounds good. I don't know how to dial in sh!t on a classic amp other than bass, mid, treble and how loud, and I am cool with that because this box (Axe FXIII MkII Turbo) gives me thousands of great sounds at my fingertips by just selecting factory presets ;~)) And even cooler sounds if I spend a few minutes playing with the thousands of choices to shape those basics. No decades of experience dialing in all the quirks of classic amps necessary to make me sound better than I probably ever could have with a classic amp and half a dozen pedals. Building a bare bones preset from scratch can itself produce killer sounds real quick! Ah, the bliss of ignorance! To be free from the freezes of fumbles in yesteryears!! I am glad Cliff is moving the needle from 99.1 to 99.7% accuracy (insert whatever %'s you like) for classic amps as I believe their authentic tones should be available in the digital world and preserved. For me however, better sounds can and will be had using less circuits (or simulation thereof) and more advanced digital signal manipulation to achieve the sounds I desire most. The sounds of my future will be Fractal laced best I can tell.

23.05 is sweetness to my ears! Thanks for all the gifts of incredible advancements!!
 
DJD100 said:
Amen! It certainly would've been nice to avoid tape's high end loss over useage/time, noise from serially stacked analog electronics and the attendant cabling, tape noise, taking Polaroids of console/outboard settings and patch bay routing before Total Recall, having a bunch of people operate the faders during the mix before fader automation, manually aligning machines, the costs of all the above and the heat generated by it all LOL, etc etc etc...

...yep, you nailed it @rossipedia!

Software/Firmware is what changed all the above for the better, and it is not restricted to mimic the limitations of hardware unless desired.
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I couldn't disagree more. Can you actually imagine a world where tape delay didn't have high-end loss and where BBD delays didn't crunch up at slower tempos/time rates?

Pink Floyd wouldn't sound the same. Brian Eno wouldn't sound the same. The entire history of recorded music would sound worse. I don't want to live in that world at all.

In my honest opinion, we have a recording or playback medium, and we embrace its limitations and quirks because they help to add character and emotion to the music.
 
Goodsal said:
I'm noticing that the Plexi 100W 1970 model is significantly brighter, and not in a pleasant way. I went back to a previous firmware and then back to 23.05 and it was night and day. I tried resetting the amp block as well, and didn't notice this with any of the other Plexi models. Is anyone else a frequent user of this amp who could also see if it sounds right?
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Just listen to an early AC/DC album from the 70s and you know, that's right how it sounds!
 
Perhaps this controversy is because there are two camps of users, one that wants their modeler to be filled with exact replacements for their favorite amps and the other that doesn’t care how exactly the models are to the originals but are more interested in the tones that can achieved as easily as possible.

I am in the later camp. I really could not care less if the models are exact authentic clones of the original models, I simply want to have a pallet of great tones that I can dial in using my ears that help me obtain the audience emotion I, or another musician, wrote the song to achieve.

I have found that Cliff and his team have great ears; when they craft an amp model the tones that can be achieved are amazing. So, I have no problem with Cliff making modifications to models that make it easier for me to achieve great tones, even though it may not result in a completely “authentic“ recreation of the amp being modeled.
 
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James Freeman said:
It's starting to be very clear to me that people don't like when things change even if it's closer and more authentic to the real amp.
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I want it authentic, it just depends if you want to copy a sound or if you want to create new ones. I think most amateurs want to copy and most professionals want to create. If both is possible, I'm in heaven or I use Fractal!

To create completely new sounds, I still can use a synthesizer ;)
 
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State of Epicicity said:
I don't think having two knobs, maybe labelled as Blue Gain and Red Gain would be confusing. Way more intuitive than dialing in a Plexi for the first time haha. And each amp may have its own quirks, but that's why we have the wiki with Yek's guides to the amps. I don't think Cliff ever needs to dumb down the controls, since the hardware is so complex anyway. We all learn as much as we want. Not to mention, just dialing in two preamp gain knobs would be pretty intuitive. I've now heard a couple examples of this on YouTube videos, and I think it's awesome.

And, in keeping with the Fractal ethos, it would make the amp model closer to the real thing. My two cents.
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I still don't understand, why a JTM45, 1987x or 1959SLP has a gain knob in Axe FX ... There is no gain, just volume, For me it makes it more difficult but as option it's ok.
 
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