https://www.fractalaudio.com/downloads/firmware-presets/axe-fx-3/28p0/axefxiii_dsp_rel_28p00.zip
NOTE: An updated Axe-Edit will be forthcoming to support the Brit 800 Studio 20. Until then you should use the front panel to edit this model.
Axe-Fx III Firmware Release Notes
28.00
New Vibe algorithm in Phaser block. The default values have changed for the Vibe models and existing presets are automatically updated to the new defaults. If you have edited the default values you may wish to audition your presets accordingly.
Added “LFO Mode” to the Phaser block. When set to UNIVIBE the amplitude of the LFO is roughly proportional to the LFO Rate. When set to NORMAL the amplitude is constant. NORMAL allows deeper phasing at slow rates than would be possible with an actual Univibe.
Added Low Cut and High Cut controls to Phaser block for the wet path.
Added “Modern Vibe” model to Phaser block. This is based on a classic UniVibe but with modern input buffer and LFO.
Changed “Exponent” to “VCR Shape” in Phaser block as this more accurately describes the control function.
Complete overhaul of the Compressor block:
- New Dynami-Comp algorithm:
- New algorithm accurately models various nonlinearities for faithful reproduction.
- Added Knee Type to allow varying the knee shape.
- Added Tone control (like in various clones).
- Added Drive control. The Drive control allows overdriving the OTA which can be used to add saturation. The control is preset when selecting one of the Dynami-Comp types but can be altered by the user.
- Added Input/Output graph.
- A low-CPU version of this algorithm is available with the Econo-Dyno-Comp.
- New “VCA Bus Compressor” algorithm:
- Based on a VCA feedback design (e.g., SSL Bus Compressor).
- Dynamic time constants. Extremely fast attack times are achievable as the actual attack time is always less than the programmed time (decreases dynamically).
- This algorithm replaces the Studio FB Compressor.
- Auto Att/Rel has been removed as it is no longer applicable.
- New JFET Compressor algorithm:
- Based on classic JFET rackmount compressors.
- Dynamic time constants.
- The Attack and Release times are the “native” times of the detector. The actual Attack and Release times will be much shorter (about 5 times). The native range of Attack Time for an 1176 is 0.1 ms to 5.5 ms. The Release Time range is 59 ms to 1.1 s.
- Due to the design of these compressors the minimum compression ratio is 4:1. Any settings below 4.0 will be clamped at 4:1.
- Unlike the actual hardware the algorithm’s threshold is variable so instead of varying the input and output gains we give you a more convenient method (and Automatic Makeup Gain).
- Due to the very fast attack times these types of compressors will distort. This is often used for effect. Low frequencies are distorted more.
- The “Drive” control allows overdriving the output stage for added distortion.
- Perfect for fattening up your sound and adding grit. Works well as a “finishing” compressor at the end of a chain (usually before time-based effects). Also great for vocals, bass and drums.
- New Optical Compressor Algorithm:
- Based on classic optical rackmount compressors.
- Times are “doubly dynamic”. The times are dynamic due to the feedback topology of the compressor and the attack and release times of the photocell are also dynamic. The Attack and Release Time controls set the nominal times of the photocell. However, the times will vary with the program level.
- Due to the design of these compressors the minimum compression ratio is 4:1. Any settings below 4.0 will be clamped at 4:1.
- Whereas hardware optical compressors typically have a fixed compression ratio (usually about 4:1) and a limiting option this algorithm allows adjusting the ratio from 4:1 to (nearly) infinite.
- Rather than input/output gain controls the algorithm allows adjusting the threshold instead which requires less fiddling with the makeup gain.
- The Emphasis control replicates the internal “Limiter Response” adjustment. This control may be on the front panel of some clones and the operation may be reversed depending upon the manufacturer. The Emphasis Frequency control allows shifting the frequency range of the curve.
- The “Drive” control allows overdriving the output stage for added distortion.
- The smooth attack and release characteristics of this type make it ideal for vocals and acoustic instrument sources.
- New JFET Pedal Algorithm:
- Based on pedals with a JFET as the shunt resistor in a non-inverting op-amp configuration.
- Replaces the JFET Sustainer type.
- Added Rockguy Compressor Type:
- Similar to the JFET Pedal algorithm mentioned above but with dynamic release time and several other enhancements.
- New Tube Compressor Algorithm (now called “Vari-Mu Tube Compressor”):
- Based on a tube compressor using “remote-cutoff” tubes for gain control.
- Dynamic attack times.
- The actual compression ratio is somewhat nebulous due to the nature of the circuit but, in general, the minimum ratio is about 2:1 and the maximum ratio is about 20:1. The Threshold and Compression controls interact. The graph assists with adjusting the controls.
- This compressor has big, swoopy compression curves and a warm tone making it useful for adding “glue” to a track or mix.
- The “Drive” control allows overdriving the output stage for added distortion.
- NOTE: These changes may affect the sound of your presets. If you use the Compressor block in your presets you should audition your presets accordingly.
Improved Reverb block. Reverbs based on real spaces have more natural sounding reflections and are more immersive.
Improved behavior of Plex and Multitap Delay blocks when changing channels or presets. If the type has changed the delay lines are cleared. If the type has not changed the delay lines are not cleared allowing for spillover between channels. If Spillover is on, the delay lines are not cleared between preset changes if the type has not changed.
Improved Room modeling in Cabinet block. Mic Spacing is also changed to distance in cm. Default is ORTF standard of 17 cm. This may change the sound of your presets if you use this. Audition your presets accordingly.
Added Filter page and graph to Plexi GUI to assist with editing filter parameters.
Added “Ducking” control to Tremolo block. This reduces the intensity of the effect as you play louder.
Added Tube Drive 5-Knob model.
Added “Brit 800 Studio 20” amp model based on a Marshall SC20H.
Renamed Brit Studio 20 to “Plexi Studio 20”.
Updated default Negative Feedback value for Friedman BE/HBE models. On the actual amp the negative feedback comes off the speaker jack (for some weird reason). Previously the amp models assumed an 8-ohm cabinet which would make the feedback effectively off the 8-ohm tap. However, the matching cabinet is 16 ohms and using a 16-ohm cabinet results in more negative feedback and a “tighter” tone so we’re now using that as a default value as people seem to prefer that. The models were also “remastered” as a result.
Improved triode modeling algorithms.
Various other fixes and improvements.
And another ty in advance for an answer\m/
