Axe-Fx III Firmware Release Version 16.04

So much love, goodness and joy! Thank you Cliff and your team at FAS!

Sounding fanfuckingtastic … And I haven’t even got out of the first bank today. Just get stuck on all those artist that played fenders. Vibrolux just begs for Dire Straits ‘78 … and the ‘59 is so versatile…dig that crunch scene dropped 1/2 step (or not). Twin and I’m doing EJ/SRV 😆

The musical frequencies and the way the distortion clips is better than ever now.

Trying to get to the marshals/Plexis and then the ACs next.

And I truly appreciate all the effects love; especially in the updated factory presets… Phenomenal! 👍❤️🙏
 
FarleyUK said:
Maybe I missed the post on it, but is there anywhere that explains the 'compander' block (and in the delay blocks), and suggested settings? I've played around with it, but no idea what it's doing, so I'm just keeping it off for now. Similar with the master time on delays.
Click to expand...
the problem is, and with all respect, the naming of the new parameters. especially in the Delay block. unless you followed the development in that specific Delay thread, I'm pretty sure most users will have absolutely no idea what it does and just like you, stay away from it. I'm going out on a limb here, but probably 75% of all guitar players have never even heard of a Compander. unless you do production work, you'll rarely come across it and even then, it's most often named something like Transient Shaper, Transient Designer etc...

a Dub producer friend of mine is a massive collector of all things Delays and just for giggles I told him today "we can now adjust Compander Time in the Delay..." his response was just "what...?"

yes, the names of the parameters are correct as in what they actually technically adjust under the hood, but to the user "Compander Time" in context of a Delay will make no sense. so instead of "scientific" names I wish some more "musical" terms would have been used which make it a bit clearer what the parameters do without having to get a crash course on Companders to even remotely find out what that could mean in the context of a Delay...
 
VegaBaby said:
the problem is, and with all respect, the naming of the new parameters. especially in the Delay block. unless you followed the development in that specific Delay thread, I'm pretty sure most users will have absolutely no idea what it does and just like you, stay away from it. I'm going out on a limb here, but probably 75% of all guitar players have never even heard of a Compander. unless you do production work, you'll rarely come across it and even then, it's most often named something like Transient Shaper, Transient Designer etc...

a Dub producer friend of mine is a massive collector of all things Delays and just for giggles I told him today "we can now adjust Compander Time in the Delay..." his response was just "what...?"

yes, the names of the parameters are correct as in what they actually technically adjust under the hood, but to the user "Compander Time" in context of a Delay will make no sense. so instead of "scientific" names I wish some more "musical" terms would have been used which make it a bit clearer what the parameters do without having to get a crash course on Companders to even remotely find out what that could mean in the context of a Delay...
Click to expand...
Also, am I right that the delay blocks don't have the Transients setting that the Compander compressor type has, to mismatch the compression and expansion stages? I thought that mismatch was a lot of what people mean when they talk about it as an effect, like the Solo Dallas manoeuver.
 
VegaBaby said:
the problem is, and with all respect, the naming of the new parameters. especially in the Delay block. unless you followed the development in that specific Delay thread, I'm pretty sure most users will have absolutely no idea what it does and just like you, stay away from it. I'm going out on a limb here, but probably 75% of all guitar players have never even heard of a Compander. unless you do production work, you'll rarely come across it and even then, it's most often named something like Transient Shaper, Transient Designer etc...

a Dub producer friend of mine is a massive collector of all things Delays and just for giggles I told him today "we can now adjust Compander Time in the Delay..." his response was just "what...?"

yes, the names of the parameters are correct as in what they actually technically adjust under the hood, but to the user "Compander Time" in context of a Delay will make no sense. so instead of "scientific" names I wish some more "musical" terms would have been used which make it a bit clearer what the parameters do without having to get a crash course on Companders to even remotely find out what that could mean in the context of a Delay...
Click to expand...
I had to a Google it, but once I did, it made sense - [compress/takes out the noise/expand]. Fist thing that popped in my head is that it sounds like it’s like Dolby noise reduction button on my old cassette car stereo.
 
You will lose the true definition of the parameter when you start using “musical” terms (ie warmer, rounder, bloom, grind, etc) as these are often user defined, ambiguous and left open to interpretation at best.

Besides I’m sure there’s no one musical term that persist across all manufacture delay/pedal platforms platforms except maybe for volume and tone; how you interpret or implement “tone” means many different things to many different people. (Shrug)
 
The only time I remember dealing with 'companding' was with analog wireless. It's the anti-guitarist fucking thing from hell.

I'm guessing that this is some sort of thing to mimic old-school delays? I'm getting old and need simple things explained to me.
 
Dave Merrill said:
Also, am I right that the delay blocks don't have the Transients setting that the Compander compressor type has, to mismatch the compression and expansion stages? I thought that mismatch was a lot of what people mean when they talk about it as an effect, like the Solo Dallas manoeuver.
Click to expand...
Companders in delay pedals are matched. The transient distortion is due to the finite detector threshold.
 
Flashback said:
I guess that makes sense, but I don't know why it can't do that without the flashing. It's not like the lack of signal is out of tune.
Click to expand...
Even without a signal, it’s still “listening” and attempting to interpret what it “hears”.

Maybe there’s a dB threshold setting related to the always-on tuner? I haven’t checked. Would be a nice feature.
 
Years ago, I read somewhere on this forum - I think it was one of Adam Cook's posts after he made his initial tape delay overhaul - that the Axe FX II used a less accurate and more CPU efficient algorithm for the stereo tape delay than the mono tape delay. Was this ever true to begin with and, if so, is the Axe FX III now using the same algortihm for both tape delay types? Is any other mono delay version more accurate than their stereo counterpart due to CPU efficiency reasons?
 
While I very much enjoy the new firmware, my preset CPU has increased by about 7-8 % and now I have crackling. Am I the only one experiencing this?
 
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