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FAS Modern?

JDWhite

Inspired
Ok, So I upgraded to 7.00, Sounds brilliant. I know that I said that maybe I wasn't hearing what I wanted, but again CHEAP HEADPHONES (I can't even afford to eat now, but happy ;)

So Anyway, I am going through all of the FW 7 presets again (again, new user, don't know what I am doing), having a blast, loving everything; The new amps, new presets, options, reverb, all of it.


What the hell is the the FAS Modern?!?!?!? That things sounds freaking amazing to me. I am trying out all of these beautiful amps, all of them sound great in their own rights, but I always come back top the modern. I am a high gain player, I guess you would say, but I love all types. Born and raised on Rock/Metal though, and that modern keeps grabbing me.

JD
 

Drama

Inspired
You know, I gotta say, since 7.0, the Modern has become my go to high gain amp. I don't know what happened between 6 and 7 specifically to that model, if anything, but that thing just sounds amazing to me now. Both direct FRFR and via my GT1000 to a 4x12. Cannot get enough of that model!
 

kmanick

Fractal Fanatic
Hmmmm?? I'll need to try this I have kind of bypassed the FAS models (except for the 6160 which is one of my favorites)
 

babuka

Inspired
I assume that Cliff basically is able to see things with his software models that amp designers could never see. That is just the nature of doing software and testing, you get data that is almost impossible to capture in the real world. So he sees something with the numbers and data that other amps don't do and he tries to fix it in software so to speak. Probably the future of amp design is doing it in software. Just me speculating on his inspiration for the amps. I see no reason why the new amps designed with software can't be better. In fact since you have a blank canvas with no real world contraints I see no reason why they shouldn't be.

Example:
Figure out what the tube/transformer and power supply does that makes it sound so good and design an amp in software that emphasizes these parameters more than they are possible in the real world.
 

NJBengals85

Inspired
Thank you Yek,

and yes, I totally agree Drama......sounds GREAT to me!!!!!!
If you haven't already, Try dropping a T808 before the amp block, turn the drive down to 0, push up the level as high as you can without clipping, and adjust the tone to taste.. For cabs, turn it to Stereo, and use #43 w/ a 421 mic and #44 w/ a D112 at -3 dbs less then the #43. The Drive block tightens up the low end of the D112 and...WOW. I use it all the time with my drop tuned Jackson w/ active blackouts, sounds real serious....and don't forget the noise gate!
 
I dunno, maybe this requires a fair bit of volume, but I've never been able stand the hair (fizz) on this model - it was particularly bad with NJ's suggestions - and was only helped by using something like a (mono) German, Ultra, SLM, etc cab that put that fizz up so high it sounds more like a shhh.
 

Drama

Inspired
I dunno, maybe this requires a fair bit of volume, but I've never been able stand the hair (fizz) on this model - it was particularly bad with NJ's suggestions - and was only helped by using something like a (mono) German, Ultra, SLM, etc cab that put that fizz up so high it sounds more like a shhh.
I actually really dig a touch of the fizz this model brings. I tend to use it more with a Matrix and 4x12, I edit the speaker page of the amp block to tune things up for my 4x12, I kinda use this to push some of that fizz out the way.
 

FractalAudio

Administrator
Fractal Audio Systems
Moderator
This model is my interpretation of the ideal modern metal tone. In the digital realm we are not constrained by the limitations that face tube amp designers so we are free to implement designs that would be nearly impossible with a tube amp.

The Axe-Fx II modeling includes a variety of general purpose filters that I can place anywhere in the signal path. So I put some second-order filters in there to tighten up the tone. Implementing second-order filters in a real tube amp is difficult and costly so is rarely seen.

I'm glad to see that people appreciate this as I feel that the next step is more virtual amps rather than copying existing designs.
 

kostein

Inspired
FAS Modern has come a long way and it's one of my fave amps with 7. I really love how it can sound when setup properly.
 

boltrecords

Fractal Fanatic
This model is my interpretation of the ideal modern metal tone. In the digital realm we are not constrained by the limitations that face tube amp designers so we are free to implement designs that would be nearly impossible with a tube amp.

The Axe-Fx II modeling includes a variety of general purpose filters that I can place anywhere in the signal path. So I put some second-order filters in there to tighten up the tone. Implementing second-order filters in a real tube amp is difficult and costly so is rarely seen.

I'm glad to see that people appreciate this as I feel that the next step is more virtual amps rather than copying existing designs.
I would love to see more virtual amps in future updates. Whether they are copies of existing or virtual it's pretty much all new to me. About 95% of the amp models so far I have never had the pleasure of trying the original anyways.
I think it would be cool to hear what other GEMS you can come up with in the future.
 

VegaBaby

Fractal Fanatic
I'm glad to see that people appreciate this as I feel that the next step is more virtual amps rather than copying existing designs.
cool idea ! this could be spinned the other way as well i guess. not make "really pretty" amps, but designs that would not work in reality because they'd just explode. or amps sounding like there's a Fuzzface as a gain stage, really flubby and loose designs. so both ends of the extremes really...
 

Philip34

Experienced
FractalAudio said:
I'm glad to see that people appreciate this as I feel that the next step is more virtual amps rather than copying existing designs.
Cliff, please indulge this feeling you're having.
 

3Dhuman

Inspired
This model is my interpretation of the ideal modern metal tone. In the digital realm we are not constrained by the limitations that face tube amp designers so we are free to implement designs that would be nearly impossible with a tube amp.

The Axe-Fx II modeling includes a variety of general purpose filters that I can place anywhere in the signal path. So I put some second-order filters in there to tighten up the tone. Implementing second-order filters in a real tube amp is difficult and costly so is rarely seen.

I'm glad to see that people appreciate this as I feel that the next step is more virtual amps rather than copying existing designs.
Yes! Cliff, I think there are a lot of us who would be more interested in your creations as opposed to your re-creations. Modelling existing amps is great, and the job you do is second to none... but, how about some more of these unique designs? Frankly, I'm getting a bit tired of everybody clamoring for a copy of some obscure amp that in reality isn't all that unique given that basic amp design has changed very little over the years.

Show us what you've got!


For those still on the fence... follow these steps...

1) select FAS Modern
2) double tap the BYPASS button to put the amp to initialized settings
3) drop a TS808 in front as a clean boost
4) run the amp into a stereo Recto cab (RW) with a sm57 & r121
5) drop the amp gain down a bit... to 2.5 give or take
6) do NOTHING else

Now tell me that isn't one of the sickest, most balanced metal rhythm tones you've ever heard that will slice right through the mix and into the ears of your gob-smacked fans!

(and you haven't even tweaked it yet)

If it's not already obvious... I would kill (not really) to hear more of your designs, Cliff!
 

Radix Lecti

Inspired
This model is my interpretation of the ideal modern metal tone. In the digital realm we are not constrained by the limitations that face tube amp designers so we are free to implement designs that would be nearly impossible with a tube amp.

The Axe-Fx II modeling includes a variety of general purpose filters that I can place anywhere in the signal path. So I put some second-order filters in there to tighten up the tone. Implementing second-order filters in a real tube amp is difficult and costly so is rarely seen.

I'm glad to see that people appreciate this as I feel that the next step is more virtual amps rather than copying existing designs.
This explains why this model is so easy to dial in. I can get great high-gain tones using a myriad of other amps in the Axe but I always find myself going back to FAS Modern. It just crushes with very little effort, no flub and it tends to play nicely with a greater range of cabs. With 7 I find I am not needing to use a drive in front like I used to either. That being said, I am a "recovering" high-gain freak- though I've always listened and played around in other genres. Thanks be to Fractal (and perhaps age) I find myself much more interested in lower-gain tones and the many nuances they provide me as a guitar player. The cleans and near-to-breakup tones are gorgeous, it would be a shame for anyone not to explore these sounds. I'm pretty sure though I'll always need to get my Djent-Djent-Chugga-Chugga on from time to time and for me the FAS Modern scratches that itch nicely.

Oh, and the idea of including more virtual amps is a Greeeaaaat idea Cliff! Please Sir, bring it! :)
 
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