FM3 Firmware Version 10.0 public beta

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m_brown

m_brown

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Fractal Audio Systems
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FM3 Firmware Version 10.0 public beta is now available for download:
https://www.fractalaudio.com/downloads/firmware-presets/fm3/10p0/fm3_dsp_rel_10p00_beta_1.zip

This firmware is release candidate. The large number of updates, changes, and new features included call for a final beta period before official release, however. We don't anticipate a long beta period. Feedback on the new items and updates or issues you encounter is appreciated here.

An updated version of FM3-Edit is required for use with this release:
https://forum.fractalaudio.com/threads/fm3-edit-1-07-07-to-support-fw-10-00-public-beta-1.213089/

A Dyna-Cab update is required if updating from an FM3 firmware version prior to 9.00 Beta 1
The required Dyna-Cab file is included in the 'zip' file for this release.
If you are upgrading from a version older than 9.00 Beta 1, please follow the instructions in the Firmware Update guide PDF that is included to install the firmware and Dyna-Cabs. If you are updating from 9.00 beta 1 or higher, Dyna-Cabs do not need to be reinstalled.

Preset CPU and Factory Presets
This firmware version includes major improvements to sound quality and performance. As a result, some presets now require more CPU. Older Factory Presets may exceed 80% CPU usage, especially on the standard (non-Turbo) FM3. To address this, new Factory Presets have been created for firmware 10.0+. These are not installed automatically and must be downloaded separately:
https://forum.fractalaudio.com/threads/fm3-factory-presets-for-firmware-10-0.213091/
 
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this beta sent this preset of mine at more than 101% cpu!!! this happens when i switch to the 4th scene. is this a bug?

ps. i've narrowed it down to the sun plate reverb as the most probable culprit
 

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Randalljax said:
You will probably have to adjust it
It just means you are over CPU limit it could be 86% or 101
That’s why they posted the new presets and said some of the older or your current presets may be over now
Click to expand...
yea but the preset was around 80% tops before. how can it jump 20%? i think there's some bug with the sun plate reverb
 
Guys - if you use CPU-intense plate reverbs like the large plate, you may find in your existing presets you have to switch to one that uses a lesser amount of CPU. I’m using the London Plate as a temporary fix for some of mine that used the Large Plate in an EMT140 type…. so this could affect a few LiveGold and other TonePack presets, but I’ll update those in a few weeks when I get back to studio from Europe trip.
 
Admin M@ said:
You can lower "Quality" and "Echo Density" in the Reverb block to reduce its CPU requirements.
Click to expand...
is it normal though when the preset was working perfectly around or below 80% not even showing warnings to now jump 20+% in cpu usage? i already have it on economy
 
What are the new updates? Is it possible to get a list of changes? Or at least a reference to Axe3/FM9 firmware equivalent?

Thanks again for everything FAS. Best of the best
 
Necr0lancer said:
What are the new updates? Is it possible to get a list of changes?
Click to expand...
Those are listed in the Release Notes included with the download. I'll paste them here but it's pretty huge and will require two posts!

NEW FEATURES & UPDATES

AMP BLOCK UPDATES
●NEW Brit 800 Studio 20 amp model based on a Marshall SC20H.
●Added “Plexi Brown” tone stack based on EVH’s amp with a 50K mid pot.
●Updated default Negative Feedback value for Friedman BE/HBE models. On the actual amp, the negativefeedback comes off the speaker jack (for some weird reason). Previously the models assumed an 8 ohmcabinet which would make the feedback effectively off the 8-ohm tap. However, the matching cabinet is 16ohms which results in more negative feedback and a “tighter” tone, so we’re now using that as a default valueas people seem to prefer that. The models were also “remastered” as a result.
●The Negative Feedback control is now available on the basic “Tone” editing page for the Friedman BE/HBE ampmodels, since this is also now a control on the actual amp.
●Improved triode modeling algorithms.
●Improved Amp block phase inverter grid clipping model accuracy.
●Renamed “Brit Studio 20” to “Plexi Studio 20”.
●Remastered all “PVH” amp models. A soft reset is recommended to load the new default values.

DRIVE BLOCK UPDATES
● Improved PI Fuzz model. The new model also allows changing the type and quantity of diodes used in the transistor feedback paths, adds a “Wicker” switch which removes the feedback capacitors, and adds a “Tone” switch which allows bypassing the tone circuitry.
● NEW PI Fuzz – Triangle model. This is based on a 1971 “Triangle” Big Muff PI.
● NEW PI Fuzz – Ram’s Head model. This is based on mid-70’s “Ram’s Head” Big Muff PI.
● NEW PI Fuzz – Russian model. This is based on a Sovtek produced “Civil War” Big Muff PI.
● NEW Colortone OD model based on a Colorsound Overdriver (with added Master control).
● NEW Colortone Booster model based on a Colorsound Power Booster (with added Master control).
● NEW MOSFET Distortion model based on an Ibanez MT10 Mostortion.
● NEW Super Fuzz model based on a Univox Superfuzz. The model also features a tone control for varying the frequency of the notch. Use the Bias control to simulate the “Octave” control found on some clones.
● Added Integral Pre type to the Drive block. This is based on a TC Electronics Integrated Preamp.
● NEW Tube Drive 5-Knob model.
● Updated DS1 Distortion model to Second Edition specs.
● Improved Tube Drive 4-Knob model. If you are using this model in a preset a soft reset of the block is recommended to load the new default values.
● Reworked Blackglass 7K model.
● Added 1N5819 Schottky and Yellow LED diode models to Drive block.
● Added “77 Custom OD” based on an MXR M77 Custom Badass Modified OD.

REVERB BLOCK UPDATES
● Improved Reverb block. Reverbs based on real spaces have more immersive and natural sounding reflections.
● Improved early reflections. As a result, the default values of Early Level and Late Level for the models have been updated. Existing presets are automatically updated to the new values. Audition as necessary. The Early and Late Level parameters have also been removed from the Basic page of the Reverb block.
● Added “Pre-Delay Tap” parameter to Reverb block. This selects the input to the reverb engine. When set to OUTPUT the behavior is as before. When set to INPUT the initial delay is absent. This allows more natural “Echo-Verb” sounds. This is now the default for these types of models and existing presets are automatically updated.
● Improved Spring Reverb algorithm: New algorithm is based on a digital waveguide with scattering nodes. This algorithm achieves accurate spring reproduction recreating the iconic “drip” and flutter of classic spring tanks. There are two internal Spring Reverb types. The type can be selected using the Tank Type parameter. This parameter defaults to the appropriate type based on the model. The first type has all the springs in parallel. This is used by the British Spring and Studio Spring models. This is equivalent to an Accutronics Type 8 reverb tank. The second type has a pair of series springs in parallel with one or more pairs of series springs. This is equivalent to an Accutronics Type 4 (four springs) or Type 9 (six springs). For the second Spring Reverb type the reflection off the junction between the coupled springs is controlled by the Scattering parameter. Vintage Accutronics reverb tanks exhibit more reflection off the junction than modern, Asian-made reverb tanks. The “Drip” parameter controls the dispersion of the springs. The various models have different tone controls. Several new models have been added. The Tube Spring model is based on a 6G15 Tube Reverb and has an authentic tone control. Studio Spring is a hypothetical spring reverb with six long springs in parallel. Note that the Modulation parameters have been removed as they are not compatible with the new algorithm. Existing presets using Spring Reverb types are reset to default values. Audition as necessary.
● New Plate Reverb algorithm. This new algorithm captures the dispersion (Star Wars™ Laser “pew, pew” sound) and unique stereo imaging of classic plate reverbs. Dispersion is adjustable via the Dispersion parameter. Typical plates are around 25-50%. Set to higher values to exaggerate the effect. Stereo imaging is adjustable via the Pickup Spacing parameter.
● Updated many of the standard Reverb models. Existing presets are not affected. Reselecting the model will load the new default values.
● Added Vibrato-King Custom Spring type.
● Added adjustable Q to Low Cut and High Cut in Reverb block. Note: The Q only affects the response if the Slope is set to 12 dB/oct.
● Changed name of “Spring Drive” to “Dwell” as this is what is commonly used on spring reverb units. Note that the Dwell control is automatically compensated. Therefore, changing the Dwell will not affect the mix unlike a hardware spring reverb, but it will make the sound more “splashy”.
● Rearranged Spring Reverb menu so that most commonly used controls are on the same line.
 
COMPRESSOR BLOCK UPDATES
NOTE: These changes may affect the sound of your presets and can also add to CPU usage. If you use the Compressor block in your presets you should audition them accordingly.
● New Dynami-Comp algorithm: ○ New algorithm accurately models various nonlinearities for faithful reproduction.
○ Added Knee Type to allow varying the knee shape, Tone control (like in various clones), Drive control for overdriving the OTA to add saturation, and new Input/Output graph.
○ A low-CPU version is available with the Econo-Dyno-Comp type.
● New “VCA Bus Compressor” algorithm (replaces “Studio FB Compressor” ) ○ 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). Removed Auto Att/Rel as it is not applicable.
● New Optical Compressor Algorithm: ○ Based on classic optical rackmount compressors. The smooth attack and release characteristics make it ideal for vocals and acoustic instrument sources.
○ 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.
○ 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.
○ 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.
○ 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.

● New JFET Compressor algorithm: ○ Based on classic JFET rackmount compressors. 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.
○ 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.
○ 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.
○ 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).
● 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.
● New Rockguy Compressor Type: ○ Similar to the JFET Pedal 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. This compressor has big, swoopy compression curves and a warm tone making it useful for adding “glue” to a track or mix.
○ Features 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.
○ The “Drive” control allows overdriving the output stage for added distortion.

PHASER BLOCK UPDATES
● 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.
● New “Modern Vibe” model based on a classic UniVibe but with modern input buffer and LFO.
● New “LFO Mode” parameter in 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.
● New Low Cut and High Cut controls for the wet path.
● Changed “Exponent” parameter name to “VCR Shape”as this is a more accurate description.

OTHER BLOCK UPDATES
● Improved Room modeling in the Cab block. The simulation is now louder, and this will change the sound of existing presets that use this feature. Audition your presets accordingly. “Mic Spacing” was also changed to distance in cm, with a default of 17 cm (ORTF standard).
● Improved Gate block: Improved Downward Expander type. The “Hold Time” parameter has been removed as it is not compatible and no longer needed with the new algorithm. This type has been renamed “Classic Expander” and is based on classic analog downward expanders. Added “Modern Expander” type. This type uses a novel approach to the envelope detector, resulting in improved ballistics compared to traditional analog expanders. A “Knee Type” parameter has been added which allows selecting between hard-knee expansion and varying degrees of soft-knee expansion.
● Improved Noise Gate in Input block: Improved performance based on new algorithm developed for Gate block. A Mode selection has been added allowing the user to select between “Easy” and “Advanced”. In Easy mode the number of parameters is reduced, simplifying the adjustment procedure for those who are unfamiliar with the finer details of gates/expanders in guitar noise reduction applications.
● Improved Filter block Touch-Wah detector behavior.
● Improved Sweep Delay algorithm in Delay block, with a new selectable Filter Type control.
● Improved Quad Diffusor algorithm in Multitap Delay block, now with stereo output, adjustable stereo spread, and LFO controlled filters.
● New Tremolo “Ducking” control. This reduces the intensity of the effect as you play louder.
● Improved behavior of Reverb, 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.
● Added new Filter page with graph to the Plex Delay block to assist with editing filter parameters.
● Added modifier capability to Sensitivity parameter in Filter block (for Envelope Filter and Touch-Wah types).

UPDATES
● Scene change can now clear CPU Limit condition if the destination scene is under the use limit.
● Added clip warning if Input 1 clips. This is indicated on the Mini-Tuner.

FIXES
● Update for USB Audio compatibility with Apple Mac OS update 15.4. (This update is not required for Mac OS 15.5 or newer, since Apple independently fixed this issue.)
● Corrected internal pedal jacks configured as switches being ignored due to active sensing update.
● Fixed resistor mistakenly attached across drive pot on Plexi 2204 model.
● Fixed Phaser block LFO Reset not working properly for some types.
● Fixed wrong Miller capacitance value in Brit 800 models (probably not audible).
● Fixed Tremolo block graph not working if Rate is set to LFO1 SYNC.
● Fixed wrong capacitor value in OD 250 and OD 250 Gray models.
 
No new Dynacabs for the FM3 it's tapped out. Cpu has gone up I'm usually around 75-77% or so and now around 80-81. Getting ready to hear the new goods but yes the FM3 is getting stretched out lol. It's all good, Thanks FAS!!

If you use plate reverbs drop the echo density and also lower room level if you use that.
 
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