Played through the FAS Models for the first time

šŸ’Æ Agree.. don't get me wrong I own a Helix..but you really need to work for tone. I happen to love tweaking so it's not to bad, but Fractal is miles ahead. For the high gain stuff, I almost always needed pre/post eqs, especially overdrive blocks on helix..Not always the case with the Axe FX. There is also a certain organic "plink" chink timbre in the Fractal models that is very natural and pleasant to my ears. I was going to sell my Helix..but that's just it..I spent so many hours tweaking a few dozen custom presets, that I couldn't sell my hard work away. Bare in mind I came to helix from the spider V 240mk2 (still use it as my FRFR) and always thought line 6 high gain was cool..I couldn't hear the "digital"ness all the bashers claimed..untill I upgraded to the helix lol blew away the spider. Now I feel the same with Fractal to helix, but the jump isn't quite as extreme as going from spider to a helix. Pure sonic bliss I am inšŸ˜Ž
 
Iā€™ve tried some of the FAS amps before and nothing stuck. After watching the posted video and reading through this thread I put together a preset of FAS amps. I used the Class A, Wreck, Hot Rod, and Lead 1. This time it worked for me. I wasnā€™t thrilled with the defaults on some but was able to adjust them all to my liking. The Class A has a lot of chime, almost too much but it sounds really good. Iā€™ve tried the FAS Wreck before and hated it. I use the other Wrecks a lot. I think Cliff is a fan of that piercing snarly upper midrange, like what you get from a Marshall bright cap. Iā€™m getting better at adjustments so was able to get it good enough that itā€™s a keeper. Happy with the preset!
 
skolacki said:
Iā€™ve tried some of the FAS amps before and nothing stuck. After watching the posted video and reading through this thread I put together a preset of FAS amps. I used the Class A, Wreck, Hot Rod, and Lead 1. This time it worked for me. I wasnā€™t thrilled with the defaults on some but was able to adjust them all to my liking. The Class A has a lot of chime, almost too much but it sounds really good. Iā€™ve tried the FAS Wreck before and hated it. I use the other Wrecks a lot. I think Cliff is a fan of that piercing snarly upper midrange, like what you get from a Marshall bright cap. Iā€™m getting better at adjustments so was able to get it good enough that itā€™s a keeper. Happy with the preset!
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I'm right there with you man ..but the "eureka" moments are SOOO worth it. I also find a lot of times I'm so busy focusing on advanced parameters..and lo and behold the answer was way more simple, and straight forward than I made it out to be. The blissfully bittersweet quest of tone chasing!
 
Iā€™m in that time where Iā€™m trying to program my setlist with the ā€œrightā€œ tones for a show that opens next weekend. Great reminder for me to audition the FAS models.

Iā€™m definitely guilty of defaulting to things my eyes know (AC-20, Matchless, Vox, etc) and totally neglecting options that might be better.

After I get my ā€œfoot looseā€ from this show, I really need to take some time to do a deep dive into models Iā€™ve really neglected.
 
Downtown2112 said:
Iā€™m in that time where Iā€™m trying to program my setlist with the ā€œrightā€œ tones for a show that opens next weekend. Great reminder for me to audition the FAS models.

Iā€™m definitely guilty of defaulting to things my eyes know (AC-20, Matchless, Vox, etc) and totally neglecting options that might be better.

After I get my ā€œfoot looseā€ from this show, I really need to take some time to do a deep dive into models Iā€™ve really neglected.
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You won't be sorry, they really are well done, with maybe a few tweaks solely because we all have our tone preferences. Fas crunch really should be next to Marshall tone in the dictionary!
 
Saarang Narayan said:
Throw those models into a small-ish enclosure and it'll be a Strymon Iridium/HX Stomp/ToneX/QC killer. Mentioned this elsewhere too that the FAS Models in a small enclosure for ~399-499 would decimate the AIAB market.
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As someone who also uses and loves the Strymon Iridium, totally agree. I don't think anyone nails the "amp/cab sim only" pedal yet. To me Strymon with 3rd party IRs is closest because it's so compact and straightforward to use yet does more than enough in one box. Really all it's missing is some high gain options.
 
Reet said:
people would rather have 'what they know.' I use almost only FAS models as it makes me feel more unique and tonally different than others. I'm sure the 1 guitar player in the audience can tell a difference at least. šŸ¤£
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Two thoughts on that.

I think you're right about most people, but I love exploring with music and art in general. Even food and drink. I don't want to mimic anybody else's sound or style. If doing covers or something, maybe. But even then, I would rather make it my own, like when The Revolting Cocks covered "(Let's Get) Physical," Hendrix covering "All Along the Watchtower," or Johnny Cash covering Nine Inch Nails' "Hurt." I want to create something new and organic, not imitate. I'm happy to have all of those options, but ultimately I want to do something and experience something I can't get anywhere else.

Also, almost nobody is going to ever notice. However, someone like me might. Moreover, if YOU notice, or if it sparks some creativity or energy in you, that can absolutely come through in your playing, songwriting, and your creativity. I think there's real value in that, and the ability to have those options and flexibility, even freedom, was all a big factor into the appeal of getting an Axe FX III, or any sort of tweakable modeller. If it's inspiring to play and you feel more unique, that can play real dividends in your music, or even just your enjoyment.
 
Dave_I said:
Two thoughts on that.

I think you're right about most people, but I love exploring with music and art in general. Even food and drink. I don't want to mimic anybody else's sound or style. If doing covers or something, maybe. But even then, I would rather make it my own, like when The Revolting Cocks covered "(Let's Get) Physical," Hendrix covering "All Along the Watchtower," or Johnny Cash covering Nine Inch Nails' "Hurt." I want to create something new and organic, not imitate. I'm happy to have all of those options, but ultimately I want to do something and experience something I can't get anywhere else.

Also, almost nobody is going to ever notice. However, someone like me might. Moreover, if YOU notice, or if it sparks some creativity or energy in you, that can absolutely come through in your playing, songwriting, and your creativity. I think there's real value in that, and the ability to have those options and flexibility, even freedom, was all a big factor into the appeal of getting an Axe FX III, or any sort of tweakable modeller. If it's inspiring to play and you feel more unique, that can play real dividends in your music, or even just your enjoyment.
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I Agree with this..however it is fun if you are a tone chaser/tweaker like myself, to get close to some classic guitar tones AND play original music with them, as well as covers. But sounding like yourself by doing things/combining stuff really is inspiring. My original "tone" I'd like to think nobody has done yet..it's MY secret:)
 
Chasing someone else's tone ā€” or learning someone else's solo note for note ā€” is time well spent. It teaches you something about another artist's journey, and what they found along the way. It increases your vocabulary.
 
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Rex said:
Chasing someone else's tone ā€” or learning someone else's solo not for note ā€” is time well spent. It teaches you something about another artist's journey, and what they found along the way. It increases your vocabulary.
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I can see the value of that, and can see jayjay347912's point. Ultimately I'm not opposed to the fun aspects of nailing a specific tone and I can definitely see the value in learning somebody's artistic journey as far as learning a solo note-by-note. I have started playing pieces of songs from guitarists who are much more technical than me to get a sense of what they were going for or where it fits into (or deviates from) the scales, modes, and patterns I'm used to. Trey Azagthoth, Van Halen, the guys from Slayer, Meshuggah, The Beatles, and so on, are great for that in different ways.

So I wasn't intending to bash those pursuits, and if that's ALL somebody is into so be it. And there's something to be said in what you do with that tone from a songwriting perspective or adding your own flourish. But personally, I find it more inspirational when people then take that influence and do something different with it. I am ecstatic that Chuck Berry, Jimi Hendrix, The Beatles, Led Zeppelin, and any other band or artist that pushed the envelope didn't just try and cop the tone of what came before them.

At the end of the day, I'm personally more invested in what they do with that increased vocabulary rather than how closely they can mirror the artist they're learning said vocabulary from.
 
Dave_I said:
I can see the value of that, and can see jayjay347912's point. Ultimately I'm not opposed to the fun aspects of nailing a specific tone and I can definitely see the value in learning somebody's artistic journey as far as learning a solo note-by-note. I have started playing pieces of songs from guitarists who are much more technical than me to get a sense of what they were going for or where it fits into (or deviates from) the scales, modes, and patterns I'm used to. Trey Azagthoth, Van Halen, the guys from Slayer, Meshuggah, The Beatles, and so on, are great for that in different ways.

So I wasn't intending to bash those pursuits, and if that's ALL somebody is into so be it. And there's something to be said in what you do with that tone from a songwriting perspective or adding your own flourish. But personally, I find it more inspirational when people then take that influence and do something different with it. I am ecstatic that Chuck Berry, Jimi Hendrix, The Beatles, Led Zeppelin, and any other band or artist that pushed the envelope didn't just try and cop the tone of what came before them.

At the end of the day, I'm personally more invested in what they do with that increased vocabulary rather than how closely they can mirror the artist they're learning said vocabulary from.
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Understood. Actually, I was agreeing with both of you. Be your own chef, but take note of what other chefs have whipped up.
 
Rex said:
Chasing someone else's tone ā€” or learning someone else's solo note for note ā€” is time well spent. It teaches you something about another artist's journey, and what they found along the way. It increases your vocabulary.
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This. It's like a "soup" with ingredients.. quote Nuno on that one. You take the journey, piece the techniques together, and eventually you find and sound like yourself, adding your own DNA on top of the foundation that was already there.
 
Dave_I said:
I can see the value of that, and can see jayjay347912's point. Ultimately I'm not opposed to the fun aspects of nailing a specific tone and I can definitely see the value in learning somebody's artistic journey as far as learning a solo note-by-note. I have started playing pieces of songs from guitarists who are much more technical than me to get a sense of what they were going for or where it fits into (or deviates from) the scales, modes, and patterns I'm used to. Trey Azagthoth, Van Halen, the guys from Slayer, Meshuggah, The Beatles, and so on, are great for that in different ways.

So I wasn't intending to bash those pursuits, and if that's ALL somebody is into so be it. And there's something to be said in what you do with that tone from a songwriting perspective or adding your own flourish. But personally, I find it more inspirational when people then take that influence and do something different with it. I am ecstatic that Chuck Berry, Jimi Hendrix, The Beatles, Led Zeppelin, and any other band or artist that pushed the envelope didn't just try and cop the tone of what came before them.

At the end of the day, I'm personally more invested in what they do with that increased vocabulary rather than how closely they can mirror the artist they're learning said vocabulary from.
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Nah no offense taken. I agree with you with my own personal caveats/ takes. No worries at all sir:)
 
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