Classes The Complete Axe-Fx III Master Class with Cooper Carter - v3.0 AVAILABLE NOW!

Classes for rent or purchase related to Fractal Audio equipment.
Just wanted to sincerely thank @ccroyalsenders. The course is amazing! As someone who is new to Fractal and the FX3, this course is a must have. You get to truly unlock the power of the FX3 and really appreciate its potential as well as admire Cooper’s playing. It’s put together very professionally and I love how it’s broken up. I cannot endorse this enough.
 
I just went through the part where you can change scene's with a DAW again, I tried it before but couldn't get it to work finally got it and it is pretty cool to play through a tune and not have to hit a switch
 
Just wanted to sincerely thank @ccroyalsenders. The course is amazing! As someone who is new to Fractal and the FX3, this course is a must have. You get to truly unlock the power of the FX3 and really appreciate its potential as well as admire Cooper’s playing. It’s put together very professionally and I love how it’s broken up. I cannot endorse this enough.

Thank you so much for this great review! So glad it's been a useful tool for you! Some new updates coming soon!!
 
I'm trying to login. Says my p/w is wrong, so I did the reset. Now it says, "Session expired". If I click on the help box in the lower right corner, I get this message: "Something's not right, we'll be right back"

EDIT - everything is working again. Yay!
 
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@ccroyalsenders any ETA on the FM3 Master Class? And would one benefit from it if they already went through the Axe-FX III course?

The class is in the works, but it will be at least until the main production run until it is released. As with the Axe-Fx III class, waiting until several months after the product release allows the firmware to mature sufficiently to give the class fairly long legs.

As to benefit, that's really up to you. There will be a significant amount that is different, and a significant amount that is the same.
 
+100 for Cooper’s class. I feel much more confident with the device.

I did take my III to rehearsal last night for the first time and really struggled cutting through the mix. Would love help!

I use an SD Power Stage to a Matrix NL12 cab.

Using the same presets I made in the class, which sounded amazing on my studio monitors at home, my tone was muddy and missing punch and clarity. Definitely wet blanket-ish. I was bypassing cabs and going through Output 2 to the real cab.

My bandmate was using a cheap, solid state Fender Champ 100 and his tone was cutting through the the mix great and was super punchy.

Anyone struggled with the same thing? I know the tones are in there and it’s on me, but was really surprised.

Thanks as always!
 
The recommendation is to try and dial in patches as close to band volume as you can get. At low volumes our ears hear midrange a lot better than high and low end. So if you are dialing in patches at low volume then turn them up to band volumes, you will likely have way too much bass and high end which could come across as muddy and disappearing in the mix.
 
+100 for Cooper’s class. I feel much more confident with the device.

I did take my III to rehearsal last night for the first time and really struggled cutting through the mix. Would love help!

I use an SD Power Stage to a Matrix NL12 cab.

Using the same presets I made in the class, which sounded amazing on my studio monitors at home, my tone was muddy and missing punch and clarity. Definitely wet blanket-ish. I was bypassing cabs and going through Output 2 to the real cab.

My bandmate was using a cheap, solid state Fender Champ 100 and his tone was cutting through the the mix great and was super punchy.

Anyone struggled with the same thing? I know the tones are in there and it’s on me, but was really surprised.

Thanks as always!
Basic tricks for cutting tone are:
Use Lo cut in speaker cab to tighten up low register. Typically cut anything lower than 100.
Use Hi Cut to cut spiky and ice pick highs. I set to about 6,500-7,500 depending on amp and cabs
Use compressor cab before amp to make tone bigger (not squishing the tone) almost like a boost.
Use PEQ block after Cab block to reduce 4K Freqs and boost mids. Do this to taste.
IMPORTANT: dial these in at gig level otherwise it will not sound the same
Have a way to control all of the above so you can “stack” them or use them individually. That really helps when the room is too live or dead.
Have fun. Cheers.

PS: Another easy trick that has really worked for me in a pinch is to not be afraid to use the middle or neck pickup to make tone stand out. If you typically use bridge pickup try using middle or neck and see how it affects tone. I find the middle to be a nice balanced tone that cuts nicely. Experiment.
 
Basic tricks for cutting tone are:
Use Lo cut in speaker cab to tighten up low register. Typically cut anything lower than 100.
Use Hi Cut to cut spiky and ice pick highs. I set to about 6,500-7,500 depending on amp and cabs
Use compressor cab before amp to make tone bigger (not squishing the tone) almost like a boost.
Use PEQ block after Cab block to reduce 4K Freqs and boost mids. Do this to taste.
IMPORTANT: dial these in at gig level otherwise it will not sound the same
Have a way to control all of the above so you can “stack” them or use them individually. That really helps when the room is too live or dead.
Have fun. Cheers.

PS: Another easy trick that has really worked for me in a pinch is to not be afraid to use the middle or neck pickup to make tone stand out. If you typically use bridge pickup try using middle or neck and see how it affects tone. I find the middle to be a nice balanced tone that cuts nicely. Experiment.

All great suggestions. One simple thing I mention in the class, and I rely on this for almost every preset I use, is a nice little bumb at 1k in the amp input EQ so you're really activating and pushing the amp right in the middle of the guitar sweet spot.
 
+100 for Cooper’s class. I feel much more confident with the device.

I did take my III to rehearsal last night for the first time and really struggled cutting through the mix. Would love help!

I use an SD Power Stage to a Matrix NL12 cab.

Using the same presets I made in the class, which sounded amazing on my studio monitors at home, my tone was muddy and missing punch and clarity. Definitely wet blanket-ish. I was bypassing cabs and going through Output 2 to the real cab.

My bandmate was using a cheap, solid state Fender Champ 100 and his tone was cutting through the the mix great and was super punchy.

Anyone struggled with the same thing? I know the tones are in there and it’s on me, but was really surprised.

Thanks as always!
The recommendation is to try and dial in patches as close to band volume as you can get. At low volumes our ears hear midrange a lot better than high and low end. So if you are dialing in patches at low volume then turn them up to band volumes, you will likely have way too much bass and high end which could come across as muddy and disappearing in the mix.

What Jarick said. You have to dial in your tone to the venue, volume level and mix. You’re “bedroom” tone won’t cut it in a live mix at your local bar/club. The Fletcher-Munson effect is very real. Also setting high and low pass filters is very key in sitting in the mix properly.
 
just got this and I'm really impressed... I've only completed 1/4 of the videos and I am so grateful to Cooper for doing this

$120 is not cheap IMHO... but he really has put a tremendous amount of effort into teaching you cohesively

the biggest reason I think it's totally worth the $$ is because he has such a great teaching style... awesome job CC!!

I've owned lots of Fractal gear over the years so I already felt very capable on the Axe3, but he really ups my game and confidence on being able to make the most of the 3 and MOST importantly to do it quickly
 
THE COMPLETE AXE-FX III MASTER CLASS WITH COOPER CARTER
https://classes.coopercarter.com/axe-fx-iii-master-class-with-cooper-carter

In twelve hours of studio instruction, we go deep into the mind of the machine, recreating classic sounds, sculpting new tones, building presets, and learning how to dial in effects quickly and with confidence. Throughout the class, I'll be sharing some of the tips and tricks I've developed over years of working in the studio and onstage with bands like Dream Theater, Journey, Maroon 5, Avenged Sevenfold, and dozens of others who rely on the Axe-Fx for their tone. The $120 studio pass grants access to the complete course including all lesson modules, content on the new FC series of foot controllers, and all the presets created during the class.

VERSION 2.0 UPDATE CLASS SYLLABUS

Introduction & Philosophy

The Axe-Fx III in 2019: Welcome to V 2.0
Introduction & Philosophy

Initial Setup & The Setup Menus
Initial Setup & Gear Considerations
FC Controller Settings
Global Settings
The Input Screen
Audio & USB/AES Settings
The Pedal Page
The IR Capture Screen
MIDI/Remote Settings
Utilities
Setting Up the Tuner

Basics of the Grid & Dialing in a Clean Tone
Introduction to Axe-Edit & The Grid
Routing Best Practices & Templates
Dialing in a Clean Tone
Adding in Reverb
Dialing in Compression
The Basics of Delay
Dialing in Chorus & Further Refinements
The Perform Tabs

Dialing in an Edge of Breakup Tone
Dialing in an Edge of Breakup Tone Pt. I
Dialing in an Edge of Breakup Tone Pt. II
Organic Reverb Techniques
Exploring Compression
Exploring Edge of Breakup Drive
Creating an Ambient Space
Tremolo
The Rotary Speaker
The Perform Tab

Dialing in a Classic Rock Tone
Introduction to Dialing in a Classic Rock Tone
Dialing in a Classic Rock Tone
Exploring Drives & Reverbs
Delays
Exploring Thickening Effects
The Perform Tab

Dialing in a High Gain Tone
Dialing in a High Gain Tone
Dialing in Delay & Reverb
Making It Sound Huge
Exploring the Enhancer
Flangers
Dialing in a Wah Pedal
Exploring the Plex Delay
The Perform Tab

Introduction to Scenes & Channels
Introduction to Scenes & Channels
The Block Library & Global Blocks
Consolidating Four Presets into One Rig of Power
Special Considerations with Scenes & Parallel Routing
Exploring Wah Channels
Best Practices for Presets with Scenes
Thoughts on Consolidating Presets

Building a Live Preset with Scenes
Dialing in a Live Tone
Refining a Live Tone
Exploring the Compressor
Sculpting a Lead
Adding More Effects
Exploring the Rotary
Even More Effects
Building Gig Scenes
The Virtual Cap & Pitch Block
High & Low Cutting the Cabinet Block for Live Performance
Live Performance Controls

Recreating the "Amp in the Room" Sound
Introduction to Recreating the "Amp in the Room" Sound
Recreating the Amp in the Room Sound Pt. I - Dialing in the Tone
Recreating the Amp in the Room Sound Pt. II - EQ Methods
Recreating the Amp in the Room Sound Pt. II - Cabinet Block Methods

Advanced Amp Parameters
Exploring Advanced Amp Parameters
Exploring Supply Sag
Exploring the Variac

Using Multiple Amp Blocks
Introduction to Using Multiple Amps
Setting Up Eight Amps in One Preset & the Multiplexer
Live Mixing Between Amps

Creating a Sound on Sound
Creating a Sound on Sound Pt. I - Dialing in Two Parallel Tones
Creating a Sound on Sound Pt. II - Implementing Modifier Curves

Using Multiple Inputs for Multiple Instruments
Introduction to Multiple Inputs & Running Two Inputs into the Axe-Fx III
Running an Acoustic & an Electric Guitar into the Axe-Fx III
Running Two Guitarists into the Axe-Fx III
Running a Guitar & a Bass into the Axe-Fx III
Running a Full Band on One Axe-Fx III

Building Different Physical Rigs
Introduction to Multiple Outputs & Utilizing Multiple FRFR Outputs
Using the Axe-Fx III with a Solid State Power Amp & Cab
Using the Axe-Fx III with a Tube Power Amp & Cab or a Head/Combo
Using the Axe-Fx III with an FRFR System & an Onstage, Solid State Power Amp & Cab

Using the Axe-Fx III as an Effects-Only Unit
Using the Axe-Fx III as the Ultimate Effects Processor with the Four Cable Method (4CM)
Using the Axe-Fx III as an FX Loop Only Processor
Using the Axe-Fx III in Front of an Amp

External Control with Pedals
Introduction to External Control with Pedals - Wah & Volume
Creating a Whammy Pedal
Creating a "Talkbox" Formant Pedal
Controlling Amp Gain with a Pedal
Controlling Delays with a Pedal

Using the FC Foot Controllers
Introduction to the FC Series Foot Controller
Basics & Setup
Exploring Layouts
Utilizing Per-Preset Layouts
Customizing Multiple Live Layouts - Advanced Layout Linking
Stand-In Switches, Pedals & Further Refinement

Bonus Section
The JP IIC+ Preset

The Internal Controllers Suite
Exploring Low Frequency Oscillators (LFOs)
Exploring The Envelope Follower
Exploring the ADSR
The "Auto Koto" Effect - Advanced Controller Usage
Exploring the Sequencer
Exploring the Pitch Follower
Creating a Dynamic Lead with the Pitch Follower
Creating a Synth Lead with the Pitch Follower
Exploring Scene Controllers
Automating Tone with Scene Controllers
Applying Scene Controllers to the "Sound on Sound" Preset
Exploring Control Switches Pt. I
Exploring Control Switches Pt. II

Tone Matching
Introduction to Tone Matching
Tone Matching a Recorded Electric Tone
Tone Matching High Gain Tones
Tone Matching an Acoustic Guitar
Turning an Electric Guitar into an Acoustic

Reamping
Introduction to Reamping
Setting Up for Reamping
Reamping with the Axe-Fx
Live Reamping via USB

Controlling the Axe-Fx with a DAW
Setting Up to Control the Axe-Fx with a DAW
Creating a Preset to Control the Axe-Fx with a DAW
Automatic Scene Changes with a DAW
Automating a Wah (Or Anything Else!) with a DAW
Creative Live Harmony Lines with the Pitch Block & a DAW


Managing Presets & Cabs, Wrapping Up & Further Exploration
Managing Presets
Managing Cabs
Wrapping Up & Further Exploration



Note: I've already gotten questions asking about techniques I'm using in later sections that I explain in detail in earlier sections. I totally get the desire to want to skip right to what you most want to learn about, but I did design the class to be a progression that builds, and I truly do think even more advanced users will get a lot out of the early sections.



Awesome!!!! Thanks!
 
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