Tone Matching has taught me...

that I really don't need tone matching. I love the feature and I've finally been able to get really close on some long sought but unattainable tones. A few that I've struggled with over the years are "Custard Pie" by Zep or even "Crazy Train" or "The Spirit of Radio" for that matter. I've been able to get really close in the past, but there was always something missing. A big help has been getting isolated tracks (ogg) or obviously tone matching a song that has solo guitar sections or intros.

With tone matching I've been able to get closer than ever before and what I've learned is that I just prefer to dial the tone in myself and make sure that it's in the same zip code but I don't care as much about nailing the tone exactly. I used to think that was the missing element and if I could just match that original tone then all the pieces would fall into place, but I've discovered that my personal preference for tone outweighs my need to have a perfect match. This is also somewhat corroborated by all my favorite guitar players who rarely use the same gear for more than an album/tour or two.

Most important for me is being able to hold up my end of the bargain as a player.

Fortunately, the Axe is more than capable of building tones from scratch and it's more powerful and flexible than ever.
 
I think Tone Matching is a powerful tool as implemented in the Axe-FX II and for many, it is a godsend to years of trying to 'nail' a given tone.

My personal situation and opinion are exactly in line with Strumzilla - I'm more about doing my own thing. Perhaps in the same vein as something before, but to me Tone Matching is another tool in the tool box and not any sort of 'cure-all' because this box doesn't need a 'cure-all' if you know what you want and how to get it. The box gives you back what you want if you take the time to 'get' into the box.

That said, I also personally view Tone Matching as a panacea to those that do not have the time, experience, patience or expertise to dial in a given tone. It's instant 'dial a tone' if you have the source material you want to nail that 'last x%' past 'just' dialing up a good tone. It certainly does the job, and with the tools in the Axe-FX II TMA block... smoothing, level, etc - it adds quite a nice palette of tools beyond - sometimes far beyond - what folks do with Ozone and other DAW based EQ Matching.

The ability to export as an IR is another wickedly powerful tool.

I love the power and options. I think once the sharing platform (Axe-Exchange) comes on line that the real power of these tools comes into play because you can quickly share yours and try others' results and dial your own thing down faster and with much more variety than someone still 'bouncing around' in the box might see/hear/dial right away.

IMHO, it is a win/win. I love that you can shoot your own IR of your cab and then shoot a TM of your amp. The power of that coupled with the cutting edge modeling preamp/poweramp algorithms is heady stuff.
 
Great for the studio player who constantly hears "I want the solo to sound like the solo in [insert solo tone recording here]." Also a heck of a lot of fun to play with, IMO. In great respect to the guys who worked on the Axe Fx presets I have found that I can find a completely workable tone already in the unit, with minimal (or sometimes no) tweaking. Then there are the many, many amp and cab options to build from. Add in those gracious souls who regularly share presets here and it is really more than I can use on stage.

I do love having the option, though!
 
I think its an amazing thing for cover bands and tribute bands (They are two different things!) but for me as an original music player, I haven't really actually used it. I think its amazing feature to have and I don't hate it for being there, I just personally don't have an immediate use for it.
 
as I thought, tones taken out of pro mixes may sound like shit! others pretty cool. sometimes its a good starting block as well.
 
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