Touch Sensitivity?

Put your amp in an isolation booth and record it. Then get back to us. If you feel the Axe-Fx is lacking in accuracy after doing this you should sell it.
I have done this many times, hence why I posted. My issue is learning how to tweak things enough to make it sound real like a recorded amp. Axe gets me pretty close (esp with all the recent tips, and yes I like the volume piece) and is great because I can record demo stuff and no blow out my neighbors, so I am thankful for axe iii. So many options in that box, and I am sure I still have a lot to learn on how to tweak it. I am not sure you get saying if you don't like it sell it. Maybe I hurt your feelings. IDK. I am keeping it for the time being, as I think it is the best modeler out there for my needs. Thanks all for your help.
 
I know this conversation has reached its limits but @huangqi01, I don’t think you ever posted a recording and/or preset to show us what exactly you’re doing in the axe fx. That would be most helpful. Post a preset/recording that got you the closest to what you want
 
The axe sounds exactly like recorded amps, so any issue to me says you tweaked settings that didnt need tweaking.

Know how many people get stuck for hours on the first two factory presets? More than 0 ;)

Post a preset, post a recording. Or else this was discussion for the sake of it, which probably wasnt the intent for most responses.
 
I have done this many times, hence why I posted. My issue is learning how to tweak things enough to make it sound real like a recorded amp. Axe gets me pretty close (esp with all the recent tips, and yes I like the volume piece) and is great because I can record demo stuff and no blow out my neighbors, so I am thankful for axe iii. So many options in that box, and I am sure I still have a lot to learn on how to tweak it. I am not sure you get saying if you don't like it sell it. Maybe I hurt your feelings. IDK. I am keeping it for the time being, as I think it is the best modeler out there for my needs. Thanks all for your help.

Post these clips you've recorded "many times." We'd all love to hear the touch sensitivity and dynamics you're talking about that the Axe-Fx supposedly lacks.

psst. the Axe-Fx doesn't lack touch sensitivity and/or dynamics
 
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Do you have a preset that does this that you can share? I use studio monitors. But headphones also sometimes. The recorded clip was amp not in room with guitar.
SmallBox the preset is incredibly expressive. Using Volume and tone knobs on guitar, and a mix of finger style and pick delivers a world of dynamics, tones, plucks, distorted sounds, clean sounds.
 
I had an Egnater Rebel 30 once. It had Direct out for recordings. I used that feature often, always to my disappointment, amp directly Into same interface my Fm3 is now plugged into. I get way better results these days.

In my 10+ years with that amp never ever I was able to make Egnater's DIrect out feel and sound close to what I was hearing even on the lowest volume that amp could produce, as it's lowest volume was already a few times louder than my monitors. It just never had same "pop" and bloom as 12-inch Selection Elite 80, even if they had the same IR in the box, simply because of that. I'm sure in a studio you don't need to be shy with volume when monitoring, that's why isolation booth can work.

Maybe try another combination of amp-cab+response curve which would get you closer to the feel you are looking for? It all starts there for me.
 
You don't need to tweak anything. Just be louder.

Touch sensitivity and "headphones" don't really go together unless you want to go deaf for the dynamics. Studio monitors at polite volumes will also not have dynamics. There isn't enough dynamic range. This has nothing to do with digital vs solid state vs tube.
 
I'm guessing that 90% of active forum members, which are also a huge makeup of the consumers, are not pro musicians with huge budgets, high end recording studios, and access to staff to setup, calibrate, tweak amp setups etc. I have a guitar friend who often tells me that the "real amp in the room" is only what he wants to play through. Fair enough.

We live in different states, so last month I suggested that we start creating some scratch tracks to share musical ideas, guitar licks, arrangements, sounds, etc. That exercise bloomed into me creating 3 fairly decent songs. which were derived from initial lyrical soloing over some simplistic but interesting harmony. I guessing it's what most of us do.

Each tune developed into 6 guitar parts (or so), with a variety of clean, edge of breakup, distorted, fine-tuned reverb/delays, etc. I play bass and keys as well, and use SD3 for drumming. The exercise is fun, for it really pushes you to write in interesting and intriguing ways, work hard on economy of sound, but having something valid to say, and continued to grow my mixing skills. A part of the exercise was to send him arrangements with guitar parts left open for him to contribute and send back as a collaboration.

The end result was that I created, performed, mixed, and evolved music, and his contribution with his amp rig has been nothing. The fractal enables me to dial up "test sounds" for each part, making sure that the frequencies mesh well together, the counterpoint is grooving, and the "band mix" is accurate and high quality. I'm pretty sure that when he tries to record his addition to the tracks, inspiration is low, and that he can't get his sound to fit with the mix.

IMO, this is why we own fractal products. It's an unlimited paint brush, that sounds fantastic, and when used correctly, produces super high-end results. It's easy to return to the project the next morning, and re-record the bass part, or punch -in a lead bend that wasn't up to the recording standard.

So when I hear that someone can't get a proper recorded tone on the fractal that is "as good as the amp", I wonder what they are really creating. It makes me think they aren't creating anything, for they seem focused on perhaps the least important part.

Music is a wonderful world, and as musicians we are learning every day all the time. New content, new expression, new sounds, new skills with multitrack recording is a vast world. Those with open eyes and ears, revel in enjoyment and personal success. For me, music is about utilizing my influences, my preferences in harmonic and rhythmic sound, and creating "my take" on expressing it. The best gear is the setup that enables you to do just that - celebrate music.
 
To me, the Output Compression parameter is essential for that kind of feel. I set it at about 1 or 1.5 and it really adds some squish to the sounds. It’s an amazing parameter. I don’t find the Gain Enhancer that useful tbh. The addition of impedance curves changed everything IMO. Since then, I have had the most amazing sounds.
 
To me, the Output Compression parameter is essential for that kind of feel. I set it at about 1 or 1.5 and it really adds some squish to the sounds. It’s an amazing parameter. I don’t find the Gain Enhancer that useful tbh
I'm not sure it applies to all amps, but for my weapon of choice for this Spring - Pool of wrecked liver - 0.5 of Feedback compression gives more clarify than Gain Enhancer and better feel than Output type.
 
To me, the Output Compression parameter is essential for that kind of feel. I set it at about 1 or 1.5 and it really adds some squish to the sounds. It’s an amazing parameter. I don’t find the Gain Enhancer that useful tbh. The addition of impedance curves changed everything IMO. Since then, I have had the most amazing sounds.
I find this interesting because everyone always says compression is what gets you all this touch sensitivity. But I've found that the input dynamics set to around .5-1 really gets you that. And positive values for input dynamics is actually expanding the signal, the exact opposite of compression.

Intuitively, that makes sense to me. You play soft and it makes it softer, you play hard and it makes it harder. I really only use output compression just to even out extreme peaks so the sound guy is happy. It doesn't really affect the feel for me, at least not in the way the input dynamics do.
 
It just never had same "pop" and bloom as 12-inch Selection Elite 80, even if they had the same IR in the box, simply because of that. I'm sure in a studio you don't need to be shy with volume when monitoring, that's why isolation booth can work.

Maybe try another combination of amp-cab+response curve which would get you closer to the feel you are looking for? It all starts there for me.
I’ve been having a great time with the new Room parameters in the Cab block. I’ve figured out how to set it to simulate the interaction with the floor around the amp. This is one of the biggest ”missing pieces” IMHO. If the OP is still looking at this thread, I would highly recommend checking this out.

https://forum.fractalaudio.com/threads/using-new-cab-room-reverb-live.211796/
 
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