I saw in a recent interview that he uses Parallax in the studio and replicates it with Fractal for the live tones
I recently got an FM3 and was able to get a somewhat similar patch going in my FM3 (soon to be an FM9 for unrelated reasons) by copying how Parallax works, which can be considered as 3 parallel signals or, more technically, two parallel signals with one of those consisting of two parallel signals.
The sub signal is the DI with a lowpass filter going into a compressor. The drive split is the DI with a band pass filter going into a crunchy distortion and the DI signal with a highpass filter going into a fuzzy distortion, both of which combine and then go into a cab, which then combines with the clean sub signal.
My FM3 patch uses an amp for the bandpass signal and a drive for the highpass signal, both going into an IR cab. The patch takes up around 50% CPU and even less if you use two drive pedals instead of an amp.
I've attached two variations of the preset, IDR which one I ended up using when I was replacing my Parallax preset but they're fairly similar. I wasn't trying to get a perfect 1:1 replica of Parallax so I'm sure you can get much closer by finding drives/amps that get closer and a different cab. Also, note that I like to set the highpass filter for the fuzz signal much lower than where most people would set it to, judging from the Parallax stock presets, so you'll probably want to turn that up higher for your Umanski tone. I also have a compressor right after the DI input, which is not how Parallax works, so you might want to bypass that. I do usually end up either recording with compression coming in (from my Mike-E) or using a Distressor plug-in before Parallax, which is why that's there.
