Vast libraries of IRs and amp and effect models, as well as improvements in interface, memory, and connectivity, make the III tough to beat.
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RatingsPros:State-of-the-art modeling of an incredible array of analog amps and effects. Superb build. Improved interface. Excellent presets. Great connectivity. Deep editing possibilities. Cons: Dedicated foot controllers not available till fall of 2018. Street: $2,499 Fractal Audio Systems Axe-Fx III fractalaudio.com | Tones: Ease of Use: Build/Design: Value: |
Axe-Fx III is the latest version of Fractal Audio Systemsā flagship hardware amp and effect modeler. Itās an exceedingly powerful and potentially complex piece of gear, yet itās easy to summarize the highlights: A dramatic increase in processing power means even more detailed and realistic models. Meanwhile, a wealth of refinements and upgrades makes it easier to edit, access, and record your sounds.
Big Brain
Axe-Fx III replaces Axe-Fx IIās dual 600 MHz SHARC chips with two 1GHz Keystone processors. According to Fractal, this means the new unit multiplies the previous iterationās processing power by 2.8. Thereās also much more memory, as well as dedicated cards for USB communication and graphics. The latter makes possible one of the deviceās most welcome upgrades: a full-color editing screen about the size of a smart phone.
The depth and detail of the modeled amps, cabinets, and effects has improved too, though to my ears, Axe-Fx II already boasted the best modeling in the biz. The improvements are most dramatic on ambient effects, especially reverbs. Now Axe-Fx stands shoulder to shoulder with the best of todayās dedicated reverb processors. The final, fading reverb trailsāan acid test for digital reverbsāare gloriously naturalistic. I think I also hear improvements among some modulation effects (especially phasers and flangers), and pitch shifts seem faster and more hi-res. I suspect only a miniscule percentage of players could differentiate Axe-Fx IIIās models from hardware (i.e., the real thing) in a blind listening test. I sure couldnāt.
Got Slots?
The latest Axe-Fx has a whopping 512 preset slots, but that number is actually deceptively low. As with Axe-Fx II, each preset can contain eight āscenesā that store the on/bypass status of all the presetās components. So switching scenes is a lot like using stompboxes with an effect switcher/looper. But Axe-Fx III takes it even further: Every virtual component has four āchannels,ā each capturing specific settings for the modeled device. So imagine using a switcher/looper, with an added robot arm to change settings on each pedal. Taking advantage of these scenes and channels, you could realistically play an entire gig with justone Axe-Fx III preset. (Also, you can now store MIDI control data with each scene.)
Meanwhile, there are impulse responses (IRs) from a whopping 2,048 cabinet models (along with the 189 IRs from Axe-Fx II). You can also load third-party IRs, or capture your own using built-in tools.
Although Fractal doesnāt provide the exact names of modeled gear, you can often tell whatās represented thanks to code words like ātweedā (for an early Fender combo), āBritā (some sort of Marshall), and āClass Aā (for something with Vox or Matchless character)ābut not always. The library includes both the expected classics and a generous assortment of rare and boutique gear.
Remarkably, the models of obscure gear that some players might regard as trashy or lo-fi are at least as impressive as the better-known ones. (For exhaustive model specifics, visit the Fractal wiki, since the amp and cab lists are far longer than this article.)
All virtual components have incredibly comprehensive editing options. Yes, the presets are superb, and most users will find everything they need there. But if you dive deep, you can design your own hybrid and mutant amps using such parameters as cabinet resonance, negative feedback amount, virtual power supply, and 100 or so additional variables. It can feel like building gear from scratch at the workbench, minus the shocks and solder burns. Meanwhile, the realtime control options are vast. You can pretty much route anything anywhere, be it LFO modulation or expression pedal input. (There are two expression-in jacks.)
Living Color
The easiest way to edit Axe-Fx III sounds is via the included edit software, an elegant application where you arrange components via a grid system. (I encountered a few software glitches, but Fractal has a reputation for prompt and frequent updates. Iād be surprised if these werenāt resolved by the time you read this.) The grid has expanded from the Axe-Fx IIās 12 x 4 version to the IIIās 14 x 6 blocks. In addition to the many gear-model choices, there are endless send, return, summing, and dividing options. Want to insert external gear at any point in the signal chain? No prob.
You can also edit entirely from the front panel. Earlier Axe-Fx units had gray, bitmapped edit screens that seemed a bit out of date considering the overall tech involved, but now thereās a large, colorful display and an updated set of encoders/switches. Before this development, my reaction to front-panel editing would have been āPlease, God, no!ā Now itās more like, āYeah, I can totally work with this.ā This is a massive upgrade should you need to tweak sounds at the gig or session without a computer. (Especially since Axe-Fx, like the other leading hardware modelers, doesnāt yet support editing via mobile devices.)
Studio Savvy
The IIIās I/O options have also expanded. With four stereo outputs instead of two, you might, for example, send a stereo signal to your onstage monitors, transmit a modified version (say, with less reverb) to the front of house, and track your dry signal for later re-amping through Axe-Fx or your own amps.
I recorded the demo clips by connecting the XLR outs to a Universal Audio Apollo interface. But Axe-Fx III is a fine audio interface on its own, so you can also skip an external interface/preamp and simply connect to a computer via USB. The new USB card supports 16 channels (eight out, eight in) and the sound quality is terrific. You can also connect digitally at 24 bits/48kHz via S/PDIF and AES/EBU.
Speaking of those demo clips: The first one features ātypicalā tones using familiar effects. The second example focuses on freakier sounds. I recorded everything with a single guitar (a āpartsā Strat with Lollar Firebird pickups). All soundsāeven the weirdest onesāare factory presets. The synthesizer, formant, and arpeggiator modes are especially entertaining.
Despite all this studio savvy, the Axe-Fx III chassis (which occupies three rack spaces and weighs a bit over 15 pounds) is made of seriously roadworthy steel with a front panel made from anodized aluminum.
The Verdict
Axe-Fx III has so many upgrades and additions that this review could read like a joyless laundry list. But thereās nothing joyless about the user experienceāitās crazy fun. For most PG reviews, I usually spend about an hour recording demo clips. But with the Axe-Fx III, I ended up having so much fun I barely realized four hours had passed.
Should users of the already-fantastic-sounding Axe-Fx II make the upgrade? For me, the marquee improvements here are the front-panel interface, expanded connectivity, increased memory, improved ambient and modulation effects, humungous IR library, and powerful new scene/channel architecture. (Not to mention a zillion clever little details, such as tuning indicators right on the home screen, or āscratchpadā storage where you can stow speaker IRs you might want to use later in a patch.) How important do those features sound to you?
Fractalās new FC-6 and FC-12 pedalboard controllers will roll out in Fall 2018. In the meantime, any MIDI controller works. But according to Fractal, the new controllers will have LCD mini displays and multi-colored ring indicatorsātwo killer-sounding features.
Hardware and software modelers are increasingly sophisticated, and nowadays there are many ways to get fine tones digitally. Choosing a favorite modeling tool is often a matter of personal taste. Well, my personal taste says that Axe-Fx III is currently the system to beat.
Watch the Review Demo:
Guest picker Ally Venable
Blues rocker Ally Venable joins PGās editors to imagine what their dream late-night band would sound like.
Question: Whatās your dream late-night show band?
Ally Venable - Guest Picker
By FifthLegend from Eagan, Minnesota, United States of America - Thundercat, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=70617212
A: For my late-night show's house band, Iāve assembled a dream team. This ensemble inspires me with their unparalleled musical talents and diverse backgrounds. Chris Laytonās drumming is unmatched and he will provide a solid foundation. Iāll have Jon Batiste on keys. His creativity and energy is boundless. Eric Gales would be on guitar. I love how emotive his music is, and I strive for that type of connection within my playing as well. Finally, Iād have Thundercat on bass. His playing is infused with jazz and funk sensibilities that would tie the whole sound together in an interesting way.
Obsession: My current obsession is shifting my approach to playingāfocusing on connection over applause. Instead of chasing technical perfection or crowd reactions, Iām leaning into the emotional and spiritual side of music. Itās about creating moments that resonate deeply, whether itās with myself, my bandmates, or the audience.
David Saenger - Reader of the Month
A: I love the idea of supergroups and how each of the players would interact. On guitars I would have Nuno Bettencourt (Extreme) and Isaiah Sharkey. My drum and bass combo would be Stewart Copeland (The Police) and Mohini Dey. On keys and sax, I would have Herbie Hancock and Joshua Redman. My male and female vocalists would be Corey Glover (Living Colour) and Liv Warfield (Prince). All of these players are fantastic improvisers and really know how to put on an entertaining show in any genre.
Bassist Victor Wooten
Obsession: My current obsession has been bass. My 12-year-old daughter started playing electric and upright bass about two years ago, and itās been a blast working with her. Iāve been really focusing on having a solid pocket, and itās forced me to get better at reading bass clef. Iām taking her to see Victor Wooten next week. Canāt wait!
Jason Shadrick - Managing Editor
Jason Shadrick on the SNL stage.
A: The natural move would be to go for a high-energy party band decked out with multiple keyboards, horns, and vocalists. Iād go a different route. Iād go for a more rootsy vibe with Blake Mills leading a band consisting of Jay Bellerose on drums, esperanza spalding on bass, Bob Reynolds on saxophones, and a rotating guest each week. They could cover lo-fi Americana, funky open-tuned blues, and so much more.
Obsession: This month is slightly less obsession and more reflection as this will be my last issue as Managing Editor for PG. Over the last 15 years Iāve worked on 182 issues, which is kinda mind-boggling. Iāve been lucky enough to do some incredible things during my time at PG, including walking through the host door at SNL and spending a few minutes with Brian May. Never could have imagined it. I am very grateful.
Nick Millevoi - Senior Editor
A: Iāve long said that joining one of the late night bands would probably be my absolute top dream gig. So, if I were choosing my own late-night band, from any era, I would go no further than getting a chance to sit with Paul Schaffer and the Worldās Most Dangerous Band or G.E. Smith-era Saturday Night Live Band.
Obsession: The late guitarist Jef Lee Johnson, who spent time in Schafferās band, had a heavy resume that included stars of all genres from Billy Joel to the Roots to McCoy Tyner. I got to see him play some low-key gigs around Philly, and each rearranged my molecules. Itās only now, years after his 2013 death, that Iāve become obsessed with his discography. Though much of his work was as a high-level sideman, his albums show the broad range of this masterful guitarist, whose tone, feel, and phrasing conveyed the instrumentās deepest emotional capabilities.
At its core is GTRSā upgraded G151 intelligent system, offering 128 onboard effects, MNRS amp and cab sims, and even 17 guitar emulationsāexclusive to this model. Everything is controlled via the eye-catching Super Knob, which changes color to match your preset, as well as through the Bluetooth-connectible GTRS app.
GTRSā W902 features select tonewoods and construction: an alder body, poplar burl top, and a sleek bolt-on 5-piece neck made from roasted flame maple and rosewood, with satin natural finish and a rosewood fingerboard. The fanned fret design features 24 white copper frets and a stainless zero fret. A pair of GTRS Alnico V pickups and an HL-II bridge deliver a resonant tone, made particularly versatile thanks to the 5-way tone switch and tone knob.
The W902 offers a truly innovative choice for tech-savvy guitarists. Its features include a wireless transmitter, OTG recording, an 80-second looper, metronomes, and a drum machine, the app-supported guitar boasts up to 12 hours of playtime on a single charge (9 hours with the wireless transmitter in use).
The W902 is an upgraded version of the original W900 Intelligent Guitar, and the W902 most notably features an upgraded GTRS Intelligent Processor System, the G151, which even offers upgrades over the GTRS SL810's recently announced G150 system. The G151 system comes with a staggering 128 effects pre-installed, along with 10 of both MOOER's in-house MNRS amp and cabinet simulation profiles. Exclusive to the W902, the G151 system even includes 17 guitar simulation effects, allowing guitarists to emulate the tonal resonance of some of their favorite guitars.
To activate and browse through presets within the G151 system, which can be connected via Bluetooth 5.0, guitarists can use the guitar's Super Knob, which lights up in different LED colors depending on which preset is activated. Of course, users are able to get stuck into and edit the effects chains of presets through the GTRS app, enabling them to craft their own favorites through their mobile device. The guitar still functions without the G151 system; the Super Knob just needs to be turned off, and the W902 is usable as a regular electric guitar.
Within the GTRS app, there is even an 80-second looper, 10 metronomes, and 40 drum machine grooves built in, providing users with an all-in-one suite for guitar practice and composition. This is especially the case when combined with the W902's OTG-recording support, enabling on-the-go recording without the need for a hardware recording setup.
The W902 comes bundled with a GTRS Deluxe gig bag, three guitar wrenches, a USB 3.0 cable for charging, and a user manual. The guitar even contains a wireless transmitter and an integrated 4000mAh Li-ion battery, providing up to 12 hours of continuous use (9 hours with the transmitter in use), allowing users to enjoy the G151 system through headphones or an amplifier.
Guitarists who want to experiment further with the W902ās technology can connect the intelligent system to the GTRS GWF4 wireless footswitch, which is ideal for switching between presets in live scenarios when control through a mobile device isn't practical.
GTRS W902 Guitar construction features:
- Alder Body, 5-Piece Selected Roasted Flame Maple and Rosewood Neck with Satin Natural Finish (C-Shape)
- Bolt-on neck, 25-1/2" scale length, with dual action steel truss rod
- Rosewood fingerboard, 12ā radius, 24 white copper (0 fret stainless) fanned frets
- Built-in wireless transmitter
- Super Knob, Volume Control Knob, and Tone Knob, 3-way tone-selection switch
- GLB-P1 Li-ion Battery (4000mAh, up to 12 hours of continuous use, 9 hours with the wireless transmitter in use)
- USB port for charging and OTG recording
- GTRS Deluxe gig bag, 3 guitar wrenches
GTRS G151 Intelligent Guitar System features:
- GTRS G151 Intelligent Processing System (and GTRS App)
- 128 effects, 10 MNRS amp (GNR) and cabinet (GIR) simulation models
- 17 guitar simulations
- 80-second looper, 40 drum machine grooves, 10 metronomes
- Bluetooth 5.0 connectivity
- GTRS GWF4 wireless footswitch support (sold separately)
The GTRS W902 is now available worldwide. For more information visit www.gtrs.tech.
Detail of Tedās 1997 National resonator tricone.
What instruments should you bring to an acoustic performance? These days, with sonic innovations and the shifting definition of just what an acoustic performance is, anything goes.
I believe it was Shakespeare who wrote: āTo unplug, or not to unplug, that is the question. Whether ātis nobler in the mind to suffer the slings and arrows of acoustic purists, or to take thy electric guitar in hand to navigate the sea of solo performing.ā
Four-hundred-and-twenty-four years later, many of us still sometimes face the dilemma of good William when it comes to playing solo gigs. In a stripped-down setting, where itās just us and our songs, do we opt to play an acoustic instrument, which might seem more fittingāor at least more common, in the folksinger/troubadour traditionāor do we bring a comfy electric for accompaniment?
For me, and likely many of you, it depends. If Iām playing one or two songs in a coffeehouse-like atmosphere, Iām likely to bring an acoustic. But if Iām doing a quick solo pop up, say, as a buffer between bands in a rock room, Iām bringing my electric. And when Iām doing a solo concert, where Iāll be stretching out for at least an hour, itās a hybrid rig. Iāll bring my battered old Guild D25C, a National tricone resonator, and my faithful Zuzu electric with coil-splitting, and likely my gig pedalboard, or at least a digital delay. And each guitar is in a different tuning. Be prepared, as the Boy Scouts motto states. (For the record, I never made it past Webelos.)
My point is, the definition of the āacousticā or ācoffeehouseā performance has changed. Sure, there are still a few Alan Lomax types out there who will complain that an electric guitar or band is too loud, but they are the last vestiges of the folk police. And, well, acoustic guitar amplification is so good these days that Iāve been at shows where each strum of a flattop box has threatened to take my head off. My band Coyote Motel even plays Nashvilleās hallowed songwriter room the Bluebird CafĆ© as a fully electric five-piece. Whatās key, besides a smart, flexible sound engineer, is controlling volume, and with a Cali76 compressor or an MXR Duke of Tone, I can get the drive and sustain I need at a low level.
āMy point is, the definition of the āacousticā or ācoffeehouseā performance has changed.ā
So, today I think the instruments that are right for āacousticā gigs are whatever makes you happiest. Left to my own devices, I like my Guild for songs that have a strong basis in folk or country writing, my National for blues and slide, and my electric for whenever I feel like adding a little sonic sauce or showing off a bit, since I have a fluid fingerpicking hand that can add some flash to accompaniment and solos. Itās really a matter of what instrument or instruments make you most comfortable because we should all be happy and comfortable onstageāwhether that stage is in an arena or theater, a club or coffeehouse, or a church basement.
At this point, with instruments like Fenderās Acoustasonic line, or piezo-equipped models from Godin, PRS, and others, and the innovative L.R. Baggs AEG-1, itās worth considering just what exactly makes a guitar acoustic. Is it sound? In which case thereās a wide-open playing field. Or is it a variation on the classic open-bodied instrument that uses a soundhole to move air? And if we arrive at the same end, do the means matter? There is excellent craftsmanship available today throughout the entire guitar spectrum, including foreign-built models, so maybe we can finally put the concerns of Shakespeare to rest and accept that āacousticā has simply come to mean ālow volume.ā
Another reason Iām thinking out loud about this is because this is our annual acoustic issue. And so weāre featuring Jason Isbell, on the heels of his solo acoustic album, a piece on how acoustic guitars do their work authored by none other than Lloyd Baggs, and Andy Fairweather Low, whose new solo albumāand illustrious careerāincludes exceptional acoustic performances. If youāre not familiar with his work, and you are, even if you donāt know it, he was the gent sitting next to Clapton for the historic 1992 Unplugged concertāand lots more. There are also reviews of new instruments from Taylor, Martin, and Godin that fit the classic acoustic profile, so dig in, and to heck with the slings and arrows!Ernie Ball, the worldās leading manufacturer of premium guitar strings and accessories, proudly announces the launch of the all-new Earthwood Bell Bronze acoustic guitar strings. Developed in close collaboration with Grammy Award-winning guitarist JohnMayer, Bell Bronze strings are engineered to meet Mayerās exacting performance standards, offering players a bold new voice for their acoustic guitars.Crafted using a proprietary alloy inspired by the metals traditionally found in bells and cymbals, Earthwood Bell Bronze strings deliver a uniquely rich, full-bodied tone with enhanced clarity, harmonic content, and projectionāmaking them the most sonically complex acoustic strings in the Ernie Ball lineup to date.
āEarthwood Bell Bronze strings are a giant leap forward in tone, playability, and durability. Theyāre great in any musical setting but really shine when played solo. Thereās an orchestral quality to them.ā -John Mayer
Product Features:
- Developed in collaboration with John Mayer
- Big, bold sound
- Inspired by alloys used for bells and cymbals
- Increased resonance with improved projection and sustain
- Patent-pending alloy unique to Ernie Ball stringsHow is Bell Bronze different?
- Richer and fuller sound than 80/20 and Phosphor Bronze without sounding dark
- Similar top end to 80/20 Bronze with richer low end than Phosphor Bronze