I am curious which ones you are missing and if you have experience with the real versions or just others models?
Right now, the Bandmaster, Tweed Deluxe, brownface Concert, and Brownface Vibrolux. I would also like the Tremolux, Super-Sonics, and whatever else they'll give me to, be honest.
For the four I list, I use them in my FM9 now. I have played three of the four (never the Concert), but not in some time. If I had that many amps, I wouldn't need a modeler.
My experience with real BF Fender amps is there is a lot of variation from the speaker config and OT, a little variation from different B+ voltages and tubes, and obviously some variations where the circuits are different than standard AB763 like the Super or Princeton for example. That said, with different IR's, cab sims, or real cabs, and a little tweaking of the models/controls, I think most of the tones in the lineup could be handled by just a few models.
Perhaps, but I'll explain my use case below.
The Tweeds and Browns have more variation and that I think might need more models to cover.
That seems likely to me as well.
I have a lot of gear. I am not a professional or a live performer, but I have recorded for things like web series and theater. I like effects, but I use them pretty sparingly except when I'm composing specifically for them - but I do like amp trem and reverb. One of my favorite day-to-day ways to play and create is to do the following: Grab a guitar and maybe a pedal. Plug it into an amp (or modeled amp) and dial it in for my mood, my idea, my ears that day, or whatever. Kick on the pedal, kick it back off. Ideas flow. If it was practical for me to have a wall of amps, I would. I would dial in the amps' trem and reverb (when available) as well, but that involves futzing around in a way that breaks things up.
I've been using my FM9 for that purpose, which basically means effects are either on or off. Dialing in either involves keeping the unit on a table or using an editor. Again, it breaks up the flow. I love the FM9, but that use case is not its strength. I've long weanted an amp-only modeler with a big selection of lower to mid gain sounds to experiment with. The FM9 gives me that selection,a nd I have found it exrtremely valuable to have such a nice selection of amps quickly available as presets for feeling around for the sound that fits the moment. Captures don't do it for me, and IR swapping, while certainly valuable, is also generally more fussing than I want for this particular flow. I did it with multiple Tech21 Chartacter pedals back in the day.
When the TMP was announced, I hated the idea of the touch screen, so I kind of wrote it off. I don't want to play into my phone. But as a surprise that's a whole other story, I ended up getting one. I found the interface is perfect for a player like me. First of all, you really don't have to use the touch screen much at all if you don't want to. I can set a preset for each of a bunch of amps with nothing but that amp. It takes pedals ikn the front really well. I plug in and immediately, smoothly dial in because of all the available knobs that map to an easy to read emulation of an amp control panel.
And I am not afraid to use the full range of the knobs. So the idea that I can dial one amp into the ballpark of the other msises the point. I might dial that other amp to where it can't be eplicated (or is at least a lot harder). The point is the range, especially of those low gain sounds where the range omf colors is especially rewarding for me, especially with a wide range of guitars.
