Fractal Audio Systems mystery product speculation

What is it not it is? Is it?

  • None of the above

  • Electric sex pants

  • Unsliced Bread

  • Prosthetic "tone fingers"

  • JiveTurkey's resolve to "innovate" with audio signal routing

  • Lab grown "safe & guilt-free" toe meat


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3 switches works just fine. We play everything from The Trooper to Love Shack to Feel Like A Woman. Get your shit together FFS.
Zackly!

I use my FM3 with the FM3 Only layout, works ok. Have to give a little thought to the preset structure and how to access additional functions such as the control switches, but I try to keep switch presses to 3 or less. Works OK, maybe not as convenient as my 9, but I can handle it.
 
When I was still touring, I sometimes brought just one guitar, a tweed amp and a tube screamer for a 2.5h show with quite some diversity. But with digital the fun is to bring some variety without the hassle. Else I could gig with an OD, TR-2 and a delay. I know you can get along with 3 switches but I don't want to. Especially scene/preset browsing isn't for me. I just want to hit that dedicated button and throw in some salt&pepper here and there if I feel like it making each night a little different. Just wanted to show, that there is a use case for the larger units. I also like the idea of modularity. FAS seems to be good at this with their FC stuff as it looks very integrated (no midi programming)
 
Maybe but I honestly view this as ol buddy not being a gear nerd like us

I recall him making this statement and then backtracking 🤣 still held to his statement about tubes being better but admitted to the convenience of digital for live use IIRC

He's a gear nerd in the "I can buy a ton of shit without the need to dig into every spec and analyzing every aspect of it" Both him and Mick have used a shitload of different amps over the years and Jim in particular is switching heads out regularly on the road trying new shit.
 

I watched the Tone Talk episode that these comments came from. In context he was just saying that using an amp modeler in the studio when recording for an album makes no sense because that is when you want the best possible sound and portability is not a concern. In that same episode he talked about using the Fender TMP for noodling at home and using the NDSP QC live for a backup and for gigs where their main rig wasn't available. He explained that amp modelers sound pretty close these days and they are really attractive for live use.
 
It’s like seagulls… (forties) very noticeable birds, you kinda want to shot them when they scream and act all crazy. But sometimes they calm down and you forgive them. The crows (fifties) are more cool about stuff.

So, mid 60s then.......

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