Hopefully....I'm going to eat some crow (Fender Tonemaster Pro content)

Agreed something like
A Morgan , Two Rock
Toneking , Divided by 13
Would fill out the list

And of course a Bogner XTC 101b

^^ Yep ^^ even just these 2 would give you access to a whole range of crunchy / edge-of-breakup / mid-gain / rhythm-rock tones that would well and truly cover a huge number of bases.

But in fairness to the TMP Team, it is still very early days !

B.T.W .... has there been any analysis / evidence -good or bad- as to how this unit is in terms of aliasing ? compared to the other big players like Fractal, L6, QC ?
 
How would you know? From what I can read it says “you never bought shit”.
Whatever dude…. Even a fool can see the touchscreen gui is way easier to use then the fractal gui. Without even playing one. I did play the tmp for 2 hours in a secluded room at gc and found the integace a breeze to use as was the headrush core.
 
Timbuck when he discovers a fresh new TMP thread:

Moth
 
I was just doing some TMP Googling and I read that FX Loop 1 and FX Loop 2 are both "fully Analog" and both are "pre-any-AD/DA" processing (?) If true (?) - that's 2 pretty cool features (?)
It is true. They are pre everything and not moveable but also pre ad/da and don't add to latency etc.
 
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I don’t know about the el84 and boutique amp models. Normally those type of amps are my bread and butter, but Fender doesn’t tend to do a very good job modeling those types of amps. The Vox models are already the weakest point in the TMP IMO. I worry that any new models of this type could be a disappointment.

What Fender does best are Fender amp models. I think I would rather see some brownface models, maybe a blackface Tremolux and a Bandmaster, and a tweed Twin.
 
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I was stumped on this for a bit as well. You can’t just drag a block to fork out the signal path like you’d expect. There’s an option somewhere in the preset you’re working on to choose a signal path, kind of needs to be defined and then you drag components where you want them. A bit more cumbersome than fractal where you just put things down then connect it, but that’s how it works.

It mainly annoys me now when I want to do dual amps I have to change the type, and then if I want it back to a single I have to change the type again. Hopefully they streamline that at some point.
This is the one thing that would make me hesitate to adopt TMP over QC. Being able to quickly adapt routing on the fly is critical to the way I work, and sometimes the way I work with others, as new instruments are spontaneously introduced and we need some processing for them. This, and the idea of analog, first in chain fx loops, just seems too rigid/ limiting.

Also prefer the size and DC input on the QC, but I have spring reverb envy for the TMP and assume its S/N ratio is higher on average as well. Win some, lose some…
 
Odd choice tbh…leaves “drives in the loop” as the only usecase?
No 4cm, no time efx from external units?… must be a mistake in the manual ;)

There are two additional loops you can place anywhere in the chain

This is the one thing that would make me hesitate to adopt TMP over QC. Being able to quickly adapt routing on the fly is critical to the way I work, and sometimes the way I work with others, as new instruments are spontaneously introduced and we need some processing for them. This, and the idea of analog, first in chain fx loops, just seems too rigid/ limiting.

Also prefer the size and DC input on the QC, but I have spring reverb envy for the TMP and assume its S/N ratio is higher on average as well. Win some, lose some…

From someone who has had both I’d say that all tracks. S/N ratio is definitely much better on the TMP, and spring reverb goes without saying :grin

Personally I prefer IEC power over the DC wall wart, but that’s just a personal preference thing
 
This is the one thing that would make me hesitate to adopt TMP over QC. Being able to quickly adapt routing on the fly is critical to the way I work, and sometimes the way I work with others, as new instruments are spontaneously introduced and we need some processing for them. This, and the idea of analog, first in chain fx loops, just seems too rigid/ limiting.

Also prefer the size and DC input on the QC, but I have spring reverb envy for the TMP and assume its S/N ratio is higher on average as well. Win some, lose some…

It's very flexible in terms of moving things around or adding on the fly and swapping in and out. It's easy to make scenes on the fly as well.

It's just that adding parallel paths requires you to go into a secondary menu. That's easy enough (once it was explained to me) and just one button press away, BUT one might want more routing flexibility than the 10 options on that menu. The parallel paths option was sufficient for me.

The S/N ratio is honestly great, but the size is considerably more than the QC. I like it for the better screen and increased foot switch spacing.
 
^^ Yep ^^ even just these 2 would give you access to a whole range of crunchy / edge-of-breakup / mid-gain / rhythm-rock tones that would well and truly cover a huge number of bases.

But in fairness to the TMP Team, it is still very early days !

B.T.W .... has there been any analysis / evidence -good or bad- as to how this unit is in terms of aliasing ? compared to the other big players like Fractal, L6, QC ?

I've not had a lot of use for those amps when I played tube amps, but crunchy, edge of breakup and similar midgain tones are NOT a problem for the TMP.
 
Silly question but anyone here has a chance to play both Headrush core vs Tmp? I rented one Headrush core last week and was impressed, the UI look alot alike TMP
 
Silly question but anyone here has a chance to play both Headrush core vs Tmp? I rented one Headrush core last week and was impressed, the UI look alot alike TMP

Yeah, my band mates have one, and I haven't done a side-by-side comparison yet, but.....the TMP is better. Waaaaay better and more varied effects, better UX/UI, better I/I, better Marshall tones.

Headrush is...fine. The base tones will get the job done, but nothing about it is inspiring to me, and you can just look the approach of development and support of both of the companies behind each to know the difference.
 
Signal routing is archaic. I don't see how anyone putting a touchscreen on something would also look at that methodology and think that it's a good implementation.

It's definitely not Fractal flexible. I think there's only really two possible horizontal lanes, so it's a sub Helix/QC in flexibility too. Much as I enjoy it, that's the sacrifice that likely had to be made to enable the skeuomorphic interface.

But it comes at a cost, no question.
 
It's definitely not Fractal flexible. I think there's only really two possible horizontal lanes, so it's a sub Helix/QC in flexibility too. Much as I enjoy it, that's the sacrifice that likely had to be made to enable the skeuomorphic interface.

But it comes at a cost, no question.
Just getting to it to change it is sub-suboptimal, imo. It's a neat piece but I don't miss anything about it other than poo switches, gun to my head?
 
Just getting to it to change it is sub-suboptimal, imo. It's a neat piece but I don't miss anything about it other than poo switches, gun to my head?

I don't find it too bad. If you're on a preset with stuff laid out in series already, you just tap Preset Settings, then tap whatever the configuration thing is and choose the Parallel routing from there. Yes, it's more cumbersome than simply dragging something down to create a secondary lane like you can do on Helix or QC. It's also way more expedient than trying to do it on FM9.
 
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