You can replace Meris and Kernam with whoever is properly innovating. I’m not going to die on that hill.
Stryrecta - I love that!
You mean like the "workflow" involved in learning to play guitar? Or violin, or oboe, or saxophone, etc., etc? Is it your belief that the design of these instruments is somehow deficient because it takes years of effort to become good at playing them? Do you honestly believe that the time required to learn about signal processing - equalization, gain staging, dynamics processing (e.g., compression/limiting) - is significantly less? In order to effectively use a signal processing platform as powerful as a current modeler to make "inspiring" music, you're going to need that knowledge.
"Getting to the music" is always a struggle carried out over a lifetime. Any notion that you can buy your way out of that struggle is delusional.
Does every good or great musician or "fill in the blank" know the ins and outs of their tools of choice? Coaxing a great tone or feeling from your instrument is a totally different skillset than knowing how your instrument is constructed or even how to get the instrument to its optimal, peak performance level. I enjoy both aspects myself but there are many, many musicians who could give two shits about all the deep diving tech stuff, the why and how--- they just want the 'does it do this and this', so "i can handle the music side of things without any fuss".
I prefer flagpole.
If they really are "good or great musicians," they know very well how to use those tools. And, more importantly, they put in the time required to acquire those skills. No purchase decision will render the payment of dues unnecessary....
That's a straw man. I made no reference to "knowing how your instrument is constructed." A master guitarist need not also be a luthier. Likewise, a skilled studio "engineer" doesn't have to be able to write DSP code or design analog circuits.
Are you saying those musicians "don't give two shits" about knowing how to play their instruments? I know a few folks with that kind of attitude, but I don't characterize them as musicians.
Honestly, I have no idea what you're on about. You threw out the straw man originally when you said:
So is someone wrong for being ok with how they develop their sound to share with an audience-- no matter how they accomplish that? They must think a certain way and that's it??
That's not a straw man; it's germane to the notion of "the latest standards." You know, the subject of the thread.
As to the subject of the thread -- I think modeling companies and designers should do whatever they want to do.
Have you used it first hand? I thought the user interface was fine. I just found the main selling point of “delay machine with all the sounds and modularity” very underwhelming. The thing models like 3 very basic delays and has pretty basic building blocks to work with…
For me it made things even clearer about what's here to stay as 'standard', it's usually the things that make the modeler obviously worse if taken away.
This is why people like you Drew, you explain things better.
I've tried it briefly at a store as it was on display, did not even plug in a guitar or anything. Hated the bubble UI, it just needed a lot of selection for anything. The Text view to me made more sense but was not that pleasant to use either.
At the same time, any gaps on Fractal never bothered me and I found those highly technical 6 part posts on Fractal forums just the ramblings of someone who makes a mountain out of a molehill. Sure, removing the gaps is nice, but it doesn't really make a big difference to how I use my Axe-Fx 3.
(at that time I had the Eclipse at the fx-loop of the Boss GT-Pro - which had zero gaps)
Having owned Eventide rack gear, gaps have never bothered me since the moment that I moved to the first Axe-FX Standard and sold the Eclipse and the H3000. These did not had gaps, they had abysses! When switching between effects connected in series (e.g.: modulation) there was a total silence during the gap. You could not even hear the dry signal!!
I once complained at the old Eventide forum about the gaps of the Eclipse, and that smartass Italo told me that Eventide gear is meant to be used with professional equipment
I’m almost alone in not liking the h90/9 . The factor pedals sound massively better imo . It must be a hardware thing because the algorithms are supposedly the same on the H9. But I never thought Eventide reverb was good compared to my old Lexicon pcm 42 anyway and the old 2290 is still my favourite delay from a tone perspective.Hahahahha Italo has told me my ears are broken because I love the TC Electronics G-Force and for some reason that dude REALLY hates that thing.
