Unplug and you’re back to jumping around on stage with your wireless. Connect your wireless to the rear input and then plug into the front input to tune (using the new tuner display) or make quick adjustments. Remove the plug and the unit switches to the rear input. Inserting a plug into the front input jack automatically switches the unit to front input operation. The Axe-Fx III features two instrument inputs: one on the front and one on the back with auto-switching capability. Vastly expanded input and output resources provide for ultimate flexibility. The standard DSP module runs at 2×1.0 GHz. *2×1.25 GHz is the speed of the optional Turbo DSP module. The stunning color display is controlled by a dedicated graphics processor while USB traffic and user interface tasks are handled by a 500 MHz, 16-core microcontroller providing smooth operation and robust USB performance. To feed these advanced processors we coupled 4Gb of blazing fast PC1600 DDR3 memory, hundreds of Mb of FLASH memory, a proprietary FPGA and a rich set of peripherals.
These processors are the most powerful DSPs available delivering over twice the performance of the DSPs used in our previous generation products. Two 1.25 GHz, floating-point “Keystone” Digital Signal Processors (DSPs) comprise the main audio engine*. Continuing the legacy of this philosophy the Axe-Fx III harnesses the power of no fewer than four separate processors. The Axe-Fx II expanded on this concept by putting two of those same DSPs to work. Leveraging the power of this DSP allowed detail and realism that no other product had previously achieved. …also, a reamp box can give you the connections you’d ideally have to send something (like a vocal) through some guitar effects (like delays, phasers, or weird distortion boxes) and back in via DI.The original Axe-Fx upended the industry by being the first device for musicians to put a military/industrial-grade DSP into a consumer product. only having to have that loud bass amp pushing a loud 6X10 cab for the 5 minutes to find the right spot for the mic(s) and the 3 minutes necessary to play the song out through the reamping box into the amp then back into the daw via a nice mic/pre/converter setup. He can record his bass DI into his interface, send me the edited files, and I can record his fantastic, perfectly edited and perfectly executed playing through my collection of amps, mics, pres, etc.
He also lives 2 hours away from me so he can’t just stop by. A bass player I know lives in an apartment, doesn’t own any sort of respectable bass amp, and doesn’t own any mics that would do a good job capturing low end. Rather than having your 102db guitar amp on for 6 hours as you’re double tracking (and tracking and tracking and fixing mistakes and punching in and tracking some more and waiting for the guy with the stereo to drive by) all three rhythm guitar parts on your amazing 8-minute opus, you only have to have the amp on for the amount of time it takes to play each guitar part out to the amp once.Īnother use for reamping: I have a couple really killer amps including a nice-sounding Ampeg tube bass amp.
You can spend 6 hours getting the most perfect guitar takes recorded, spend a little time editing the perfect guitar takes into perfect guitar parts (which is easier to see now because the DI, not a distorted guitar signal, is recorded to the DAW) then send those guitar parts out to an amp that will only have to be loud for the amount of time it takes to play each guitar part out of the DAW one time – you just send that DI guitar signal out of the DAW, into the reamp box, then out to the amp/cab which will play back your perfectly edited and recorded pure guitar signal. You could record a DI guitar track and monitor through an amp modeling system at any time of any night or any child’s naptime.
#AXE FX II REAPER USB NOISE REAMP FULL#
Tom, re-amping is worth the trouble if you’ve got a situation in which you’re not able to run your guitar amps full throttle all day, every day, any time you’d like.
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