#Axe fx ii reaper usb noise reamp software
#Axe fx ii reaper usb noise reamp Pc
#Axe fx ii reaper usb noise reamp plus

Digi Pre DI in-PT HD Cuniberti Reamp (this stage is sort of optional)ĥ.

It's up to you.Īs do many, I have a love-hate relationship with re-amping however, I have been really pleased to discover just how well the Axe operates in my re-amp configuration. I usually go a mixed approach, analog in the first phase, digital in the second. When you go digital, there is a bit more that can go wrong. On a side note, in this times of ever-improving firmware, this gives you the opportunity to give older recordings the best sound.įor every of the two phases (recording dry/recording wet) there's two different ways to do it, analog and digital.

So reamping consists of two stages, first recording the dry tone, then later recording the wet signal from the AxeFx. You basically record the dry guitar tone to feed it at a later stage into the AxeFx. That said, it was still a very powerful program, and packed a lot of functionality into a small 'space' - as does the II's front panel.Reamping helps you to find the best tone for a recording. I hated Axe-Edit's UI - too eaay to get confused on just what you were editing, saving etc. I don't find the UI too bad on the front panel. I am an applications programmer by trade, and I love designing user interfaces. I'd LOVE to see what you come up with vi a visa front-panel ergonomics. Maybe at some point I'll void the warrenty by designing a different enclosure for my II - but it'll have to be road worthy AND cool AND silent.

#Axe fx ii reaper usb noise reamp plus

That, plus my dead quiet preamps and dead quiet Matrix leaves only one offender. I've seen PCs set up like this, and they are dead quiet. SS disks ARE expensive but they last longer, draw less power, and, of course, have no moving parts. I don't leave 'em plugged in, though - I just use 'em for backup. Then back up to cheap USB drives (which are quiet enough to actually have plugged in all the time, but not fast enough for 16 track simul recording).

Sure, you can damp the vibration, but my approach is this: use 2 large solid state drives, one for software, the other for recording. And in that realm, they are simply without peer.ġ) I am still researching the PCs - I could post links, but I think I'd better wait until I know - just google 'fanless pc' 'fanless server' etc.Ģ) I see no reason to have moving hard disks. it still drives me crazy - often going backwards when I roll forwards (even slooooI think it's a matter of focus, and I think that Fractal's heart is in software, not hardware. I actually sent my II back and they replaced it, and it made no appreciable difference. And at least one aspect of the hardware seems to have gotten worse with the II: I find the II's encoder on the main knob to be inferior to the Ultra's. The fan is quieter than my Ultra - but it is still way too loud for control room.

#Axe fx ii reaper usb noise reamp software

It seems to me that Fractal is SUPER responsive on software features and tone development, but a lot of the complaints about the Ultra hardware seemed to have no effect at all on the hardware design of the II, which is unfortunate. I SINCERELY hope that the fan issue is addressed with their next product.

#Axe fx ii reaper usb noise reamp Pc

If it can be done with a high-speed CPU and all the rest a PC has, it CAN be done with the Axe-FX. I am currently putting together a fan-less, solid state drives PC for my DAW for the same reason - I cannot tolerate the noise. At least they didn't think about what effect that noise would have in the studio. I think they never thought of this as a 'mixdown' device, though from re-amping to outboard fx, it most certainly is. It is true that I'm not a design engineer, but when I look at hw much heat the components in my Focusrite 8-Preamp 2U unit generate (based on their specs), and I see the elegant solution (massive heat sinks), or the solution (venting, lo speed fan) that works so well with the Matrix 2U amp, I am skeptical that a better design could not have been achieved for the II (what would adding Matrix-like venting alone have done, for example?), given all the noise we made about noise back in the day with the std and Ultra. And guess who has a tiny 15'X15' studio with only one room for tracking and mixing and all the rest? In the control room, the thing is almost unusable.

To clarify my position: the noise never bothers me on stage.