Oh, I see. No bags means you still need a way to carry and transport them.
Still, this seems like an awfully large rig for an open mic. My Atomic AA3 is the size of one big pedal. The AA12 is the size of about 4 standard sized pedals side-by-side. This rig is much bigger than that. I mean, if it works, that's great. I've wanted to try the Axe stuff for a while. I don't even normally take my 12 though, when I play live. Since I never need more than 2-3 tones (plus a switch for solo settings) the AA3 is what I almost always take.
Yes, correct. Just like you'd need some type of bag to carry your sports gear in. It would be difficult to manage transporting your sports gear without some type of bag.
I'd still require a way to protect the gear, pedalboard or not, during transit. I'm older now, and would be concerned if something happened to my gear. Since I'd like to keep this until its useful lifetime wears out, my feeling is to provide a safe environment for it while the gear remains in my household.
Fractal makes both the Axe FX III and the FM3. The Axe requires a hardshell case if you're hoping to gig. The Axe has 4 times the processing power of the FM3, which means that you can stack 2 amps and up to 4 cabs. The FM3 allows 1 amp, 1 cab, but the stereo effects with a pair of speakers is the stuff dreams are made of. With the FM3, is wise to be economic so as to avoid overdoing it with CPU usage. Not the case with the Axe III. There are workarounds for minimizing FM3 CPU usage, and I've only begun to explore these. I've made numerous changes to the presets in order to dial in the tone and sound that my head hears as my ideal.
The Axe III would provide way more than you'd ever need for a gig, but the reason my FM3 was purchased was to recreate almost every amp and rig I've ever previously owned. I've not quite spent enough time building presets and scenes for that to happen yet, and there's a lot of ground you can cover with perhaps 3 or 4 presets and 3 or 4 scenes within each preset.
In future posts, you'll see what past "gear" I've worked with, and what virtual gear comprises the rigs. Some are vintage rigs, some more modern. It's almost like being a mechanic who works on cars, old and new, restoring them. You get your hands dirty at first, but you learn what to build off of. I usually begin a preset with clean, then add saturation or fuzz with modulation.
My FC12 foot controller has a programmed HOME switch to bring me back to the first preset in my collection of presets. I've still yet to build an "edge of break-up" amp rig, but am learning how to do so. There are numerous factory rigs you can choose. I simply like selecting an amp and cab, adding some reverb and automating the process of dialing in tones. It's easy to do, and doesn't require any A/Bing or adjusting after-the-fact.
As Einstein once said, "A car can take you A to B, but your imagination can take you anywhere." This doesn't mean your imagination is better than reality, though. Sometimes, it's better to know what you're doing than guess. Don't try figuring things out unless you have a trusted reference source. YouTube G66 channel is your friend.
One additional thought I might suggest is, in the words of Stephen Hawking, "Look up and see the stars and wonder about the future, instead of looking at your feet."
I guess I'd be smarter trying to learn about things up above, than where my feet are.
What are you going to do with all of that on open mic night? Looks like it's growing quite large.
