The Steel Guitar Forum

Haven't heard this unit mentioned in a while, but there is a new model out and even Bela Fleck is using one. If there is a banjo player using one I figured there might be a steel player or two.

I looked at their website 6 months or so ago, but they were way out of my price range. Didn't look like they did anything my POD HD500 wouldn't do.

Not sure what that means, I guess you mean they both sound the same on paper?

I wouldn't think the two units are direct competitors, since they are at totally different price points, have different design philosophies, and the hardware is so different. The Axe-Fx II is simply a high-end platform that lets the designer work with algorithms that require a lot of resources. He's been releasing new features continually since it shipped, somewhat to the consternation of people who have their presets dialed in perfectly yet can't resist downloading the latest firmware.

But I'm getting off topic; my intent is not to belittle anybody's rig, I'm just wondering if anybody is using the Axe-Fx II for steel.

Christopher Woitach has one.

The Axe-FX is definitely on my list of things to get. I've been using a similar, but not nearly as sophisticated rig for a few years.

Sound is so subjective, hi-tech and expensive doesn't automatically mean "great sound". The best steel sound I think I ever heard was through a Boss RV-3, into a Nashville 400, played by none other than Mr. Ron Elliot.

Actually, Mike, I've got an Eleven Rack - I looked into the Axe-fx, and I think it would great for steel for anyone not committed to the Peavy paradigm.

I went to the website and it's definitely an awesome piece of equiptment and although the price is not necessarily a showstopper for the capabilities being offered, it is significant. I guess it's about what you're looking to do with it that matters. For what I want it's way overloaded with things I'd probably never use. I thought myself to be losing it for looking at a Lexicon PCM @ $1800. When you spend $4000 or more for a new steel, I guess it's natural you want to put the best equipment around it. So maybe I'm not so far out on the edge.

I don't think you're losing it to be looking into some of the finest gear on the planet! In my opinion, gear, especially electronic gear, is being made better and better all the time. Save your pennies, get the best stuff you can afford that does what you need. If that's a 400 with two cables and a volume pedal, nothing wrong with that. I can always justify purchases because I can take it off on my taxes, and my wife is VERY understanding!

I've switched to an Eleven Rack for my normal stage rig. I find the benefits of a direct line out to front-of-house, and a consistent sound room by room, plus a 12 lb weight to justify a move from a real amp to a simulator. I was never particularly impressed with any of the POD products, but the Eleven had response and tone on a whole new level that I didn't know was possible. Axe FX is supposed to be the very best in that regard. It's worth checking out, for sure.

Burton Lee wrote:I've switched to an Eleven Rack for my normal stage rig.

I assume you go straight from pickup to the Eleven rack, to take advantage of the Variable-Z input, and to put some efx before the volume pedal and some after. What do you use for a volume control pedal? Do you back to analog and put a passive or active pedal in the Eleven's efx loop?
Or do you use an expression pedal or MIDI controller, so that you can stay digital all the way and avoid more A/D and D/A conversions? That way seems better to me. But I read that some guitar had trouble rigging up a basic volume pedal with the Axe-Fx.

I actually go guitar to volume pedal to input. The automatic impedance matching isn't a super sophisticated feature; it just dials the setting into the appropriate match for the simulated hardware configuration, so it equivalent for me either way.

I don't run any effects before the volume pedal. If I did, I'd have played more with the simulated volume pedal feature. I screwed around with it for a minute or so, but since I didn't need it, I ended up not going the distance and making it work.

My standard setup is a simulated twin with a 4x12 celestion closed back cabinet with a ribbon mic (ha!). I use a simulated spring reverb, and sometimes a compressor with an almost nonexistent touch for the way it gives sparkle to the sound like an exciter. In addition to this foundation, I sometimes add tape delay, chorus, or leslie for color in a tune.

I split the main XLR out giving left to the room and right to my own headphone mixer for a more-of-me channel vs. the band's ear mix. I also run one of the amp outputs to a GK MB200 for on-stage presence if it feels too weird without it.

I've been playing it on stage for about 6 months or more. I also did the last Eleven Hundred Springs record through it as a pro tools interface.

Although the AXE-FX looks like a very desirable unit, I went with the Eleven Rack (11R). I go directly from my pickup into the 11R and use an expression pedal for volume. I really love this approach because there is no appreciable change in tone using the volume pedal. It is very transparent. I think folks using an in-line volume pedal might require a period of adjustment to get the sound "right". I certainly did.

I go from my 11R to a Tech21 Trademark 60 and then into my recording gear. The Tech21 is a FRFR (full frequency flat response) amp that is designed to be used with units like the AXE-FX, POD, and 11R. The FBT Verve series are touted to be the ultimate amp for the AXE-FX and I would add one if a reasonable priced unit came along.

Karlis

I agree entirely with all that. I personally don't mind the effect that a pot pedal has on the instrument, and wanted to keep that.

That Tech21 product is a good tip! I am totally dissatisfied with the MB200 as a steel amp. I hear lots of people talk about how good it sounds, but it does not sound good to me, and I think the EQ is a poor fit for the steel.

I'm looking for a suitably powered 1U PA amp to drive my cabinet. Same goal- transparent sound.

I want to add that the 11R has a really neat feature if you use SPDIF to connect to your recording gear. The dry input sound can be placed on one channel and the full effects sound can be placed on the other channel. It also means that you avoid a couple of conversions (d/a and a/d) if you use SPDIF.

I found the MB200 was lacking for me as well. It is one of the reasons that I went this route.

Karlis

Oh yeah. The 11R *shines* as a recording interface. I did my recording via USB doing a wet and a dry channel. As a track-at-home solution, it is SUPER easy to put an mp3 track against the two recording channels and record excellent *repeatable* sounds at home or on the road. I recorded one of the tracks on that record after sound check on stage to a macbook pro before wrapping up. It doesn't get any easier than that.

I also love that it has two XLR main outs, plus two 1/4" amp outs, plus a headphone out. It was designed with a real working musician in mind.

Only negatives so far: Lack of continuous patching by Avid kind of sucks. Still has some minor bugs after the last firmware and expansion pack. The headphone jack was not robust enough and has become loose/broken from overuse. I plan to do a reinstall into a new rack with a separate patch panel to avoid continued wear and tear on the jacks. I also wish someone would make a model of a SS clean amp. I was hoping Peavey's MuseBox would have something Session-y or Nashville-y, but it doesn't either.

You guys using the Eleven Rack can man maybe answer a question for me...
I was told that you need to have the Eleven Rack connected to a computer for live usage. Is that true or not? I was really interested in the unit until I was to9ld about that requirement. If it is erroneous I will jump on the 11R right away.

Jim

Totally untrue.

The only time I use mine with a computer is when I record. All controls are available from the front panel.