It's actually surprising fender would send it to Mr. Scott, who is a vintage purist. Then again, I suppose if you can convince him, you can convince others?
Smart to send it to someone who has a good channel, plays like a monster and doesn’t use this type of gear. I can’t play anything like him but I’m pretty clueless to modelers and all the digital do dads. I have an HX Stomp and don’t enjoy navigating the menus. Smart of Fender. Bummer it’s priced where it is even if it is comparable to other similar products at this price point.
The people at Fender seem pretty cool and are trying to keep the history while moving into the future. I appreciate the opportunity to try this new stuff despite my dead pan delivery, it was pretty fun.
I was a long time denigrator of digital amplification (digital effects were okay). But about a year ago I decided to explore amp modelling. Here’s what I did: First I went the cheapest route, because I was sceptical of why most of the popular modellers are so expensive. People crap on the Zoom products, but I’ve done extensive comparisons, and believe me, $1500 amp modellers *really* don’t sound much better than the Zoom MS50. They all sound digital (fizzy/sizzley on top). They all have that sound of a miked or recorded amp that you’re listening to on a monitor rather than an amp in the room with you. So, given that, it’s ridiculous that people will go for the most expensive options out there. The key thing I have found is that you have to forget about the presets. They are all going for a fully produced sound, like on a recording. Instead go straight to a basic amp with No effects, and start building a sound from there. Next, keep the gain down. What I’ve found is that most of the amp models can sound decent to quite good, at clean to edge of breakup tone. The more dirty you try to get them, the more they sound fizzy and digital in the treble, and the more you have to struggle with EQing to try to get them sounding decent. My current digital model of choice lately is a Brownface Vibroverb in the Zoom. Again, set to edge of breakup, with a bit of subtle room reverb behind it, is a great base tone. Adding a moderate spring reverb in front and/or a very subtle slapback (with a dark repeat) thickens the sound nicely. A mild clean boost adds a nice articulate bite without it sounding fizzy. I think why the sound of most of these modellers fails, is user error. You got all these options built into a unit, and the temptation is to push it over the top, but subtlety is the key. Btw, I never use the overdrive or distortion pedals in the unit. Those are totally the weakest link. Alternatively, and surprisingly, some of the best effects in it are some of the ones most pedal companies fail at doing well - the Rotary speaker effect and Univibe are remarkably good, especially when you consider that each effect in the unit works out to cost about $1, and there are really bad Rotary and Univibe pedals out there that cost hundreds. Also, the Tape echos are quite good. Another thing I think people don’t think about is that if you have some issues with some tones of some effects, you can stack graphic or parametric EQs and/or compressors before or after in the chain, and tweak 90% of issues away, easily.
Dear Fender, if you reading this. I really appreciate you don't push youtubers to say how you new gear is so awesome and you can't tell the difference, etc. Just wanted to say - i absolutely adore that clean Fender sound and this box you've come up with is doing it so good, and it's one of the most beautiful things in the world. And as i still can't get enough of my Mustang V2, i'll definitely get myself a ToneMaster when i'll have a chance. Love you, guys. And absolutely love your beautiful playing, Matthew.
This guy's playing gets better every video. You can really see his practice routine come through in this one 🤟. Tip for the players: don't start your guitar life off with pure practice routines; learn enough to play and create an ear and feel for what you love (this will help you develop your own style of playing and integrate your influences as a player as well) fact: you will get lovesick and wont be able to put your guitar down instead your guitar turing into a frustration punching bag. only then you'll know exactly what you need to practice to become the player. I know I sound like I'm fantasizing but its true. Let's see if Scott agrees
Very true. Been playing about 4-5 years. Just been learning theory and playing what I want and I know exactly what I need to learn to sound how I want. Definitely has made me a better player. Don't understand how players can't play every day
I wish you would have hooked it up to the matching powered speaker and just loaded an amp with no effects to dial in, more similar to the real thing and move some air
It may not replicate a tube Fender amp, but it sounds excellent. I’m pretty picky and a bit of a tube snob too. This modeler is top notch. Side note, your The Edge playing, while obvious that your not a player of his music, sounded actually pretty cool. You added some 60s vibe along with open string playing, something Edge could build off for a song.
Beautiful Said... 68yrs young & still playing, back in the day I used a Y-cord & pluged into both 100w ch. ,,, a waa-waa pedal , reverb and were good to-go....
Love your honesty, I feel the same way, as cool as some of these modelers are once you plug into a tube amp and feel the punch in your chest nothing will every compare.🤘😎🎸🏍
It's not the amp. What sucks the life out of modellers is that people tend to play them with cab simulation on and through a monitor; if you played a real amp that way it'd be horribly unsatisfying too (and I've done it; it's no fun at all). I have a Kemper, and I turn the cabsim off and run it into a poweramp and out of a 2x12 cab, and it's a completely indistinguishable experience from playing a real amp. The physicality of playing guitar comes from what the speaker and the cab resonance is doing; whether it's a modeller or tube amp is irrelevant (as long as the modeller is good, and the technology is absolutely good enough these days).
There's a gigging trade off. Tubes break & tube amps weigh considerably more than digital amps. I'll personally take the trade off in tonal purity (a thing that's already going to be seriously compromised by 9/10 venues anyway) for the lighter load in & the security of knowing i'm not gonna blow my tubes just to entertain 6 random wednesday night drunks at the local pub (who honestly can't tell the difference anyway).
@@strangebirdfilms yep , thats the issue with us guitarist/purist , we care about all those nuances in the sound , but if you play in a blues / rock cover band doing pubgigs none of the people in the audience will care about all that shit , as we all know . But still the purist inside you wants that certain sound , its a bit off a paradox i guess , i went for an tonemaster dr so i still have that idea i am playing through an "real amp " , i did put another speaker in it ( Jupiter 12LC ) and have done the firmware upgrade and i must confess its really close to the tubesound , but these modelers do not appeal to me and cost wise this solution ( modeler and frfr ) is way more expensive , for that kind off money you can almost by an handwired fender dr tubeamp , i would never buy one of there re issue or hot rod amps because of there flimsy construction though .
I think there are fewer and fewer living situations where you can crank a tube amp loud enough to hit its sweet spot. I think that is also true of stages and studios. Modeling amps are here to stay and more and more manufacturers will need to offer them (just like every car company needs to build EV's) I think Fender is smart in ONE offering the Tone Master Amp series which offers simplicity, and familiarity and quality. And TWO offering this new pro level modeler which has thousands of options. Fender is selling whatever you think you need, real tube amps, tone master copies of those (I have a Tone Master Twin Reverb blonde), and a new pro comprehensive modeler. The tone is out there. Matthew, I love your new album!
@@uncoiledfish2561 about $1800 with shipping. Plus, you’re going to need to buy the cooper carter 15 hour classes which was another couple hundred bucks.
@@THINJIMI congratulations. Last time I used digital was 30 years ago. They’re still garbage though. I don’t care what anyone says, they still sound processed. Even with the frfr the shit will never sound 100%. In a band setting it’s less noticeable but I just can’t get into it. Nothing beats tubes and pedals. Simplicity wins. If an amp goes down I’ve got parts and spare amps. Sure they’re heavier but that’s rock n roll. I want to see big amps on stage.
@@bryanp8010 - Kemper is the king of tone for modelers in my opinion. I am currently using the Two Notes Opus for my basic tone and whatever effects pedals suit me that day! The Two Notes Opus is the best amp in a box ever made…IMO…
nothing makes up for the glorious smell of ozone from tubes in their glory but that being said, i have a super reverb tonemaster that i like very much, especially every time i have to pick it up
First thing you really want to do with ANY MODLER,,,GO THRU ALL OF THE FACTORY PRESETS,,,THIS TELLS YOU EVERYTHING,,, I did this on the FM3 ,,,,it takes a while to go thru all of them . Its worth it.
Your a young man who is not dazzled by todays tech You prefer old vintage stuff over new which I think is awesome But it is a tool and I hope that you find things on it bring a new nuance to your sound
Thank you Scott for this honest review... Very pleasant to hear a guy like you demoing that gear, with no commercial pressure and going straight to the point !
The problem that the average consumer will have with stuff like this is that its not for them and they don't realize it. This kind of equipment is meant for professional musicians and intended to simplify the rig and get it to something the player wants to have without lugging around a heavy tube amp and massive pedal board. Does that necessarily make sense for all professionals? No. Some? yes.
yo Matthew, to your point about moving air through speakers- every modeler sounds & feels better (and closer to what we're used to) when you plug it into a power amp and through your traditional cabinet that you're already used to playing (not FRFR, that's wack). then you're moving air and have whatever flexibility the modeler gives you. it's best of both worlds i highly recommend playing it that way
@@MatthewScottmusic Look that one up, from what I have heard and read, they are a more PA type speaker platform. I feed my old Vox Tonelab SE thru the front of my Vox AC30 and it is just like Whatever amp you select, the key is to put your actual amp at a real Clean Neutral Setting. And use the Tube amp. volume knob to give you what is comfortable to YOU. You must like Really High Volume. I use mine at lower Talking volumes and it sounds like a Marshall Stack turned way down. It really does WORK, the Fender unit has the best interface I have seen yet, several ways to dial in FAST. And on a Gig that Counts, and what it shows on a Computer Screen is also the Same as the unit only Bigger. Tech. is just phenomenal these days. You can make a guitar feedback and have overtones and all that playing the Amp. and the Guitar too. It DOES WORK.
@@MatthewScottmusic FRFR is Full Range Flat Response. it's essentially the same EQ curve as a PA speaker, so it's presenting MANY more frequencies than our traditional guitar speakers (eminence/celestion/etc) are pushing out. that's where the cab sims come in- they put back that guitar-centric curve so it sounds familiar. but's still very different (and not my preference) - so that's why i always recommend people just use your existing cabinet (since you already like it and are used to the sound/tone/EQ it puts out). so that's one more familiar part of the equation and you only have to learn 1 new piece (the modeler) instead of 2 new pieces (modeler and FRFR cabinet). basically, I run my modeler (Fractal FM9) through a power amp like a Fryette or Duncan PS into my normal marshal cabs and trust me it sounds killer and exactly like what we expect from big loud rock guitar. the cool part is if you want to expand and try out new sounds that might not have been possible with our traditional gear, you can also do that with these current modelers using expression pedals assigned to things like delay/verb/panning. I also play/sing in my trio and it's been fun working those options into a traditional guitar trio scenario. I also play 40 year old fender amps and oranges so i'm not on one team over the other. at this point in 2023, both traditional tube amps AND modelers are all cool and fun. they all inspire us to keep playing guitar which is where the important part is :) lemme know if you have more questions about deep diving into modelers and/or combining them with normal cabinets. i'm using both in live scenarios. happy to share what i've learned or add clarity to any aspect of this side of gear
What I like about it is the vast number of different amps & effects you can use. Plus bringing that to a gig is a lot easier than toting all the amp heads & speaker cabs. Especially the older vintage high dollar ones.
I've gotten into modelers over the last year and a half or so (HX family) and they're really fun for getting lots of tones if you don't have a 'base sound' from your rig. They sound great and I've gotten rid of some pedals and a few amps, but when I switch back to my 2 Fenders, I think "oh yeah, there it is." Modelers are great if you're using a backline - go for a clean tone at acceptable stage volume and just use the modeler as the preamp. Tube amps will always have their place imho
The pedal buttons are also enabled as knobs for the amps and effects. Maybe try running through the amp cab they sent along with the modeler box. Is this thing the equivalent of a tube amp? YMMV...
Just about the response I expected from you, lol, I mean I love your playing, gear demos, guitar repairs, etc, and I don't think any vintage gear heads will ever really be converted over into the digital world, but its honestly some of the most amazing and accessible tones for brokies like me, being able to get tones out of Helix Native, or Neural DSP for $150 that otherwise would cost me $5500 and require me to have a whole house/studio dedicated to playing loud ass amps which is just not possible, hearing the tones out of this thing made me excited and happy about the future of modelers the tones sounded beautiful same as your playing, and I assume most of what you have a problem with is that feeling of playing loud with goosebumps and feedback, but I would challenge you to play this modeler as a preamp into the power section of one of you favorite amps and cabinet, then use only effects from it on the front end, overdrive etc, and crank it just like you would a normal head. I bet you'd be surprised. also, the stomp switches are all knobs so you don't have to drag on the touch screen. much love man, keep on creating!
The UA Dream seems to have accomplished this. There are blind tests against real BFDRs and players are thoroughly fooled by it. I haven't experienced one and I agree all my other modeling attempts have fallen flat (I own 2 drip-edge Fenders, '69 PR and '68 Champ), but it definitely has converted some.
Matthew, thanks for that review! I am coming from the same place you are, the joy of playing real amps. But I live in an apartment, would like to make demo recordings quietly here, so I look at modeling gear every once in a while. I haven’t been able to get sounds I like out of the older Line 6 stuff I tried. The intuitive usability of this one has me interested. I really appreciated hearing you strip down some of the presets, and play just the Super Reverb amp model. Like you said, it sounds cool but at the same time . . . It’s a different thing. Like you also said, for a different world. Best discovery was you and your playing, though. Headed over to check your web site now. Congrats on the new album!
@@mohamedtlass3842 Because they're expensive and rare vs. a $400 pedal and some means of amplification that could simply be BOH - the reasons why anyone considers modelers, really. I in particular considering one as I've been traveling for the past year and have most of my things in storage.
Living in the real gigging world, where stage volumes are getting progressively more quiet, something like this is a nice-to-have. Fender will continue to support it... I hope... so there should be a lot of things added and optimized over time.
@@MatthewScottmusic it just doesn't sound very 'alive' and it makes me nostalgic and also a bit sad to see that the masses, even in the guitar domain prefer quantity over quality. But that's just what I think.
That's kind of what I liked about it. You can easily punch the effects in and out with the footswitches and change parameters on whatever you select. Menu diving, sliding the finger up and down on fake knobs, and being stuck with all of the effects in the chain are what I always disliked about these sort of things.
These modelers are always deep rabbit holes, but also a lot of fun. You can chase tones forever with these things. I think for all intensive purposes, a vintage guitar pairs up better with vintage amps. Modelers are great for convenience and saving valuable vintage equipment from wear and theft. You won't see guys like Greg Koch, Eric Gales, or Kingfish carrying around vintage gear, but they still sound awesome. Not that they're using modelers, It's just safer that way for them - endorsements help too. That fear of theft is always looming with vintage gear. Good quality new gear can take a load off your mind on the road, I'm sure.
I'd like to see the Super Reverb played through the supplied 1x12 cab Just to see how realistic it is when pushing air at volume Playing direct into a desk is always a bit lacking for me
You can do that but also use the special cabs to color the tone a certain way, I used to switch thru cabs. 8 inch speakers/ 4x12's, 2 x 12's, 1x15, and feed it thru a Neutral clean on a Vox Ac 30, it would show the True Color of whatever you selected, and now these units have movable mics to cones, and different mics. it is really astounding the Tech. today. But for a old Purest, it has to go thru an old style amp. I still use my Vox Tonelab SE, unit for this. A plexi sounds just like a plexi, I used to own a Twin Reverb it is just like that Amp. Really Remarkable and at a Volume level you can tolerate, feedback even, makes a hollow body Howl, at a conversation level. Just Phenomenal. Wait til John Cordy posts his Review, he will have it Screaming. Leon Todd did a great review of this unit. Now that being said the success or failure of this unit is up to FENDER. With frequent updates and more Amp. it may Grow quickly. if they ignore it, well at 1600 dollars it will die on the tree.
@@ksharpe10One of my favorite setups is an Orange Micro Dark going through a Vox 1x10 cabinet. The Vox was a modeling combo that one of my best friends used for years. It decided to stop functioning one day so he took out the guts and turned it into a nice cabinet for me. He didn't bother fixing it for himself because he had just bought a very nice Paul Ruby amp. My ex-wife, about a year after our divorce surprised me with the Micro Dark because I had to sell my very first Orange amp so we could pay our bills because we had both been layed off and I wasn't letting us go homeless. I cried like a little girl on my way home from her house after she surprised me with the Micro Dark. I sold my first Orange amp nearly 20 years ago. I had no idea that she even remembered me having to sell it but she did! Sorry for the Ted Talk but I hope you enjoyed it lol
What you said at the end there is something that more people need to understand....if it makes you inspired to pick up the instrument more then it has done everything that it is supposed to do.
Hey Matthew - got the album today. What a brilliant debut. I don't listen to much contemporary but this has had two plays all the way through already. You and the band smashed it with some great song writing. Reminded me a bit of Marc Ford era Crowes but has your own unique sound. Hope it sells as well as it deserves. all the best Al
Really good run through. I am also a vintage Fender amp guy, so you have the point of view I share/need to get a good idea as to whether or not I need to go try one of these in person. My buddy owns a good studio in Southern CA and they got the guys in after hours with all their guitars and basses to run through this. Immediately everyone hated the pre-sets. But they did find some very, very usable sounds when they made their own presets. The complaint from the vintage guys, as reported to me was "something wrong/harsh" in the very top end frequencies coming back through the studio monitors. They had to run it through the old board, and additional Neve cards I think.. (or similar) to start getting close. It got better when it went through some hardware vintage compressors etc. Seeing as you do that for vintage gear as well, this could safe a lot of time for the overdub guitars. Always keep the main track all real with lots of tubes and transformers in the studio chain, right? But overdubs... really good sounds could be there. Live on tour, this thing could save a lot of money in luggage weight fees. I'm not touring with my 50s tweed amps ever again. but I will with 60s and 70s .. so I can have a tweed capture ready to blend in for the monitors and FOH. If there was an option to capture MY OWN collection of amps I would be sold. thanks for this video, MS
I live in both worlds digital and tube, you be surprised at what the digital can do once you fully understand the capabilities of digital. Still tubes are my favorite but my helix is a hell of a piece of gear!
Two observations; first, on a positive note, for us amateurs banging away at home, it is great to get 'vintage' sounds at levels that won't get you divorced/the kids crying/the neighbors calling the cops. I have several amps supposedly can be played at 'bedroom level' - a Vox AC10 for example, or a Fender Champ - but neither can be really played at bedroom level where I'm at. But - particularly with the Vox - what you (Matthew) say about 'something about a tube amp' is absolutely correct. There is a luxurious groin-shrinking ecstasy about hearing/feeling your guitar through a cranked tube amp that doesn't seem to be capable of being matched by modelers. However 'people like me' rarely get that opportunity, so some form of modeler is a god-send. Second observation; I bought a Marshall Code 25 some time back. Like your Fender, it has loads of choices (100 out of the box) and effects and overlays, and you can download more and and and....I think it makes coffee and gives head but I might be wrong. It was way too much - I spent all the time fiddling dials, looking for tones, and neglecting the tones I could get from my fingers. I then bought a Yamaha THR10 (shock/philistine) with four presets (5 really but one says "special", I'm not so I ignore it). I NEVER use anything at home except those four presets, and have the best time exploring an extremely large tonal world with those settings and the knobs on my guitar. Less is not necessarily more, but more is very often too much. Sorry for the long post, and thanks as always Matthew - great channel, great guitar playing, looking forward to the album.
Cool review. Stick a compressor in front and you get some of that feel back. I agree with what you said though, modeling is all about the sound of an amp and cab mic'ed up and coming through a playback system. The thing where you are sitting in front of a cooking Super is not in there. But what you said at the end, it's about making music, and this gear allows us to do that in lots of different situations. It's a new world indeed. :)
Bro the album is dope AF ! “Rest them old bones” is an incredible tune mate! You killed the vocal and guitar was screaming yet not over powering and HTAF can someone so young sing with such an old soul ! And to think you almost didn’t have a crack at putting your music out in to the world. One thing the record has already done is prove your career is settled mate your a musician for the rest of your days You should be really proud mate
Agree completely. I just love my old ampegs and orange heads and old 70’s peavey stuff to be fully on board with all these new modellers. 100% have some great practical uses depending on context but you can’t replace a proper amp you just can’t.
Most modern players already have their Fractal, QC or Helix gear, I don’t think many of those guys will switch to this unit… I imagine their target audience would be Fender users.. but most blues guys like Scott prefer an amp and a few effects.. Also the price point is pretty steep and priced right where other well known units are.. This looks like a cool unit, but if you need a powerful modeler at $1700 the FM9 and QC are probably better suited Something around 1K would probably be a more inviting price point for a newcomer
I have the Super Reverb Tone Master amp and it surprisingly holds up to my tube amp pretty good, but I agree there is just a little extra something you get from a tube amp. Can't wait for the record!
I’d love to see you jump into a Fractal. I don’t hate fender or anything as all my electrics are fender and I model fender amps. I’m impressed with the tonemaster amps themselves, not the GTX though. I think this thing will have a purpose, and it could be your lack of experience with it, but this doesn’t nail fender amps the way Fractal or Helix does from my ear (considering your recording software as well). Fractal is no doubt the juggernaut of the modeling nailing the right feel, I’d love to see you play one.
I'm looking forward to your album release. Yup, the modeling world is a whole new animal. It usually takes some tweaking to get close to the real amp sounds. Hundreds of rigs and portability at your fingertips for few dollars has its appeal. Thank you, Matthew.
Im sure after spending some time tweeking it that it gives some really good tones but was definitely not in the league with his amps. No matter what he plays through sounds good, such an amazing guitarist
Maybe the best Fender Sound I have heard coming out of a box like this. But to mention : 90 % of the tone come from the fingers. So it sounds pretty much coming from you.
Hi! Thank you for doing this! It seems like a lot of fun fiddling around with that. The quality of modeling has really come a long way these last few years. It sounds good and in a mix with other instruments it sounds like the real thing(s) and it's easy and portable too. BUT for me, like you, I feel that the lack of feeling makes it so difficult to play these things. It's so dry and it feels like I'm playing barb wires or something. I have to work really hard to play good on these things while on a real tube amp it happens almost by itself...
I just made a very similar comment I have a fractal axe fx and it doesn’t do clean amp tones convincingly when playing ., yes ., in the mix it can pass but , your point about , if while playing it doesn’t FEEL the same then it’s hard to be inspired , and when it’s not inspiring to play then I just lose interest
i just love fender for going that way. vintage amps are antiquities, parts are rare and the tech is just too old, maintenance is too expensive. i enjoy matthew doing his vintage thing, but i'd never be able to experience it for myself. Even if i could afford at least a reissue, i'm not able to play in a loud environment, wich makes this whole thing pointless. The whole modelling tech might be not the 100% rock'n'roll experience, but it gives us "bedroom musicians" the opportunity to discover this whole amp territory and this is great.
It’s the future! So why ignore it? Good review and a short introduction into this digital universe from an analog vintage gear specialist! Best playing btw. Thank you Matthew
It's worth a shot. Bring your bass to a store and try it out. Years ago l figured out that stuff made for guitar worked fine for bass. I used a Marshall Mosfet amp and cabinets for my bass.
I absolutely agree on tube amps feel. For me it feels so good to get that amp air, the tube saturation, the touch dynamic, and the feedback of a real amp. But, I personally dont like to bring amps to gigs as they are heavy. Modelers are for me just for the portability and great recording abilty. I love tube amps and will forever use tube amps. Great to see a lot of options for us guitar players these days.
I have incorporated a modeler with tube heads into cabs. I run a wet/dry with two heads and two cabs. It's amazing sounding using my modeler as the preamps.
Ha ha ha all you guitar players complaining about carrying your amps around to play a gig. I have roadies! Ha ha ha. Actually I dont have any roadies...
@@HalakSholomI've had roadies....they banged my stuff up. Go to carry off a satellite speaker without unplugging it thereby snatching the wire so hard it pulled the wires out of the speakers. From that point on I forbid the roadies from touching anymore gear. No more abandoned pedals or damage. Like they say...."if you want something done right...do it your self" these roadies usually had a good buzz going at the end of a bar gig! I baby my equipment and I've been using the same gear over 40 years; unlikely to find a 1967 fender pro reverb in as good of shape that 😅I could come close to affording now!!😢
Just had one come in the shop, gonna put it through its paces this morning. Watching eating Breakfast. It's just another Modeler at the moment. Go on Matt me me want to go to work.
I tend to use units like this (Line 6 for me) running with Speaker Cab simulation switched off into the FX loop return of a real Amp and Cab with proper guitar speaker or Power amp and Cab, again with a proper speaker for ultimate convincing results.
I can appreciate being a tube purist - you like what you like. I prefer tubes too, but the light weight and versatility of digital definitely provides some advantages. As far as your review goes, it doesn't seem fair to listen to the Tonemaster Pro through headphones and note that it doesn't have the touch sensitivity or experience of moving air. I think it would be a better comparison running it through a powered speaker. As much as I hate to admit it, when listening to these things on a recording compared to the real thing, the difference is negligible. Either way - you really can't beat the feeling of a cranked tube amp in person - it's not always practical though.
I bought a Fender Mustang LT25 for my son as a practice amp. Totally blew me away how fun that little amp is. $160! WAY better than what I could afford back in 1979 just starting out. You “purist” types need to get over it. Matt has it right, in the mix at a gig I doubt no one could tell the difference.
So, if you young guitarists don’t get what he’s saying regarding the interaction between guitar and tube amp, go to the guitar store and ask for an amp room you can crank up in and grab a hollow body electric like a Gretsch 6120 or Gibson ES-330 (but NOT a semi-hollow body) and crank the amp up to where the pickup begins to feedback WITHOUT any input. Then, back off the amp volume slightly to where that non-input feedback stops. Then play your normal warmup licks and feel the slight feedback in your chest and in your fingers and how you sometimes reach down for the guitar volume to control unwanted feedback. THIS is the feeling you get with a solid body guitar and a cranked stage volume amp that makes the lead tone so rich. Now, amp attenuation can help the tone improve by driving the tubes into sag and compression without blowing your ears out. However, attenuation can also limit the feedback interaction feeling you experienced with the hollow body at the guitar store. As a guitarist for 50 years now, NOTHING comes close to a real tube amp at stage volume where that interaction is happening. A really good example of pros who master this guitar/amp feedback interaction would be Brian Setzer, Stevie Ray Vaughan, Hendrix, Larry Carlton, EVH, etc. An exaggerated example would be Ted Nugent who uses volume and feedback as an integral part of his technique. He’s not my favorite player but he does master that feedback interaction…until he loses control of it (LOL)! You don’t have to be a HUGE volume player to get a massive boost in tone but you do need enough volume to drive the interaction. Setzer is a great example. Carlton is a great example…Just enough volume to get that beginning stage of feedback interaction! Try it! Until you do, there’s a whole world of tone and feel you are missing out on in your guitar playing journey!… and all the fancy computerized guitar processing units in the world can NEVER achieve this despite how convenient they may be. I did a side job for about a year with an Axe-FX II & foot switch with a stereo Freyette 2/90/2 into 2 Marshall 4x12 spread as stereo stage monitors and running stereo output to the FOH. For convenience sake, it was very easy to setup and never needed maintenance over a 13 month regional tour. This Fender floor processing unit would be very similar to that setup - so there’s nothing wrong with gigging with it per se.
Really enjoyed watching matthew sorta step out of his comfort zone and have some fun with this thing! Really cool to see something like this coming from fender as well
For a touring musician who is at the mercy of the back line supplied in a rider, such modelling amps can be a true lifesaver. Even just running this into the EFX return of a JC-120 with all the IRs turned off can net one a very respectable tone. I'm old enough to have used a POD 2.0 into back line amps back in the day. Nobody in the audience had a clue.
agree 100% running any of the top-brand modelers into a power amp or Return section of an existing amp really is the best way to use them. normal cab/speakers and flexibility equals a powerful scenario
I've got my tube amps and love them but in all honesty I have to crank them to get the feel and sound out of them that I'm after and with this TMP I'm getting very close if not convincingly = to the tones without peeling the paint off the walls. Loving this unit so far.
I would expect that those who are deep into vintage amps/gear are going to go kicking and screaming into the digital world. However, to the average spectator in your audience or listener to your albums, they cannot tell the difference between a vintage tube amp, a new amp, a plug-in or a modeler like this. This makes it so much easier to gig or to record at home/anywhere with power. This is a really cool product from Fender and definitely already has Neural DSP shaking in their boots as they literally announced a PRICE DECREASE on the Quad Cortex on the day this was released by Fender - and the price was reduced suspiciously to exactly the same price as the Fender unit. 🤣
You are right,,, but I play live because I enjoy it. Tube amps are part of that total experience for me. A guitar player chooses his/her gear to please themselves.
Sure@@sccloser ...I get that. I think for the most part this is the feeling of an older generation and people like Matthew who just have a thing for the vintage gear, and that is cool. I do believe digital is taking over and will dominate in the studio and on the stage in not too long. There are a lot of big bands (and older ones like Metallica as well) that have taken amps out of their live rigs for the most part.
@@sccloserdamn right...the audience might not be able to tell the difference in gear, but if the player just ain't feeling it, that much the audience can pick up on...if you need a tube amp to feel inspired, f*ck that soundman trying to make it easier on themself
You’re right. I’ll go further. No one cares about tone except the player. I mean…in the extreme , sure, even the moms and grandpas at your farmers market will CLEARLY know if you’re ripping a metal amp over folkies music. Obviously. That’s just poor taste and delusion. But People listen with their eyes. Give a great guitarist who can entertain a crowd, or…just sit back and play their part…some little amp like a line 6 spyder ($99 used?), it’s fine. No. One. Cares. Gear has gotten in the way of musicianship. For pete’s sake the last time I played in an orchestra pit NO AMPS allowed. Plug into a DI box to the board. I begged to use an amp. Hell no. It will just screw stuff up. Guitar -> DI -> Board -> audience for a musical Excellent paying gig, wonderful show, led to more gigs. No one cares about an amp. As a matter of fact, roll into a club / small gig with 2x12 or 4x12 and…yeah - I bet the soundguy will care 😆 But yet we all sit here and salivate over this gear like it matters.
@@jasondorsey7110but the soundguy will get blamed if your band sounds like sh*t. So what is it? F*ck the soundguy and f*ck your band and give your audience a crappy, loud, poorly mixed show? Or, do what’s right for the band, gig and audience with good, balanced sound? We all think we’re “fooling” the soundguy or saying f*ck the soundguy but yet we’ll go ahead and blame him for a bad mix 😂 🤦♂️
i like the modeled Amplifiers they have grown on me they have their place in studios. Like if you have a home studio in an apartment and you can't turn an amplifier to 10 to get that sound. This replaces that. But I agree with you there is nothing like hearing the right notes through those tubes. Feeling the air on your body and actually hearing the guitar. I think Modeling could be the way to go for some people.
If anyone is interested; you can change the amp settings or pedal settings using the physical knobs on the board rather than the touch screen.
It's actually surprising fender would send it to Mr. Scott, who is a vintage purist. Then again, I suppose if you can convince him, you can convince others?
That was my first thought.
Blimey that was brave Fender
He has a huge audience, not surprising at all. $$$
I think Matthew is one of perfect players on UA-cam to demonstrate this piece of gear against the real deal vintage stuff.
Smart to send it to someone who has a good channel, plays like a monster and doesn’t use this type of gear. I can’t play anything like him but I’m pretty clueless to modelers and all the digital do dads. I have an HX Stomp and don’t enjoy navigating the menus. Smart of Fender. Bummer it’s priced where it is even if it is comparable to other similar products at this price point.
The people at Fender seem pretty cool and are trying to keep the history while moving into the future. I appreciate the opportunity to try this new stuff despite my dead pan delivery, it was pretty fun.
I was a long time denigrator of digital amplification (digital effects were okay). But about a year ago I decided to explore amp modelling. Here’s what I did: First I went the cheapest route, because I was sceptical of why most of the popular modellers are so expensive. People crap on the Zoom products, but I’ve done extensive comparisons, and believe me, $1500 amp modellers *really* don’t sound much better than the Zoom MS50. They all sound digital (fizzy/sizzley on top). They all have that sound of a miked or recorded amp that you’re listening to on a monitor rather than an amp in the room with you. So, given that, it’s ridiculous that people will go for the most expensive options out there. The key thing I have found is that you have to forget about the presets. They are all going for a fully produced sound, like on a recording. Instead go straight to a basic amp with No effects, and start building a sound from there. Next, keep the gain down. What I’ve found is that most of the amp models can sound decent to quite good, at clean to edge of breakup tone. The more dirty you try to get them, the more they sound fizzy and digital in the treble, and the more you have to struggle with EQing to try to get them sounding decent. My current digital model of choice lately is a Brownface Vibroverb in the Zoom. Again, set to edge of breakup, with a bit of subtle room reverb behind it, is a great base tone. Adding a moderate spring reverb in front and/or a very subtle slapback (with a dark repeat) thickens the sound nicely. A mild clean boost adds a nice articulate bite without it sounding fizzy. I think why the sound of most of these modellers fails, is user error. You got all these options built into a unit, and the temptation is to push it over the top, but subtlety is the key. Btw, I never use the overdrive or distortion pedals in the unit. Those are totally the weakest link. Alternatively, and surprisingly, some of the best effects in it are some of the ones most pedal companies fail at doing well - the Rotary speaker effect and Univibe are remarkably good, especially when you consider that each effect in the unit works out to cost about $1, and there are really bad Rotary and Univibe pedals out there that cost hundreds. Also, the Tape echos are quite good. Another thing I think people don’t think about is that if you have some issues with some tones of some effects, you can stack graphic or parametric EQs and/or compressors before or after in the chain, and tweak 90% of issues away, easily.
Dear Fender, if you reading this. I really appreciate you don't push youtubers to say how you new gear is so awesome and you can't tell the difference, etc. Just wanted to say - i absolutely adore that clean Fender sound and this box you've come up with is doing it so good, and it's one of the most beautiful things in the world. And as i still can't get enough of my Mustang V2, i'll definitely get myself a ToneMaster when i'll have a chance. Love you, guys. And absolutely love your beautiful playing, Matthew.
This is a great comment and very True! Love it!
I bought it and i have to say, it's the greatest and most comfortable and best sounding unit I've ever played, period.
FYI fender didn’t read this
This guy's playing gets better every video. You can really see his practice routine come through in this one 🤟. Tip for the players: don't start your guitar life off with pure practice routines; learn enough to play and create an ear and feel for what you love (this will help you develop your own style of playing and integrate your influences as a player as well) fact: you will get lovesick and wont be able to put your guitar down instead your guitar turing into a frustration punching bag. only then you'll know exactly what you need to practice to become the player. I know I sound like I'm fantasizing but its true. Let's see if Scott agrees
I agree!
Very true. Been playing about 4-5 years. Just been learning theory and playing what I want and I know exactly what I need to learn to sound how I want. Definitely has made me a better player. Don't understand how players can't play every day
I wish you would have hooked it up to the matching powered speaker and just loaded an amp with no effects to dial in, more similar to the real thing and move some air
It may not replicate a tube Fender amp, but it sounds excellent. I’m pretty picky and a bit of a tube snob too. This modeler is top notch.
Side note, your The Edge playing, while obvious that your not a player of his music, sounded actually pretty cool. You added some 60s vibe along with open string playing, something Edge could build off for a song.
Beautiful Said...
68yrs young & still playing, back in the day I used a Y-cord & pluged into both 100w ch. ,,, a waa-waa pedal , reverb and were good to-go....
Great balance in your review. Thank you, Matthew.
Love your honesty, I feel the same way, as cool as some of these modelers are once you plug into a tube amp and feel the punch in your chest nothing will every compare.🤘😎🎸🏍
It's not the amp. What sucks the life out of modellers is that people tend to play them with cab simulation on and through a monitor; if you played a real amp that way it'd be horribly unsatisfying too (and I've done it; it's no fun at all).
I have a Kemper, and I turn the cabsim off and run it into a poweramp and out of a 2x12 cab, and it's a completely indistinguishable experience from playing a real amp. The physicality of playing guitar comes from what the speaker and the cab resonance is doing; whether it's a modeller or tube amp is irrelevant (as long as the modeller is good, and the technology is absolutely good enough these days).
I need to try it through a cab before making a judgement. Unfortunately, my inexperience in modelers and new technology really shows!
There's a gigging trade off. Tubes break & tube amps weigh considerably more than digital amps. I'll personally take the trade off in tonal purity (a thing that's already going to be seriously compromised by 9/10 venues anyway) for the lighter load in & the security of knowing i'm not gonna blow my tubes just to entertain 6 random wednesday night drunks at the local pub (who honestly can't tell the difference anyway).
@@strangebirdfilms yep , thats the issue with us guitarist/purist , we care about all those nuances in the sound , but if you play in a blues / rock cover band doing pubgigs none of the people in the audience will care about all that shit , as we all know . But still the purist inside you wants that certain sound , its a bit off a paradox i guess , i went for an tonemaster dr so i still have that idea i am playing through an "real amp " , i did put another speaker in it ( Jupiter 12LC ) and have done the firmware upgrade and i must confess its really close to the tubesound , but these modelers do not appeal to me and cost wise this solution ( modeler and frfr ) is way more expensive , for that kind off money you can almost by an handwired fender dr tubeamp , i would never buy one of there re issue or hot rod amps because of there flimsy construction though .
9:25
I think there are fewer and fewer living situations where you can crank a tube amp loud enough to hit its sweet spot. I think that is also true of stages and studios. Modeling amps are here to stay and more and more manufacturers will need to offer them (just like every car company needs to build EV's) I think Fender is smart in ONE offering the Tone Master Amp series which offers simplicity, and familiarity and quality. And TWO offering this new pro level modeler which has thousands of options. Fender is selling whatever you think you need, real tube amps, tone master copies of those (I have a Tone Master Twin Reverb blonde), and a new pro comprehensive modeler. The tone is out there. Matthew, I love your new album!
I have a fractal and there’s a serious learning curve and it’s crazy expensive. This looks a lot more user friendly which is really nice.
Easiest interface I ever worked …very like the Quad, which I also have.
How expensive is the Fractal. This fender one is pretty expensive too isn't it?
@@uncoiledfish2561 about $1800 with shipping. Plus, you’re going to need to buy the cooper carter 15 hour classes which was another couple hundred bucks.
@@THINJIMI congratulations. Last time I used digital was 30 years ago. They’re still garbage though. I don’t care what anyone says, they still sound processed. Even with the frfr the shit will never sound 100%. In a band setting it’s less noticeable but I just can’t get into it. Nothing beats tubes and pedals. Simplicity wins. If an amp goes down I’ve got parts and spare amps. Sure they’re heavier but that’s rock n roll. I want to see big amps on stage.
@@bryanp8010 - Kemper is the king of tone for modelers in my opinion. I am currently using the Two Notes Opus for my basic tone and whatever effects pedals suit me that day! The Two Notes Opus is the best amp in a box ever made…IMO…
nothing makes up for the glorious smell of ozone from tubes in their glory but that being said, i have a super reverb tonemaster that i like very much, especially every time i have to pick it up
First thing you really want to do with ANY MODLER,,,GO THRU ALL OF THE FACTORY PRESETS,,,THIS TELLS YOU EVERYTHING,,, I did this on the FM3 ,,,,it takes a while to go thru all of them . Its worth it.
Your a young man who is not dazzled by todays tech You prefer old vintage stuff over new which I think is awesome But it is a tool and I hope that you find things on it bring a new nuance to your sound
Thank you Scott for this honest review... Very pleasant to hear a guy like you demoing that gear, with no commercial pressure and going straight to the point !
The problem that the average consumer will have with stuff like this is that its not for them and they don't realize it.
This kind of equipment is meant for professional musicians and intended to simplify the rig and get it to something the player wants to have without lugging around a heavy tube amp and massive pedal board.
Does that necessarily make sense for all professionals? No. Some? yes.
The youngest old soul with a strat... great review.
For someone who will never own a vintage amp most likely and doesn't want to spend 1000's on pedals anymore, this thing works for muah.
yo Matthew, to your point about moving air through speakers- every modeler sounds & feels better (and closer to what we're used to) when you plug it into a power amp and through your traditional cabinet that you're already used to playing (not FRFR, that's wack). then you're moving air and have whatever flexibility the modeler gives you. it's best of both worlds i highly recommend playing it that way
Thanks for educating me. I think I need to give that a try before I can make an opinion. But what do you mean by FRFR?
@@MatthewScottmusic Look that one up, from what I have heard and read, they are a more PA type speaker platform. I feed my old Vox Tonelab SE thru the front of my Vox AC30 and it is just like Whatever amp you select, the key is to put your actual amp at a real Clean Neutral Setting. And use the Tube amp. volume knob to give you what is comfortable to YOU. You must like Really High Volume. I use mine at lower Talking volumes and it sounds like a Marshall Stack turned way down. It really does WORK, the Fender unit has the best interface I have seen yet, several ways to dial in FAST. And on a Gig that Counts, and what it shows on a Computer Screen is also the Same as the unit only Bigger. Tech. is just phenomenal these days. You can make a guitar feedback and have overtones and all that playing the Amp. and the Guitar too. It DOES WORK.
@@MatthewScottmusic FRFR is Full Range Flat Response. it's essentially the same EQ curve as a PA speaker, so it's presenting MANY more frequencies than our traditional guitar speakers (eminence/celestion/etc) are pushing out. that's where the cab sims come in- they put back that guitar-centric curve so it sounds familiar. but's still very different (and not my preference) -
so that's why i always recommend people just use your existing cabinet (since you already like it and are used to the sound/tone/EQ it puts out). so that's one more familiar part of the equation and you only have to learn 1 new piece (the modeler) instead of 2 new pieces (modeler and FRFR cabinet). basically, I run my modeler (Fractal FM9) through a power amp like a Fryette or Duncan PS into my normal marshal cabs and trust me it sounds killer and exactly like what we expect from big loud rock guitar. the cool part is if you want to expand and try out new sounds that might not have been possible with our traditional gear, you can also do that with these current modelers using expression pedals assigned to things like delay/verb/panning. I also play/sing in my trio and it's been fun working those options into a traditional guitar trio scenario.
I also play 40 year old fender amps and oranges so i'm not on one team over the other. at this point in 2023, both traditional tube amps AND modelers are all cool and fun. they all inspire us to keep playing guitar which is where the important part is :)
lemme know if you have more questions about deep diving into modelers and/or combining them with normal cabinets. i'm using both in live scenarios. happy to share what i've learned or add clarity to any aspect of this side of gear
What I like about it is the vast number of different amps & effects you can use. Plus bringing that to a gig is a lot easier than toting all the amp heads & speaker cabs. Especially the older vintage high dollar ones.
I'm impressed that they managed to faithfully capture the sound of a rubbing voice coil with the speaker sim.
😂😂
I've gotten into modelers over the last year and a half or so (HX family) and they're really fun for getting lots of tones if you don't have a 'base sound' from your rig. They sound great and I've gotten rid of some pedals and a few amps, but when I switch back to my 2 Fenders, I think "oh yeah, there it is." Modelers are great if you're using a backline - go for a clean tone at acceptable stage volume and just use the modeler as the preamp. Tube amps will always have their place imho
Yep. Real tube amps have "it"... and solid state still never does. But you are right. It's useful for work.
The pedal buttons are also enabled as knobs for the amps and effects. Maybe try running through the amp cab they sent along with the modeler box. Is this thing the equivalent of a tube amp? YMMV...
Just about the response I expected from you, lol, I mean I love your playing, gear demos, guitar repairs, etc, and I don't think any vintage gear heads will ever really be converted over into the digital world, but its honestly some of the most amazing and accessible tones for brokies like me, being able to get tones out of Helix Native, or Neural DSP for $150 that otherwise would cost me $5500 and require me to have a whole house/studio dedicated to playing loud ass amps which is just not possible, hearing the tones out of this thing made me excited and happy about the future of modelers the tones sounded beautiful same as your playing, and I assume most of what you have a problem with is that feeling of playing loud with goosebumps and feedback, but I would challenge you to play this modeler as a preamp into the power section of one of you favorite amps and cabinet, then use only effects from it on the front end, overdrive etc, and crank it just like you would a normal head. I bet you'd be surprised. also, the stomp switches are all knobs so you don't have to drag on the touch screen. much love man, keep on creating!
The UA Dream seems to have accomplished this. There are blind tests against real BFDRs and players are thoroughly fooled by it. I haven't experienced one and I agree all my other modeling attempts have fallen flat (I own 2 drip-edge Fenders, '69 PR and '68 Champ), but it definitely has converted some.
The tones were pretty cool overall despite my inability to really deep dive into this thing.
@@brandall101 why be converted if you have the real deal and are not too weak to carry your amps?
Matthew, thanks for that review! I am coming from the same place you are, the joy of playing real amps. But I live in an apartment, would like to make demo recordings quietly here, so I look at modeling gear every once in a while. I haven’t been able to get sounds I like out of the older Line 6 stuff I tried. The intuitive usability of this one has me interested. I really appreciated hearing you strip down some of the presets, and play just the Super Reverb amp model. Like you said, it sounds cool but at the same time . . . It’s a different thing. Like you also said, for a different world. Best discovery was you and your playing, though. Headed over to check your web site now. Congrats on the new album!
@@mohamedtlass3842 Because they're expensive and rare vs. a $400 pedal and some means of amplification that could simply be BOH - the reasons why anyone considers modelers, really. I in particular considering one as I've been traveling for the past year and have most of my things in storage.
Living in the real gigging world, where stage volumes are getting progressively more quiet, something like this is a nice-to-have. Fender will continue to support it... I hope... so there should be a lot of things added and optimized over time.
Guthrie Govan toured with Hans Zimmer without any amps.
Spoken as a true working musician. You opinion means the most.
Souls were crushed in this video. You forever stay true to yourself Matthew. Thats why we come to your channel.
Hopefully no souls were crushed. It's all in good fun.
@@MatthewScottmusic it just doesn't sound very 'alive' and it makes me nostalgic and also a bit sad to see that the masses, even in the guitar domain prefer quantity over quality. But that's just what I think.
Absolutely the best most well put opinion about digital stuff I have ever heard. Well done Matthew. Great review and great video as always. Thank you.
Nailed it. Dry is a great adjective. I’d use sterile, a bit like a lot of music nowadays. As you said, it suits the times.
FYI, the foot switches are also rotary knobs so that you don’t have to poke at knobs on the touchscreen.
Wish I knew that sooner 😂 stuck in the stone ages
That's kind of what I liked about it. You can easily punch the effects in and out with the footswitches and change parameters on whatever you select. Menu diving, sliding the finger up and down on fake knobs, and being stuck with all of the effects in the chain are what I always disliked about these sort of things.
These modelers are always deep rabbit holes, but also a lot of fun. You can chase tones forever with these things. I think for all intensive purposes, a vintage guitar pairs up better with vintage amps. Modelers are great for convenience and saving valuable vintage equipment from wear and theft. You won't see guys like Greg Koch, Eric Gales, or Kingfish carrying around vintage gear, but they still sound awesome. Not that they're using modelers, It's just safer that way for them - endorsements help too. That fear of theft is always looming with vintage gear. Good quality new gear can take a load off your mind on the road, I'm sure.
I think one of the best recommendations for the Tonemaster may be Matthew’s surprised, pleased look when he first hits a lick on it.
I just love how that 59 of yours now is playing through modern fender tech made in 2023 🎉 cool!!
So glad your releasing an album. Just bought a copy. Really looking forward to giving it a listen.
He said all the true at the end, digital and tubes will never be the same, are just different, both great
I'd like to see the Super Reverb played through the supplied 1x12 cab
Just to see how realistic it is when pushing air at volume
Playing direct into a desk is always a bit lacking for me
Loved how you used the metronome! Every great guitarist uses one! Music, life and the universe is based on time!
Maybe if you put your green pedal in the front you get much closer??? would enhance dynamics and non linearities
It would be interesting you try disabling the CAB emulation then connect it into some power amp and then into real guitar cabs.
To me what you suggested is a must! Prior to forming a conclusion! Give the thing a fair chance!!
You can do that but also use the special cabs to color the tone a certain way, I used to switch thru cabs. 8 inch speakers/ 4x12's, 2 x 12's, 1x15, and feed it thru a Neutral clean on a Vox Ac 30, it would show the True Color of whatever you selected, and now these units have movable mics to cones, and different mics. it is really astounding the Tech. today. But for a old Purest, it has to go thru an old style amp. I still use my Vox Tonelab SE, unit for this. A plexi sounds just like a plexi, I used to own a Twin Reverb it is just like that Amp. Really Remarkable and at a Volume level you can tolerate, feedback even, makes a hollow body Howl, at a conversation level. Just Phenomenal. Wait til John Cordy posts his Review, he will have it Screaming. Leon Todd did a great review of this unit. Now that being said the success or failure of this unit is up to FENDER. With frequent updates and more Amp. it may Grow quickly. if they ignore it, well at 1600 dollars it will die on the tree.
@@ksharpe10One of my favorite setups is an Orange Micro Dark going through a Vox 1x10 cabinet. The Vox was a modeling combo that one of my best friends used for years. It decided to stop functioning one day so he took out the guts and turned it into a nice cabinet for me. He didn't bother fixing it for himself because he had just bought a very nice Paul Ruby amp. My ex-wife, about a year after our divorce surprised me with the Micro Dark because I had to sell my very first Orange amp so we could pay our bills because we had both been layed off and I wasn't letting us go homeless. I cried like a little girl on my way home from her house after she surprised me with the Micro Dark. I sold my first Orange amp nearly 20 years ago. I had no idea that she even remembered me having
to sell it but she did! Sorry for the Ted Talk but I hope you enjoyed it lol
What you said at the end there is something that more people need to understand....if it makes you inspired to pick up the instrument more then it has done everything that it is supposed to do.
Hey Matthew - got the album today. What a brilliant debut. I don't listen to much contemporary but this has had two plays all the way through already. You and the band smashed it with some great song writing. Reminded me a bit of Marc Ford era Crowes but has your own unique sound. Hope it sells as well as it deserves. all the best Al
Al, that means a lot. Marc Ford is a hero of mine. I love the Crowes as much as anything. Thanks for listening.
Really good run through. I am also a vintage Fender amp guy, so you have the point of view I share/need to get a good idea as to whether or not I need to go try one of these in person. My buddy owns a good studio in Southern CA and they got the guys in after hours with all their guitars and basses to run through this. Immediately everyone hated the pre-sets. But they did find some very, very usable sounds when they made their own presets. The complaint from the vintage guys, as reported to me was "something wrong/harsh" in the very top end frequencies coming back through the studio monitors. They had to run it through the old board, and additional Neve cards I think.. (or similar) to start getting close. It got better when it went through some hardware vintage compressors etc. Seeing as you do that for vintage gear as well, this could safe a lot of time for the overdub guitars. Always keep the main track all real with lots of tubes and transformers in the studio chain, right? But overdubs... really good sounds could be there. Live on tour, this thing could save a lot of money in luggage weight fees. I'm not touring with my 50s tweed amps ever again. but I will with 60s and 70s .. so I can have a tweed capture ready to blend in for the monitors and FOH. If there was an option to capture MY OWN collection of amps I would be sold. thanks for this video, MS
Your amps A+++ this is a C+. Lacks dynamics, dimension, silk, warmth, and inspiration
I have a Fender Mustang Floor unit that I would say is a predecessor to this unit. Built in amp models and effects and an expression pedal.
I live in both worlds digital and tube, you be surprised at what the digital can do once you fully understand the capabilities of digital. Still tubes are my favorite but my helix is a hell of a piece of gear!
Two observations; first, on a positive note, for us amateurs banging away at home, it is great to get 'vintage' sounds at levels that won't get you divorced/the kids crying/the neighbors calling the cops. I have several amps supposedly can be played at 'bedroom level' - a Vox AC10 for example, or a Fender Champ - but neither can be really played at bedroom level where I'm at. But - particularly with the Vox - what you (Matthew) say about 'something about a tube amp' is absolutely correct. There is a luxurious groin-shrinking ecstasy about hearing/feeling your guitar through a cranked tube amp that doesn't seem to be capable of being matched by modelers. However 'people like me' rarely get that opportunity, so some form of modeler is a god-send. Second observation; I bought a Marshall Code 25 some time back. Like your Fender, it has loads of choices (100 out of the box) and effects and overlays, and you can download more and and and....I think it makes coffee and gives head but I might be wrong. It was way too much - I spent all the time fiddling dials, looking for tones, and neglecting the tones I could get from my fingers. I then bought a Yamaha THR10 (shock/philistine) with four presets (5 really but one says "special", I'm not so I ignore it). I NEVER use anything at home except those four presets, and have the best time exploring an extremely large tonal world with those settings and the knobs on my guitar. Less is not necessarily more, but more is very often too much. Sorry for the long post, and thanks as always Matthew - great channel, great guitar playing, looking forward to the album.
Cool review. Stick a compressor in front and you get some of that feel back. I agree with what you said though, modeling is all about the sound of an amp and cab mic'ed up and coming through a playback system. The thing where you are sitting in front of a cooking Super is not in there. But what you said at the end, it's about making music, and this gear allows us to do that in lots of different situations. It's a new world indeed. :)
Honest;ly one of the best reviews of any product I've seen. Outstanding.
Bro the album is dope AF ! “Rest them old bones” is an incredible tune mate! You killed the vocal and guitar was screaming yet not over powering and HTAF can someone so young sing with such an old soul ! And to think you almost didn’t have a crack at putting your music out in to the world. One thing the record has already done is prove your career is settled mate your a musician for the rest of your days
You should be really proud mate
Agree completely. I just love my old ampegs and orange heads and old 70’s peavey stuff to be fully on board with all these new modellers. 100% have some great practical uses depending on context but you can’t replace a proper amp you just can’t.
Matthew I've been listening to your record non-stop since it came out, thanks for rocking out!
I just saw this thing the other day. I was wondering about it . Thank you for doing a review. The riffs are awesome too.
Fender tried this with the mustang years ago. I own one. It wasn’t bad but it’s definitely not something you’re gonna use in the studio.
Most modern players already have their Fractal, QC or Helix gear, I don’t think many of those guys will switch to this unit…
I imagine their target audience would be Fender users.. but most blues guys like Scott prefer an amp and a few effects..
Also the price point is pretty steep and priced right where other well known units are..
This looks like a cool unit, but if you need a powerful modeler at $1700 the FM9 and QC are probably better suited
Something around 1K would probably be a more inviting price point for a newcomer
It'll be a miracle if their quality assurance teams can make sure these are flawless before they leave.
I have the Super Reverb Tone Master amp and it surprisingly holds up to my tube amp pretty good, but I agree there is just a little extra something you get from a tube amp. Can't wait for the record!
Haven't watched for a while Matthew - youv'e been practicing... Sounds good man.
I’d love to see you jump into a Fractal. I don’t hate fender or anything as all my electrics are fender and I model fender amps. I’m impressed with the tonemaster amps themselves, not the GTX though. I think this thing will have a purpose, and it could be your lack of experience with it, but this doesn’t nail fender amps the way Fractal or Helix does from my ear (considering your recording software as well). Fractal is no doubt the juggernaut of the modeling nailing the right feel, I’d love to see you play one.
Really honest review. Thanks Matt!
I'm looking forward to your album release. Yup, the modeling world is a whole new animal. It usually takes some tweaking to get close to the real amp sounds. Hundreds of rigs and portability at your fingertips for few dollars has its appeal. Thank you, Matthew.
Fender really wants this bad boy to win out. Send it to the arch Fender enthusiast. Glad to see you could give the most objective possible review.
Thanks for sharing your input on this product Matt. Your opinion goes a long way with me.
I’m not a guitarist but a great review Matthew! I agree that there is nothing like the sound of a real tube amp.
Nothing
i bet you wouldn't be able to tell tube vs solid state in a blind test
@@smivvys I bet ya could , especially if you were the one playing.
@@benallmark9671 tone is in the speakers man
@@smivvys wrong again, it’s in the fingers but you keep thinking whatever ya want. Until that’s punishable by law which isn’t far away.
Im sure after spending some time tweeking it that it gives some really good tones but was definitely not in the league with his amps. No matter what he plays through sounds good, such an amazing guitarist
It would be cool to see a follow up plugged into that powered speaker, an interesting product 👍
Maybe the best Fender Sound I have heard coming out of a box like this. But to mention : 90 % of the tone come from the fingers. So it sounds pretty much coming from you.
style comes from fingers. tone comes from equipment etc
Saturation and breakup edge is impossible to replicate, enjoyed the review, thanks.
Hi! Thank you for doing this! It seems like a lot of fun fiddling around with that. The quality of modeling has really come a long way these last few years. It sounds good and in a mix with other instruments it sounds like the real thing(s) and it's easy and portable too. BUT for me, like you, I feel that the lack of feeling makes it so difficult to play these things. It's so dry and it feels like I'm playing barb wires or something. I have to work really hard to play good on these things while on a real tube amp it happens almost by itself...
I just made a very similar comment
I have a fractal axe fx and it doesn’t do clean amp tones convincingly when playing ., yes ., in the mix it can pass but , your point about , if while playing it doesn’t FEEL the same then it’s hard to be inspired , and when it’s not inspiring to play then I just lose interest
Best compromise of practicality, flexibility and tone I've found is using the UAD ox box cab sim in combination with proper tube amps
Matthew Scott you are a great guitar player who seems like an old 75 year old musical soul in a young body.
i just love fender for going that way. vintage amps are antiquities, parts are rare and the tech is just too old, maintenance is too expensive. i enjoy matthew doing his vintage thing, but i'd never be able to experience it for myself. Even if i could afford at least a reissue, i'm not able to play in a loud environment, wich makes this whole thing pointless. The whole modelling tech might be not the 100% rock'n'roll experience, but it gives us "bedroom musicians" the opportunity to discover this whole amp territory and this is great.
I admire your honesty.
It’s the future! So why ignore it? Good review and a short introduction into this digital universe from an analog vintage gear specialist! Best playing btw. Thank you Matthew
This is something that really intrigued me im very interested in this especially if it does bass guitar stuff
It's worth a shot. Bring your bass to a store and try it out.
Years ago l figured out that stuff made for guitar worked fine for bass. I used a Marshall Mosfet amp and cabinets for my bass.
I absolutely agree on tube amps feel. For me it feels so good to get that amp air, the tube saturation, the touch dynamic, and the feedback of a real amp. But, I personally dont like to bring amps to gigs as they are heavy. Modelers are for me just for the portability and great recording abilty. I love tube amps and will forever use tube amps. Great to see a lot of options for us guitar players these days.
I have incorporated a modeler with tube heads into cabs. I run a wet/dry with two heads and two cabs. It's amazing sounding using my modeler as the preamps.
Ha ha ha all you guitar players complaining about carrying your amps around to play a gig. I have roadies! Ha ha ha. Actually I dont have any roadies...
@@HalakSholom 😂😂😂
@@HalakSholomI've had roadies....they banged my stuff up. Go to carry off a satellite speaker without unplugging it thereby snatching the wire so hard it pulled the wires out of the speakers. From that point on I forbid the roadies from touching anymore gear. No more abandoned pedals or damage. Like they say...."if you want something done right...do it your self" these roadies usually had a good buzz going at the end of a bar gig! I baby my equipment and I've been using the same gear over 40 years; unlikely to find a 1967 fender pro reverb in as good of shape that 😅I could come close to affording now!!😢
@@johnbristow4981 i hear you man I dont blame you one bit!
Just had one come in the shop, gonna put it through its paces this morning. Watching eating Breakfast. It's just another Modeler at the moment. Go on Matt me me want to go to work.
They've got a long road to catch up with Line 6 who've been in the modeling game for a very long time.
Thanks for reviewing the Fender ToneMaster pro. Greatly appreciated!!
Knowing your dedication for old Fender amps and instruments, this was always going to be an interesting perspective. I will now watch the vid.
Huge fan watched your channel for years! Thanks
I tend to use units like this (Line 6 for me) running with Speaker Cab simulation switched off into the FX loop return of a real Amp and Cab with proper guitar speaker or Power amp and Cab, again with a proper speaker for ultimate convincing results.
I can appreciate being a tube purist - you like what you like. I prefer tubes too, but the light weight and versatility of digital definitely provides some advantages. As far as your review goes, it doesn't seem fair to listen to the Tonemaster Pro through headphones and note that it doesn't have the touch sensitivity or experience of moving air. I think it would be a better comparison running it through a powered speaker. As much as I hate to admit it, when listening to these things on a recording compared to the real thing, the difference is negligible. Either way - you really can't beat the feeling of a cranked tube amp in person - it's not always practical though.
That ToneMaster Pro is cool that it has so many different settings.
I bought a Fender Mustang LT25 for my son as a practice amp. Totally blew me away how fun that little amp is. $160! WAY better than what I could afford back in 1979 just starting out. You “purist” types need to get over it. Matt has it right, in the mix at a gig I doubt no one could tell the difference.
Great demo Matthew 👍🏻
So, if you young guitarists don’t get what he’s saying regarding the interaction between guitar and tube amp, go to the guitar store and ask for an amp room you can crank up in and grab a hollow body electric like a Gretsch 6120 or Gibson ES-330 (but NOT a semi-hollow body) and crank the amp up to where the pickup begins to feedback WITHOUT any input. Then, back off the amp volume slightly to where that non-input feedback stops. Then play your normal warmup licks and feel the slight feedback in your chest and in your fingers and how you sometimes reach down for the guitar volume to control unwanted feedback. THIS is the feeling you get with a solid body guitar and a cranked stage volume amp that makes the lead tone so rich. Now, amp attenuation can help the tone improve by driving the tubes into sag and compression without blowing your ears out. However, attenuation can also limit the feedback interaction feeling you experienced with the hollow body at the guitar store. As a guitarist for 50 years now, NOTHING comes close to a real tube amp at stage volume where that interaction is happening. A really good example of pros who master this guitar/amp feedback interaction would be Brian Setzer, Stevie Ray Vaughan, Hendrix, Larry Carlton, EVH, etc. An exaggerated example would be Ted Nugent who uses volume and feedback as an integral part of his technique. He’s not my favorite player but he does master that feedback interaction…until he loses control of it (LOL)! You don’t have to be a HUGE volume player to get a massive boost in tone but you do need enough volume to drive the interaction. Setzer is a great example. Carlton is a great example…Just enough volume to get that beginning stage of feedback interaction! Try it! Until you do, there’s a whole world of tone and feel you are missing out on in your guitar playing journey!… and all the fancy computerized guitar processing units in the world can NEVER achieve this despite how convenient they may be. I did a side job for about a year with an Axe-FX II & foot switch with a stereo Freyette 2/90/2 into 2 Marshall 4x12 spread as stereo stage monitors and running stereo output to the FOH. For convenience sake, it was very easy to setup and never needed maintenance over a 13 month regional tour. This Fender floor processing unit would be very similar to that setup - so there’s nothing wrong with gigging with it per se.
Really enjoyed watching matthew sorta step out of his comfort zone and have some fun with this thing! Really cool to see something like this coming from fender as well
He almost came across as depressed by it?
For a touring musician who is at the mercy of the back line supplied in a rider, such modelling amps can be a true lifesaver. Even just running this into the EFX return of a JC-120 with all the IRs turned off can net one a very respectable tone. I'm old enough to have used a POD 2.0 into back line amps back in the day. Nobody in the audience had a clue.
agree 100% running any of the top-brand modelers into a power amp or Return section of an existing amp really is the best way to use them. normal cab/speakers and flexibility equals a powerful scenario
@@iwillnevergetone5 Totally. Into a tube power section pushed a bit, even better still.
I've got my tube amps and love them but in all honesty I have to crank them to get the feel and sound out of them that I'm after and with this TMP I'm getting very close if not convincingly = to the tones without peeling the paint off the walls. Loving this unit so far.
What do you run your TMP into? A FR/FR powered speaker? Powered PA speaker? Other?
Um yeaaah, ya make it sound stylish w/ your riffs that slay so I gotta get one!
Beautiful bit of kit. No it will not replace my 68 drip edge but i have been wanting a 5150 and an ac30 and and and..
"It's a new world." You pretty much said it all there.
Well, part way through the video and I'm thinking it sounds great! Way cheaper than buying a lot of old amps. Great video!
I think it's a really good entry to that genre. I think for ease and versatility in many scenarios it is probably the way to go.
I would expect that those who are deep into vintage amps/gear are going to go kicking and screaming into the digital world. However, to the average spectator in your audience or listener to your albums, they cannot tell the difference between a vintage tube amp, a new amp, a plug-in or a modeler like this. This makes it so much easier to gig or to record at home/anywhere with power. This is a really cool product from Fender and definitely already has Neural DSP shaking in their boots as they literally announced a PRICE DECREASE on the Quad Cortex on the day this was released by Fender - and the price was reduced suspiciously to exactly the same price as the Fender unit. 🤣
You are right,,, but I play live because I enjoy it. Tube amps are part of that total experience for me. A guitar player chooses his/her gear to please themselves.
Sure@@sccloser ...I get that. I think for the most part this is the feeling of an older generation and people like Matthew who just have a thing for the vintage gear, and that is cool. I do believe digital is taking over and will dominate in the studio and on the stage in not too long. There are a lot of big bands (and older ones like Metallica as well) that have taken amps out of their live rigs for the most part.
@@sccloserdamn right...the audience might not be able to tell the difference in gear, but if the player just ain't feeling it, that much the audience can pick up on...if you need a tube amp to feel inspired, f*ck that soundman trying to make it easier on themself
You’re right. I’ll go further. No one cares about tone except the player. I mean…in the extreme , sure, even the moms and grandpas at your farmers market will CLEARLY know if you’re ripping a metal amp over folkies music. Obviously. That’s just poor taste and delusion.
But
People listen with their eyes. Give a great guitarist who can entertain a crowd, or…just sit back and play their part…some little amp like a line 6 spyder ($99 used?), it’s fine. No. One. Cares.
Gear has gotten in the way of musicianship.
For pete’s sake the last time I played in an orchestra pit NO AMPS allowed. Plug into a DI box to the board. I begged to use an amp. Hell no. It will just screw stuff up.
Guitar -> DI -> Board -> audience for a musical
Excellent paying gig, wonderful show, led to more gigs.
No one cares about an amp.
As a matter of fact, roll into a club / small gig with 2x12 or 4x12 and…yeah - I bet the soundguy will care 😆
But yet we all sit here and salivate over this gear like it matters.
@@jasondorsey7110but the soundguy will get blamed if your band sounds like sh*t.
So what is it?
F*ck the soundguy and f*ck your band and give your audience a crappy, loud, poorly mixed show? Or, do what’s right for the band, gig and audience with good, balanced sound?
We all think we’re “fooling” the soundguy or saying f*ck the soundguy but yet we’ll go ahead and blame him for a bad mix 😂 🤦♂️
Fender has given the chosen one a blessed blade!
Fender sends you all sorts of cool shit lol
Thanks for the entertaining assessment however at $1700 I think I'll stick with pedals and my Champion 600.
Lolo
That Super model sounds pretty GD good on this end!!!!
i like the modeled Amplifiers they have grown on me they have their place in studios. Like if you have a home studio in an apartment and you can't turn an amplifier to 10 to get that sound. This replaces that. But I agree with you there is nothing like hearing the right notes through those tubes. Feeling the air on your body and actually hearing the guitar. I think Modeling could be the way to go for some people.