Doubtful.
That'd be peanuts for Maiden and Fractal has gone on record saying they don't pay artists.
It's pretty easy to understand what is going on here.
Most of the appeal for these big acts are probably pragmatic considerations that apply for big name artists that are doing a huge production that has to deliver for thousands of paying customers every night rather than the weekend warriors and basement barbarians here on gear forums:
- consistency for the FOH signal
- no setting up mics on cabs
- availability of redundant backup units that sound exactly alike
- ability to backup and restore settings from unit to unit
- replace multiple standalone FXs and preamps/amps
- switching can be done by the tech or automated consistently via a MIDI sequencer
- switching can be done without custom/special hardware and can change many things (FX, amp settings, etc) at once
- reduced number of patch cables to debug/connect/go bad due to fewer stand alone devices
- etc
Oh yeah; and it sounds
really good too.
You'd have to be kind of dumb not to.
Imagine standing in front of 3000 people with a dead rig or using a back up unit that does not sound/perform exactly like the one you are used to because some 30 year old preamp's backup battery sh*t the bed.
There's a lot more overriding priorities to delivering a show at the scale a band like Maiden does on a World Tour, than having the ultimate mojo gear fiend toanz, I would imagine.
It's no surprise that those other benefits have become the deciding factor for more artists putting on big tours as digital has crossed the threshold of 'good enough' in terms of sound/feel/performance.