Zanman777 wrote:AK-47? I didn't get it.
9. What inspired you to work with IK Multimedia in modeling your amplifiers?
"One, to showcase classic Fender amp tones, functionality, and imagery to a new audience and a new generation that's not afraid of technology. We can offer them "our side of the story." Two, it's one of the ways for us to stay in step with new technology as it evolves."
10. What role do you see amp modeling like AmpliTube for a guitar player who is crafting his sound?
"AmpliTube is a great way for guitarists to experiment with a lot of different tones, quickly and conveniently. If you are writing songs at night, and you are in a hotel or have other people in your house, there's nothing better. And it may inspire you to try amps and effects that you may have overlooked. This can enhance the creative process."
11. Fender has had great success with the Cyber-Twin® amplifier. Do you think digital modeling is the future of guitar tone?
"Clearly, modeling is a big part of the future of amplification. We didn't exactly call the Cyber-Twin a "modeling" amp because there were too many analog tone-shaping components involved. However, our new Mustang amps use very up-to-date modeling technology, and they are blowing people away. We will continue to make tube amps as long as players continue to want them, but trust me, there isn't a lot of anti-modeling sentiment here at Fender."
Released in May 2011
7) We were excited to hear OPC and AmpliTube being used to break the Guinness World Record. Tell us a bit more.
"We announced the new Orange OPC at the 2011 CES show in Vegas followed by the NAMM show in LA. We figured having Brazilian virtuoso guitarist Tiago Della Vega break his own Guinness World Record for the world's fastest guitar player would prove that on the Orange OPC [running AmpliTube 3] latency just isn't an issue anymore. He did just that!"
10) Orange are known as innovators, is this what inspired you to work with IK Multimedia in modelling your amplifiers?
Cliff: "There are a lot of software companies unofficially modelling the sound of our amps, but it made sense, if you want to accurately model the Orange sound, to work with a company who had the technical expertise to be able to do it properly. We work closely with the IK engineers and programmers to ensure the quality and accuracy of the sound. There is a lot of software out there that purports to give the Orange sound but it isn't actually approved by us. With IK we can sit down together and nail the real Orange sound.
We find that a lot of people who use the Orange amps in AmpliTube then decide they like that sound and buy the real thing. And also it's good working with IK – we feel as if we are all part of one team, which we think is very important"
11) What is it that you particularly like about the Orange emulations in AmpliTube Custom Shop?
"IK's DSM modeling (Dynamic Saturation Modeling) makes it feel like you are playing through a real amp, you get that 'kick back' when you play which makes it more than just a computer simulation, it has the dynamic feel of a real guitar amp. Another thing we like is that apart from the playability is that on the screen, all the models actually look like Orange amps, so you get the exact same look and feel as the real thing."
Skunk Anansie's Ace Discovers AmpliTube 3 Custom Shop!
"AmpliTube 3 is the most authentic sounding and flexible guitar recording software I have come across"
Ace is the guitarist and founder member of huge UK rock act, the recently reunited and multi–platinum selling Skunk Anansie. They are currently touring worldwide and their massive new album 'Wonderlustre' is storming the charts throughout Europe.
Ace is a long-term, enthusiastic IK and AmpliTube user and you can hear the sound of AmpliTube in basically all of his productions.
He recently spoke to us about the new AmpliTube 3 Custom Shop:
"On checking out the new AmpliTube 3 Custom Shop, I discovered some great new sounds!"
We asked Ace what his favourites amps are:
"My favourite amps for realistic classic emulations are the Orange amps.
The response and tone of them is authentic and highly workable in recordings in my now digital based home studio."
What do think about the Custom Shop concept?
"The Custom shop is just a fantastic piece of software and it is exciting to choose and download new amps and pedals - like a virtual trip to the guitar shop, but a lot more value for money and very affordable to pick up different items. I find it quite exciting to shop in there and then get to try them out."
Any particular favourite stomp pedals?
"My favourite new pedal additions are the T-Rex range that do sound like real pedals and have the same response with the amps."
So, what is your overall opinion?
"Overall, AmpliTube 3 is the most authentic sounding and flexible guitar recording software I have come across. I'm very pleased with it!"
9. What inspired you to work with IK Multimedia in modeling your equipment?
"Initially, that came from Evan Skopp, who's my Vice President of Business Development. He met Gary Kerzner at a NAMM show and the two of them started talking about working models of our stompboxes into AmpliTube. We realized that by taking versions of our pedals into the digital world, we could continue to help guitarists in ways we previously couldn't. It's all about allowing guitarists to find their tone. And for the ones who work digitally, IK Multimedia allows us to reach them and we're really happy with the way our pedals are represented in AmpliTube. You guys really captured their essence. Congratulations!"
10. What role do you see amp and effects modeling like AmpliTube for a guitar player who is crafting his sound?
"It's another tool in the toolbox. All of us are creating tools for musicians to express their creativity. My products are tools. So are the guitars and amps and strings and cables and whatnot. Having digital amps and effects easily accessible in a digital recording environment is a great tool for guitarists.
Digital Modeling is already pretty great and it's only going to get better and better. I remember the first synthesizers and the first acoustic piano modules. They were pretty cheesy. But nowadays, you can hear a piano patch on a track and not be able to tell if it's acoustic or modeled. Guitar is right behind."
Did you find Guitar Rig to be inspirational in any way?
Oh, absolutely. What's so great about Guitar Rig is that when you have an idea and you want to throw it down you can cycle through all the different settings and tones and just get a real feel for what sound matches the particular type of music you need. If you're looking for a specific vibe you can just go through all the tones that actually work best without having to replay it a million times while dialing in every amp setting.
So you would record your stuff dry and then later on re-amp your tones and effects to experiment?
Yeah, exactly. And that’s just for the raw riff. I mean, that’s not even going into all the great things you can do with all the effects patches, like adding them into the loop, bringing them in and out and just tweaking whatever it is you want. It works so quickly. I remember spending hours and hours just going through my pedals getting everything in line and almost inevitably having to change the battery because it was weak and it would affect the sound, or finding out after 15 minutes of doing that that somehow the pedal was broken. A lot of time is saved by using Guitar Rig. I also love the fact that you can just tweak for hours and hours. When it comes to amps, effects, changing mic positions, adding air... I love all that stuff!
It sounds like you're getting deep into it!
It's funny because there will be periods where we play live, rehearse live and record everything live, and then there will be periods where we won’t be doing anything and I'll be down in my basement thinking "sooner or later I have to get to that part and just refine it". I'll put the part up on Pro Tools and then get Guitar Rig up and work with it for a short intense period of time and then go back to the live recording in the studio or rehearsals and say "hey guys, I got this idea and I developed it in Guitar Rig". A lot of times I'll use it to compose bits and pieces of music on the road and for me that’s when Guitar Rig really shines.
Geezer Butler - Black Sabbath: "I find Guitar Rig an essential part of writing, home recording and studio recording. I can access almost limitless amplifiers, speaker systems, mic settings and effects, all on my computer in a concise, easy to use format."
Anthony Drennan - The Corrs: "At last, getting any sound, anywhere, anytime has become a reality - and not just for guitarists."
Neil Hogan - Cranberries: "I have been using Guitar Rig in the studio and on tour for the past few years, it has become a major part of my set up for writing & producing. It's selection of mics and cabinets are impossible to beat."
Skip Dorsey - Justin Timberlake Band: "Guitar Rig has allowed me to take my recordings to the next level. This program is so deep, so comprehensive that I think for the first time I'll be able to really capture what I'm hearing in my mind. Thanks Native Instruments!"
“Wow…They sound the same, in some ways better, than the amp because there’s no noise, which is really cool…”
Solo & Collaborative Artist
The flexibility of the Axe-Fx is supreme. I did extensive tone testing with it and found it to be flawless. It's all I need now. It makes me feel like every day is Christmas. It's exceptional and I'm grateful.
The Ultra completely and forever changed the way I look at guitar processing. The Axe-Fx II takes everything I love about the Ultra to the next level. All of the FX sound richer and the new interface makes it even easier to use. My rig has a new openness and clarity and sounds so much better as a result.
Stephen Carpenter & Sergio Vega
We recently purchased Axe-Fx units and as you know, it is a transcendental experience... especially for those who love developing tones with movement and textures to use for composition as we do. We feel as though we found a life partner in this system!
Honch wrote:To Deltafox only, or anyone else whom it might concern, here's what you should concentrate on, regarding the current state of amp sims, it's from authorative sources of manufacturers, of which I haven't yet seen anybody around here to reply to:
Honch wrote:Mike Scuffham, Scuffham Amps (formerly chief designer Marshall) S-Gear developer:
"The important thing to know about convolution is that it is a 'linear process', in simple terms this means that if you put a sine wave in, you will get a sine wave out - just the amplitude (level) of the output will change according to the characteristics of the filter (i.e. the impulse response). Furthermore, whatever amplitude the input signal is, the resulting change in the output signal will always be linear relative to the input signal. In other words, it won't amplify the input signal more at high input levels or low input levels, the effect will always be a linear one. Also, it won't clip, bend or warp the signal. By comparison, a real system (like a loudspeaker in a box), almost certainly will produce a different result with low or high input signal level, it may well clip and warp the signal in a 'non-linear' way.
From the above, you can then see that linear convolution is not going to capture any of the dynamics or overdrive characteristics of a guitar amp. A software amp that employs linear convolution needs to use other methods to deliver the non-linear characteristics of the amp."
Honch wrote:And the second one from Kemper amps profiling FAQ:
"Initially, we focussed our attention on existing and well-documented techniques, most of which fall under the heading “Dynamic Convolution”. Even though these approaches seemed very promising at first glance, and certainly useful for recreating simple, soft distortion circuits, they were by no means adequate for complex guitar amplifiers with heavy distortion. Reality has shown that no other company has managed to create a profiling amp by these methods so far.
Other well-known modeling methods, such as a distortion devices framed by a pre- and post-equalizer, have been used in modeling amps of the first generation. They deliver reasonable results, but the sound still lacks complexity, depth and feel; furthermore, these methods don’t qualify for an automated profiling procedure."
Honch wrote:Still, no one has explained to me what should happen with the signal after a CPU software has taken care of it, although they gave it their best shot.
Honch wrote:<rant omitted for brevity's sake>
Honch wrote:Still, no one has explained to me what should happen with the signal after a CPU software has taken care of it, although they gave it their best shot.
maxthedog wrote:You need to be clear about why you feel this is so important.
rimisrandma wrote:I didn't read this topic, but I will put up an opinion. First, I believe this thread should be deleted because it is placing a burden on this forum and there is too much emphasis on something that you either use or don't. If you want to eat chocolate, fine, but it is not a diet food and to compare it to alternatives gets a bit insane.
That said, I believe modeling is at a disadvantage because it deals with the past, trying to emulate equipment that has been done before and had some degree of success. I think if modeling could get by this concept it would turn a lot of guitar and bass equipment into a vintage method of producing music very quickly. Instead of trying to get those sounds from yesterday/year/that specific artist etc, why not create more of a guitar digital synth in either a piece of software or a hardware piece of gear. Scream and yell all you want, but I don't think there is an all out piece of gear that specifically does this..... although there are many products that will do this to some degree, not totally is what I am getting at.
Furthermore, I think there is a lot of products that are extremely good and will get the job done. A couple of things blur the image of what is out there. For one, there is a lot of "kids" or amateurs out there that can barely play guitar let alone set-up a good patch or even set-up one that will sound good in a mix. Second, there is a lot of comments posted by people who do not have money to purchase a lot of what they are placing reviews/comments about OR just took a 15 minute music store test-drive with and ran home to their 400 dollar laptop, which they can afford, and threw up a crappy bit of info about. Other times, you have tech type people who listen to a piece of equipment with specs differently than art-type people play and listen, but really never post because they really don't get into this internet posting type stuff. Lastly, there is more of a forum crowd using/posting/trying, which posting on the internet is more of their passion than playing/recording and getting real use out of the modeling technology that is available.
I will close with saying that a lot of the software and hardware modelers out there that are priced from 3 to 7 hundred dollars are extremely useful. You can scream and yell about this all day, but to buy an amp, pedal, guitar..you are talking at least a thousand dollars; to do it right, I would guess 10 thousand dollars. For a kid starting out, you could pick up a decent starter guitar, maybe a used pod xt and a decent set of headphones, like MDR-7506's, and spend more time learning and playing, even without pissing people off volume-wise for 600 dollars or so. Need to get loud to impress college buddies??--> Buy a used roland JC ss combo or any ss combo set with neutral controls on the clean channel. With the ss combo you could still be around a thousand dollars, but have A PILE of sounds to play with.
Zanman777 wrote:Sorry for the offtopic:
Ken, did you just hand over a free Head Case copy to someone because you liked his post? That's a somewhat wierd policy... to say the least. Unless that notification is out of context, in which case I apologise. I'm just curious.
By the way, I've been hearing Head Case is "just coming out" for quite a while, and even heard about some demo, but can't find the demo anywhere. What's this all about?
SpaceGoat - yeah, you're 100% right. Amp sims have always shun on their convenience (the cops and house-shaking you mentioned...), and after their huge development over the last couple of years they became the tool that got the job perfectly done (at least for the 99% that matters, anyway).
You don't see IK Multimedia, Fender, Marshall, VOX, Peavey coming to forums, quoting user A or B and signing below with a "Congratulations, you just won a Fender Twin Reverb/JMarshall JCM 'cause I like what you posted"
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