http://pro-audio.musiciansfriend.com/pr ... sku=150934
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Moderated By: mods
shit man, this is what I was looking for. a pedal that does valve distortion. with speaker sim out.
I dunno though, I've been looking at it and I think I'm just gonna sell my Kalamazoo and buy the HT-5 mini-stack. That thing just seems absolutely perfect for apartment recording.
I dunno though, I've been looking at it and I think I'm just gonna sell my Kalamazoo and buy the HT-5 mini-stack. That thing just seems absolutely perfect for apartment recording.
cogito ergo sum...thing or other...
I removed the line-out from my silverface Twin because the one and only time I tried it (absolutely ages ago) it sounded thin & uninteresting. However, I've thought about building a little line-out box to add to the speaker circuit, similar to the idea on the Kalamazoo page. In my case, I'd just follow the Twin schematic.
Of course, I'd still need to EQ the signal with a curve similar to a speaker response curve to get a speaker-y sound. Guitar speakers roll off high frequencies very steeply above 5K, so that might explain the harshness of the un-EQ'ed line-out sound when compared with a speaker.
By the way, I set up EQ curves in Garageband to emulate a couple Eminence speakers: the 10" Copperhead....
... and the 12" Man-O-War....
These have come in handy on DI guitars, and sometimes on mic'ed guitar trax too.
I've been impressed with the straight DI sound of the PreSonus Firepod, especially when I run the guitar through a Runoffgroove pedal (essentially a tube amp circuit in a box, with JFETs instead of the tubes) into the Firepod, and then slap one of the above EQs on the track in Garageband.
Of course, I'd still need to EQ the signal with a curve similar to a speaker response curve to get a speaker-y sound. Guitar speakers roll off high frequencies very steeply above 5K, so that might explain the harshness of the un-EQ'ed line-out sound when compared with a speaker.
By the way, I set up EQ curves in Garageband to emulate a couple Eminence speakers: the 10" Copperhead....
... and the 12" Man-O-War....
These have come in handy on DI guitars, and sometimes on mic'ed guitar trax too.
I've been impressed with the straight DI sound of the PreSonus Firepod, especially when I run the guitar through a Runoffgroove pedal (essentially a tube amp circuit in a box, with JFETs instead of the tubes) into the Firepod, and then slap one of the above EQs on the track in Garageband.
zaphod not again.Zaphod wrote:amp modelling wasn't about until the 80s, what you heard was bollocks.
GW: One music-oriented question before we move on to "Houses of the Holy": Tell
me how you got that sound on Black Dog.
Page: We put my Les Paul through a direct box, and from there into a mic
channel. We used the mic amp of the mixing board to get distortion. Then
we ran it through two Urie 1176 Universal compressors in series. Then
each line was triple-tracked. Curiously, I was listening to that track
when we were reviewing the tapes and the guitars almost sound like an
analog synthesizer.
http://www.iem.ac.ru/zeppelin/docs/inte ... page_93.gw
ok so it wasnt a tele, but i mostly said that for lulz. still, he probably did run his tele DI some of the time.
i just meant a DI box. now that ive looked it up i see that sansamps didnt exist, but this is why i said "or something" after that. the point was it was a DI box, not the brand of the box. but you are right, zaphod, it wasnt a sansamp or any other kind of modeller, it was a di box just. thanks.Zaphod wrote:you said "some kind of sansamp".
i'm not denying he didn't run some stuff DIed.
to be honest, i didnt realise that sansamps were actually considered early amp modellers, i thought by saying sansamp i was basically saying DI box, like kleenex for tissue or nintendo for videogames.Zaphod wrote:goodgood, can't be having no ambiguity.
ive never owned either.
anyway, i still stand by my original point, "black dog" sounds like big assed amps and it isnt, so with a similar set up mage could have same.
btw, what about sansamps proper for this issue, mage? TEH KRUDTZ!
Have you heard of/used Voxengo's CurveEQ?filtercap wrote:Of course, I'd still need to EQ the signal with a curve similar to a speaker response curve to get a speaker-y sound. Guitar speakers roll off high frequencies very steeply above 5K, so that might explain the harshness of the un-EQ'ed line-out sound when compared with a speaker.► Show Spoiler► Show Spoiler
http://www.voxengo.com/product/curveeq/
Some bros were using it to emulate the Eq curves of power sections, pedals, speakers etc with really good results a while back.
hmmm.... looked at them a little bit... they don't sound that great actually. I think my Dist+ going into the Behringer DI speaker sim actually sounds better. they have too much raspy treble. did the krudtz use the sansamp? really?william wrote:btw, what about sansamps proper for this issue, mage? TEH KRUDTZ!
cogito ergo sum...thing or other...
Never used it. Looks interesting though. For some reason, it takes me a lot longer to sort out one of those curve EQs with 2 or 3 handles than it does to use a "graphic" EQ with a couple dozen bands. They're effective, but I can never just set one and leave it alone.Sloan wrote:Have you heard of/used Voxengo's CurveEQ?
http://www.voxengo.com/product/curveeq/
Some bros were using it to emulate the Eq curves of power sections, pedals, speakers etc with really good results a while back
Has anybody come out with a plugin that emulates a variety of amps plus a variety of speakers plus a variety of microphone response curves plus a variety of mic positions (near, far, on-axis, off-axis)? That's what somebody's gotta do.
As long as you've got enough "inserts" to add more EQs to a track, I don't see what'll stop you from doing just that, at least when it comes to mic response curves. I don't know where you'd find a graph of speaker response when sampled from various mic positions relative to the speaker.mage wrote:now that would be a cool idea. I hadn't thought of that but that would be great. I wonder if you could make an EQ for each of those and then apply it over the speaker EQ.filtercap wrote:a variety of mic positions (near, far, on-axis, off-axis)?
Re microphone curves: I recorded a project for a buddy of mine last year, and when it came time to mix and master, the whole thing was just too strident in the upper-mids and highs. I'd recorded almost everything through Shure SM-57s and SM-58s, so I looked up their response curves and then set an EQ curve that was more or less an inverse of their response in the 1K-6K range. I applied the EQ to the whole mix. Big improvement.
yea, he brought it to life big time.Mike wrote:More people need to be paying attention to how awesome filtercap is in tihs thread.
yea so filtercap, did you make the eminence speaker EQs from their frequency response curves? I suppose you can find them on their website?
cogito ergo sum...thing or other...
aww shux, fellers.
Yes, and yes! For each frequency slider on the EQ plugin, I located the corresponding frequency on the speaker's curve, and then estimated how many dB it was from some fixed threshold (a line drawn straight across at 90dB, for example). Then on the EQ, I set the frequency's slider higher or lower than 0dB by that same amount. When done, the curve in the EQ resembled the curve in the graph. If the result provides too much gain (or not enough), you can you can adjust this by selecting all the sliders and moving them up or down as a unit. This keeps the shape of the curve intact unless some sliders hit the top or bottom of their range, in which case the peaks and dips in the curve get flattened out.mage wrote:yea so filtercap, did you make the eminence speaker EQs from their frequency response curves? I suppose you can find them on their website?