EQ Magazine - June 2008 - (Page 54)

T ake +Y modeling our Pick Faster computers better algorithms = great guitar recordings BY MICHAEL ROSS Over ten years ago Line 6 introduced Amp Farm, the first widely used ampmodeling software. It was greeted with open arms by some, skepticism by others, and derision by a few. While purists scoffed, session guitarists—accustomed to years of rushed setups, badly miked (or worn-out) studio amps, and/or baffling and volume problems—found it a godsend. At last, you could quickly dial in a fine guitar tone for myriad recording situations where miking and recording a real amp properly was problematic— or not even an option. Unfortunately, Amp Farm was available only for Digidesign’s Pro Tools TDM system. But then IK Multimedia introduced AmpliTube, a native solution for multiple platforms. Even non-guitarists found amp modelers useful for crunching up drum tracks, adding grit to vocals, or enhancing conventionally-recorded guitar tracks. Still, until recently software amp modeling remained largely the province of a few studio rats. Today, reduced memory costs and faster computers have led to greatly improved sound quality. IK Multimedia is up to AmpliTube 2, and also offers a Jimi Hendrix package that comes frighteningly close to matching the analog sounds of the rock legend himself; Native Instruments’ Guitar Rig 3 goes beyond emulating vintage gear to add sequencing, filtering, and modulating tools previously available only to synth players. Meanwhile, Waves’ GTR3 expands considerably on their existing roster of amps and processors, and Line 6’s GearBox software is now available in plug-in form as well as being part of products that use their ultra-low latency ToneDirect monitoring system. Just as analog tape is being abandoned for the convenience and cost savings of DAWs, more guitarists are availing themselves of the convenience and sound-sculpting capabilities of software modelers. NEW KIDS ON THE BLOCK Having previously reviewed AmpliTube2, GTR3, Guitar Rig 3, and GearBox software (see sidebars “Encore!” on page 56 and “Amp Sim Update” on page 58), we’ll look at four recently-released amp modeling software packages—two high-end products and two budget bargains. Digidesign now offers their own modeler, Eleven; Scotland’s db audioware, an audio technology company that specializes in designing high performance audio engines and plug-ins, makes Flying Haggis; and from Brooklyn comes DSP engineer Marc Gallo’s Studio Devil. The fourth newbie is ReValver, from a company perhaps best known for its guitars and amps rather than software—the Mississippibased giant Peavey. But before getting into each model’s particulars, let’s look at some concepts shared by all amp modeling software. APING AMPS As musicians and recordists, we want software that will help us replace the drudgery of hauling a heavy combo or 4x12 stack, shorten the tedium of trying to find a “sweet spot” for the right mic on the best 54 EQ JUNE 2008 www.eqmag.com http://www.eqmag.com

Table of Contents Feed for the Digital Edition of EQ Magazine - June 2008

EQ Magazine - June 2008 Contents Talk Box Sounding Board 3 Doors Down, Hard-Fi, Paul Manousos Tool Box Panic at the Disco Guitar Trax Bass Management Key Issues Drum Heads Vocal Cords Mix Bus Cheat Sheet Cakewalk Projects Apple Loops Utility SSL Duende Mini JBL LSR4326/PAK & LSR4312SP Holophone H3-D Creation Audio Labs MW1 Studio Tool Amp Modeler Roundup Eventide Timefactor, Electro-Harmonix Stereo Pedals, Korg Pandora PX5D Room with a Vu: Blues Tunes Studios, Silverlake, CA

EQ Magazine - June 2008

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