![]() ![]() The real thing is better in the flesh and when playing live - but for recording it is not so clear cut. Often the effects of real amps are the result of our ears reacting to the volume and closing down some of the frequencies. I have a huge assortment of plectra - different gauges and materials - the variations in sound changing plectrum are often more profound that any amount of knob tweaking. Here's a tip: sometimes you can spend a lot of time tweaking gear, trying to find a sound when all you really need to do is find the right plectrum. This might also, and often does, include routing the DI signal through Guitar Rig, Waves GTR or Amplitube. With the Radial system I can re-track the parts in the context of the mix without having to play them again. It's a "must" to have the right sound when playing but by the time mixdown happens that sound may not be so right anymore. I still have most of that gear in the studio and track with it, but now the most important tool when tracking guitar parts is my Radial re-amping kit. Cabinets were mic'd and amps fed through HK Red Box DIs. My earlier stage rigs were complex, multi amp set ups with switching and as technology progressed my stage rig became a rack of various pres, multi effects, graphics etc controlled from a MIDI switching system. I've always been more interested in finding the right sound for the part rather than adopting the "my sound" position David Polich referred to. It's a tricky thing balance- especially when the engineer and guitarist are one in the same.Īs a guitarist tonal flexibility has always been my ideal. The process of playing comfortably is the result of the guitarists' expectations. The results are the concern of the engineer. I'm not at a point where I'm ready to invest a couple-three grand (or more) in a dedicated guitar rig, so guitar emus go a very long way when the same cash is being set aside for a new computer.īut a dedicated guitarist? Give them a real amp with a real pre and a great mic with their own OTB rig, and they'll be happy campers! I love a great guitar emu as a pianist who dabbles enthusiastically in guitar world. Guitar emus work wonders- especially at 3 AM when a project is due in a matter of hours.īut the process remains an enormous consideration even if the results remain a huge consideration amongst guitarists who prefer a real amp with a real mic- with or without the conveniences of what DAW world might have to offer.ĭon't get me wrong. It's no wonder that emus add to that conundrum.įor keyboardists? It's a whole different world. The Marshall people fuss with the Soldano and Fender people all the time without emus being involved. Within guitar world itself there are divisions among schools of thought. There are also personal preferences where the resulting sound is concerned. The feel of the tools to create those results generate a different experience from playing the real thing. For someone who is used to playing a real grand piano, the *process* is very different. Even with the best piano VIs and the best weighted action keyboards, the results must be weighed on their own. That's partially because DAWs were slow to become guitarist-friendly rather than keyboard-centric.Įmus deal mainly in the results and not the process. Emulations are excellent, but guitarists respond to a different balance of sonic molecules in motion. That's harder to consider when everything is ITB. To experience what is itself the experience of playing guitar is to experience how air is moved. Yeah, I know what a real amp mic'd in a room sounds like. I really understand why more guitarists don't share this enthusiasm. I like having the option to program my own synth sounds. I've met a few guitarists who do prefer the If I were a guitarist I would love the option of changing my amp soundĪ thousand different ways. But these guys insisted they "couldn't play without their sound". Both rigs were Marshall Mode 4 amps, and frankly neither of the amps sounded very good to me. Both of their rigs were buzzy, noisy, and exhibited ground hum (which was difficult to eliminate). signal into DP, along with the mic'd amps. Just recently did a recording with the guitarists in my Heart tribute band.īoth of them insisted on bringing their entire rigs over. And sometimes I find that the software pianos work fine and I keep them in the project. I'm perfectly happy to use Ivory or The Grand 3 or Pianoteq for the piano I have a Yamaha Disklavier baby grand, and when I'm doing an arrangement ![]() Or Amp Farm, or Guitar Rig, or Studio Devil, or any other amp simulation ![]()
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