An Awesome Modeler Would Be...

Here are some digital models that are pretty good:

While I don’t think I have an amp model that truly sounds as righteous as my real amps, I’ve been puttering around lately with the Universal Audio UAD ‘55 Fender Tweed Deluxe when it isn’t possible to riff on my Fillmore (also a Tweed style amp), and I’m actually liking the UA model quite a bit.

I’ve played through numerous Tweed Deluxes in the real world, and they do sound more “present” for lack of a better description, but this model has something going for it. I think they got the texture pretty close to right. Yes, the Fillmore also does real amp Tweed stuff in a more present way, too. Still, I think I could use this model for certain parts on projects if I had to due to time constraints or if a client liked it, and not complain too much.

I’ve already mentioned that UA’s model of the Ampeg B-15 Portaflex is very good, and something I’ve used on sessions that count, but not being primarily a bass player, I don’t listen for bass tone the way a bass player might.

I’m still not all that fond of the amp models Brainworx made for the UAD platform, but I have them anyway, because a few years ago I bought the entire Plugin Alliance bundle, and their amp models came with it.

On my most recent project, I used the UAD API 2500 buss compressor, and I think it’s also got more presence than my Waves version of the same plugin, though a little treble EQ brings the Waves very, very close.

I like the PRS amp models that Waves makes, and the NI Guitar Rig Vox model, however these are perhaps a notch less convincing than the UA stuff.
 
Not so. Here’s what really happens with audio:

As tracks pile up, such as with layered guitars, the good things or bad things about the gear multiply, and progressively make the mix better or worse, more interesting/vibey/exciting, or less so.

Most experienced recording engineers will tell you that a great sounding record starts with a great instrument, and that the amp is actually a big part of the electric guitar instrument.

From there, you need a great sounding mic. And on through the signal path. Things that sound a tiny bit better pile up. Things that sound a tiny bit worse pile up. The flavor of the cake is affected by every ingredient. What you want is the best cake you can make. The baker doesn’t expect the customer to be able to identify the ingredients. They just want the cake to taste great.

It isn’t necessary that the person listening to a record can identify the gear used. It’s quite irrelevant.

The listener doesn’t have to know why a record sounds cool/great, they just know it sounds great.

If you happen to believe, as I do, that a real tube amp sounds a bit more dynamic, more dimensional, and breaks up in a more harmonic way than a modeler, that means that the mix will also sound a bit more dynamic, dimensional, and harmonic.

This is why most rock music is recorded with real amplifiers.

F’rinstance, you can get away with a crappy mic on one vocal track. Start stacking vocals with a crappy mic, however, and all the irritating things about that mic progressively add up in bad ways. And that really can’t be fixed in the mix.

Speaking of which, PRS owners, if someone challenged your taste in guitars by asking if the listener could tell whether you were playing a PRS or an Epiphone, would that affect your choice of instrument?

Or would you say that you choose to play what you play for many reasons, but whether the average person could identify what you were playing simply isn’t a big factor?

Les,

I had thought to ask about why a listener doesn't have to know why a record sounds cool or great, they just know it sounds good.

The reason for my question is because how often have working musicians deconstructed songs they've heard, listening for certain recording techniques, discerning added plug-ins, etc. Then using what they've learned, craft an entirely original song utilizing the techniques that were used for that platinum hit they listened to.

My point is, a decent guitarist/musician/recording artist can use his own ears to discern certain facets of songwriting and recording, and implement the same techniques for their own work.

The benefit may not be a platinum hit, but one that is pleasurable to listen to. Granted, what sets many people apart in this is the fact that not everyone has the ability to hear what techniques or methodologies were used within recording a platinum hit. Hence, the world would otherwise be filled with a greater multitude of recording engineers or music producers.

And there'd still only be one Les.
 
Les,

I had thought to ask about why a listener doesn't have to know why a record sounds cool or great, they just know it sounds good.

The reason for my question is because how often have working musicians deconstructed songs they've heard, listening for certain recording techniques, discerning added plug-ins, etc. Then using what they've learned, craft an entirely original song utilizing the techniques that were used for that platinum hit they listened to.

My point is, a decent guitarist/musician/recording artist can use his own ears to discern certain facets of songwriting and recording, and implement the same techniques for their own work.

The benefit may not be a platinum hit, but one that is pleasurable to listen to. Granted, what sets many people apart in this is the fact that not everyone has the ability to hear what techniques or methodologies were used within recording a platinum hit. Hence, the world would otherwise be filled with a greater multitude of recording engineers or music producers.

And there'd still only be one Les.

Can’t disagree with your analysis, though I meant what I said in a different context.

I have to wait to know if I’m the only one of me, because I’m still trying to find myself.
 
Can’t disagree with your analysis, though I meant what I said in a different context.

I have to wait to know if I’m the only one of me, because I’m still trying to find myself.

Les, you're not lost. Just slightly more innocent than some of us. Others folks when they get thirsty or hungry enough just "order in" and listen to music during the season.
 
Speaking of modelers, have you guys seen the Anderton's video about the new Boss Waza Air headphones?

I don't much like headphones, or amp sims, but this is intriguing

 
Les, you're not lost. Just slightly more innocent than some of us.

Dude, you’re the first person to call me innocent since I was a baby.

I founded a law firm in my 20s, started my own music production company in my 30s, and did a crap ton of living during the many years in-between and since. I’ve seen and done lot of things most people will never do, or even want to do. Hell, I didn’t even want to see or do them.

But I appreciate the thought.
 
Dude, you’re the first person to call me innocent since I was a baby.

I founded a law firm in my 20s, started my own music production company in my 30s, and did a crap ton of living during the many years in-between and since. I’ve seen and done lot of things most people will never do, or even want to do. Hell, I didn’t even want to see or do them.

But I appreciate the thought.

One thing you haven’t done, that is easily rectified, is a martini with some of the Chicago crowd when you’re on our side of the lake!
 
Dude, you’re the first person to call me innocent since I was a baby.

I founded a law firm in my 20s, started my own music production company in my 30s, and did a crap ton of living during the many years in-between and since. I’ve seen and done lot of things most people will never do, or even want to do. Hell, I didn’t even want to see or do them.

But I appreciate the thought.

No worries. You mentioned trying to find yourself. I firmly believe you were never "lost," but may have needed help with the GPS somewhere along the way.

You'll find that, like yourself, we're both just kind of "along for the ride." Please take the next right up ahead. That's my turn.
 
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