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you're so weak! No willpower!!!And I caved and bought the Marshall Vintage.
you're so weak! No willpower!!!And I caved and bought the Marshall Vintage.
Being the broken record I am, I’ll say it’s not the real “raise the hair on the back of your neck” tone, but these models sound pretty nice. Also, there isn’t much latency that I can feel. There’s a little, but it doesn’t ruin the feel.
i would a/b these by recording raw guitar tracks and piping these thorough the amp model into a flat power amp into a real cab, and the actual amp into the same cab in the same room using the same mics.
Are we discussing those amp simms? Ok Ill try them (49 bucks is cheap) but I really get this yucky feeling using amp simms. I don't understand why your using them with a miced amp though. I mean you want another amp buy it or get a Kettner (without the 600 watts) and use it with a real tube amp. Then you have the best instances of all your fav. amps with tube feel. That say solution if I was going to do that.
Software has yet to impress me in regards to replacing a real amp. Especially the cleans are so fake or feel fake to me. Am I off topic here? These are amp simms right for my daw?
Ok Ill try them...
If you have any latency and are using logic X. Go to plug in I/O. Run the test. It will tell you if you have any latency and what level. Then set the level in audio prefs to match by - and the number. I can explain this better if anyone wants to know how to kill it.
Ha Ha! I usually prefer tube myself. I hate amp sims and all that. I did however here and watch a lot of demos and supposedly the kettner amps have away to actually take any amp and run it through a process of grabbing an instance of any amp a lot of which no one can tell the difference. I posted about it (being a tube guy only) out of curiosity as I hate line 6 and all that crap wth a passion. The end result was to get a kettner amp without the watts and run it through a real tube and that would have so many possibilities in the studio and live and still have the tube feel since your using tubes with it in this case.Haha! For years I’ve been the main “amp models suck” guy here. I record only real tube amps for final tracks on real projects. Never, ever modeled amps.
But the models are nice when I’m working out ideas late at night. Sort of a scratchpad.
In any case, good to have you aboard!
You’re not alone.
You can reduce it to a low level that way, but not kill it completely. There’s always going to be some round-trip latency. It’s OK. I don’t use plugins for final tracks. It’s fine for a scratchpad.
Using the processing on my UA Apollo I can get lower latency, but of course that’s only when working with UAD plugins. I don’t even use their amp sims, though I do use their various other processors (have a bunch of their amp sims).
Yep! Ill have to post my rigs. Good for you! How do you like the Grissom? Id like to try that baby out. Yeah Im much like you. I keep my amps cabs miced even when Im not recording. Just keep it set up and when the moment strikes just open my daw lol.
I notice you also have a condenser set up in the back for nuance if Im not mistaken.
Yeah UAD has become pretty much the standard these days and I can't stand latency so I do what I have too to get low level. Im using slate (which is good) and focusrite 18i8 (yeah I know not so pro). lol. I actually think the preamps in the focusrite are not so terrible as you may think but I am definitely upgrading to Apollo 8 (haven't decided but good to know they are chainable..probably get an 8..the twin doesn't even have enough inputs to record my trio if we record here).
The Grissom amp is wonderful. It took me a little while to understand how to get the most out of it - the DG30 is a specialized amp, suited to Grissom’s style of play, and isn’t designed to be operated like a typical master volume amp, where you look to the preamp for the gain, and then just control the volume with the master.
With the Grissom, the amp needs to breathe, and the master interacts with the gain control. So a lot of folks try one and don’t get it. The secret is to turn the master up, and use the gain control to control the volume of the amp as well as the grind. Then control how much gain you want with the guitar volume.
Just like the amps the greats used back in the day, before master volume controls existed. It’s a pro amp, not a bedroom amp, but I have a feeling that you’d be able to appreciate what it does.
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Actually, that mic is a super-nice ribbon made by Rode, called the NTR, and you’re right, I use it as a room mic, but that pic was taken with the mic out of position so it’d fit in the pic. I like the NTR a ton - it’s more natural sounding than my Royer because it has better high frequency response, and it’s a really fantastic room mic. Sounds good on acoustic instruments, guitar cabs, you-name-it.
I think the focusrite stuff is pretty damn good! I’m still using a ‘94 Focusrite Red preamp, and spent years and years with a Red 7 channel strip, back when focusrite gear was almost too expensive. Back in the 90s, the ad music business was hot, and I could splurge. But the bottom line is that Focusrite certainly knows how to make pro gear, and that know-how is reflected in their more moderately priced offerings. People don’t give them enough credit!
While I like the preamps in the Apollo, and use them, I’m not sure that they offer much advantage over the recent moderately priced focusrite gear, except for the ability to use them as Unison preamps with the UAD plugins that change their character a bit.
My only criticism of the Apollo preamps is, well, when you really push a higher end preamp, it compresses and begins to get gritty in a pleasing way, and that’s where the character comes in. The Apollo preamps can get a little brittle when pushed hard. Obviously, backing off the gain makes them sound nice, and the software gives them character (you can push the software preamp without overdoing it on the hardware).
But make no apologies for the focusrite you have!
I have some of the Slate stuff, and it’s quite good. I think my son used some of their plugins on the new 30 Seconds to Mars record (he produced a couple tracks on the record, and played on it), so it’s definitely pro software.
Many of the UAD plugins are available as third party plugins that run natively. Plugin Alliance, Softube, and others make the exact same software for native and UAD platforms.
With today’s computers, I don’t think the main advantage of UAD is the ability to offload processing power to the UAD card. I think its main advantage is the ability to run software to make the Unison preamps sound very close to the real stuff so you can track without noticeable latency.
However, the Apollo system has excellent AD and DA converters. In my son’s studio, he and his bandmate just switched from an Apogee Symphony system to a couple of Apollos, one of which is the small portable one, which says a lot.
It’s almost like there are too many great choices! I’ve been really impressed with some of the recent Waves plugins that do very cool things beyond emulating classic gear, and the Plugin Alliance stuff is also both creative and great at solving specialized problems. And of course I have a lot of UAD stuff.
I thought I was right about their preamps! I get pretty decent stuff. Wow your son produced tracks on a major label huh? Pretty impressive.
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I didn't know I could get UAD plug ins without purchasing an apollo unit. Hmm thats kinda a game changer for me. Im gonna look them up now. You'll have to sometime tell me your favs. lol. Yeah so your son is using one apollo twin huh? Thats cool. I wish it had more inputs.
Yeah, the focusrite stuff’s underrated, and certainly nothing to sneeze at!
My son’s using an Apollo Twin as a portable thing with a laptop, and at the studio has an Apollo 8. I think they network them, too. He’s co-produced a Warner Brothers record for his band, some things for 30 Seconds to Mars on Virgin (he’s gotten a few gold records working with them previously as an engineer), and stuff for other folks who are signed with various labels. Knows his stuff - he and I share a lot of information, and he teaches me new concepts all the time.
If you check out the UAD website, you’ll see that a number of their software titles were developed by Brainworx. You can get the native versions from Plugin Alliance. Same with Softube, on their website.
There are, of course, some titles that can’t be purchased in native form. Listen, I love the UAD stuff I have, but I have these other things as well.
One thing about the UAD versions is that the processing is upsampled, so for example, for my ad work I record at 48KHz, but the UAD processing is done at 96, so they sound a little bit more analog, but I’m splitting sonic hairs here.
Let me know if you need some settings for the Grissom amp. It can be a little tricky at first.
Yeah I can tell from the demos what kinda of amp it is. The demos kinda remind me of certain dumble tones actually. Maybe Im wrong I don't have the amp yet but I will definitly be picking your ear once it arrives since you offered! Thanks!!!!!
Definitely not Dumble (I was a Two-Rock player for a number of years, and their amps were more in the Dumble direction); to me, more Tweed than other influences, but I think there’s a lot going on with them that’s cool.
Anyway, feel free to ping me if you’d like some settings.