Rock Chalk
Fractal Fanatic
Cliff was standing on the toilet, hanging a clock....
heh heh.....Confucius say "man who stand on toilet, high on pot!"....heh heh
Cliff was standing on the toilet, hanging a clock....
Here's a sample of with and without preamp modeling. The first half is amp->cab->reverb. The second half is amp->cab->pre->reverb.
www.fractalaudio.com/tmp/pre_test.mp3
Isn't there a mic pre also baked into the IR you're using in the Cab Block?
Do you have some way to digitally remove audio signature of the IR's mic pre?
See posts 99 and 105, he addressed that.
Yes, he can remove the frequency response coloration for the mic pre. You capture the response of the mic pre and then apply the inverse of that to the IR. From his previous responses, it does not sound like he likes to do that though.
Actually he doesn't really address that.
Those comments of his are why I asked my questions.
I don't see where he talks about using an inverse IR of the API channel strip to remove its influence on the tone.
At any rate, it seems that in the EVH clips Cliff is posting here that there are two channel strips being simulated in the tone.
That's like using a mic sim on an IR that was captured with a mic like an SM57.
Nothing really wrong with doing that though if it gets the sound you're after.
The difference between the two tones in Cliff's last clip is quite striking.
The one with the new simulated mic pre sounds much more musical.
I'm just trying to better understand why/how.
There are two nonlinear components to preamp coloration: nonlinear frequency response and nonlinear amplitude response. When you capture an IR you capture the nonlinear frequency response, if any. The nonlinear amplitude response (clipping) is not captured.
My quick preamp simulation is simulating the nonlinear amplitude response.
There's a huge difference between distortion before the speaker (IR) vs. distortion after the speaker. Eddie's studio tone was a combination of distortion before the speaker (from the amp) and distortion after the speaker (from the preamp or tape or whatever). The new preamp simulation is adding distortion after the speaker which increases brilliance and "cut".
A popular technique during mixing is to add distortion to a track. This is commonly called an "exciter". Some exciters are multi-band. The added distortion makes the tone brighter and can help it stand out. Overdriving a preamp or tape is simply a crude type of exciter but that's all they had in those days. They experimented. They turned the knobs until things sounded good. This experimentation led to the realization that some distortion on the track made things sound better. Some guys liked overdriving the console input. Some guys like overdriving the strip output. Some guys liked overdriving the tape.
The microphone itself can distort as well. Especially at high volumes.
The new preamp simulation is adding distortion after the speaker which increases brilliance and "cut".
Great job Danny. I can see what you're talking about with the harmonics Your sound sounds a bit thicker with a bit more saturation, but it's quite close. EVH tone didn't have as much sustain although it sounds like it does. You can tell by listening really closed and from listening to the old live stuff.
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Danny, that sounds amazing! Any way we could get a hold of that bad boy TM/Patch?
Brilliant method!
Just listened to Danny's Unchained through a good set of headphones, and that sounded amazing.
I do have a question....is a Tone Match block included in a preset when you export it?
Actually he doesn't really address that.
Those comments of his are why I asked my questions.
I don't see where he talks about using an inverse IR of the API channel strip to remove its influence on the tone.
At any rate, it seems that in the EVH clips Cliff is posting here that there are two channel strips being simulated in the tone.
That's like using a mic sim on an IR that was captured with a mic like an SM57.
Nothing really wrong with doing that though if it gets the sound you're after.
The difference between the two tones in Cliff's last clip is quite striking.
The one with the new simulated mic pre sounds much more musical.
I'm just trying to better understand why/how.
There are two nonlinear components to preamp coloration: nonlinear frequency response and nonlinear amplitude response. When you capture an IR you capture the nonlinear frequency response, if any. The nonlinear amplitude response (clipping) is not captured.
My quick preamp simulation is simulating the nonlinear amplitude response.
There's a huge difference between distortion before the speaker (IR) vs. distortion after the speaker. Eddie's studio tone was a combination of distortion before the speaker (from the amp) and distortion after the speaker (from the preamp or tape or whatever). The new preamp simulation is adding distortion after the speaker which increases brilliance and "cut".
A popular technique during mixing is to add distortion to a track. This is commonly called an "exciter". Some exciters are multi-band. The added distortion makes the tone brighter and can help it stand out. Overdriving a preamp or tape is simply a crude type of exciter but that's all they had in those days. They experimented. They turned the knobs until things sounded good. This experimentation led to the realization that some distortion on the track made things sound better. Some guys liked overdriving the console input. Some guys like overdriving the strip output. Some guys liked overdriving the tape.
The microphone itself can distort as well. Especially at high volumes.
Yes, the matched frequency response is included when exporting. If you want to be triple sure, that matches will work also in a future, where cliff probobly will do some changes on the TMA block .... export the match as Cab-IR...
Thank you! Yeah, that's what my cab impulses thing meant. I tone matched and then saved them as CAB IR's. Glad I did something right! Thanks again!
There are two nonlinear components to preamp coloration: nonlinear frequency response and nonlinear amplitude response. When you capture an IR you capture the nonlinear frequency response, if any. The nonlinear amplitude response (clipping) is not captured.
My quick preamp simulation is simulating the nonlinear amplitude response.
There's a huge difference between distortion before the speaker (IR) vs. distortion after the speaker. Eddie's studio tone was a combination of distortion before the speaker (from the amp) and distortion after the speaker (from the preamp or tape or whatever). The new preamp simulation is adding distortion after the speaker which increases brilliance and "cut".
A popular technique during mixing is to add distortion to a track. This is commonly called an "exciter". Some exciters are multi-band. The added distortion makes the tone brighter and can help it stand out. Overdriving a preamp or tape is simply a crude type of exciter but that's all they had in those days. They experimented. They turned the knobs until things sounded good. This experimentation led to the realization that some distortion on the track made things sound better. Some guys liked overdriving the console input. Some guys like overdriving the strip output. Some guys liked overdriving the tape.
The microphone itself can distort as well. Especially at high volumes.
But you did not meant shooting Cab IRs from real cabs that way, right? For that, IR capture tool is there.