schnick-schnack
Member
excellent work - thanks for sharing!
It's not the noise, it's the character. AFX has an "Orban"-like attack to it...hard to describe. Orban is a multiband-compressor thingy used in broadcast.
Wow, VERY cool and very detailed testing/explanation. Can you expound on this a bit?
So are you saying that playing the newly created patches / tone matches AND using the IR capture (cab block) through ??? <FRFR? Studio Monitors???> vs. playing through the live amp rig it sounds very close?
And then using AxeFX II with cab sims off into power amp + the actual cab it's dead on?
The reason I ask is because I'm debating as to whether I am ready to try full blown FRFR again now that people are doing high quality IR captures of great cabs/speakers and doing amazing stuff with Tone Matching. I play at very moderate volumes and although I love my matrix loaded cab, I'm starting to miss the detail and ease of use of one patch/path for all monitoring sources: headphones, nearfield monitors, FRFR.
While all of these 1 on 1 comparisons themselves sounded very similar, at this point it does make a difference to me whether to play through monitors or a real cab.
It was the attack that made it stand out for me. I was hoping "the reveal" had not happened yet...Easiest to recognize the AXF when playing the riff. I'm 97.4% sure the last part of the riff snippet is the AC30. Or that the first part is the AXF, if you prefer 8)
Ah.. "the reveal." But..It's not the noise, it's the character. AFX has an "Orban"-like attack to it...hard to describe. Orban is a multiband-compressor thingy used in broadcast.
Yeah, the chords sound very similar. Not that easy to tell from just strummin' some chords though, and the gain was a bit different between the two.
And this is what drove me back to "real amps." "On tape," things are.. manageable. It is while playing in the same room with the amp that I could not "let go" of an experience that is so familiar and comfortable for me. All of you who revel in the Axe's amps have NO idea how incredibly, incredibly envious of you I am. Honestly.And it always will...it's the physical part, the part that push that air around. Simulation of a recording of a cabinet/amp will, in the end(!), be indistinguishable as they end up being played through the same physical structure. An open backed guitar cabinet is to a large extent omnidirectional, and its behaviour is obviously impossible to recreate through these FRFR thingys. Just as a recording of any other instrument won't sound the same as listening to the instrument itself.
Trazan,
It's interesting that you mentioned "multiband-compression," because the only way I can describe what I hear as different (and it's rather slight anyways, since i think year2525 did an EXCELLENT job with this!) is that on the 2nd-part of the riff-clip (Vox-amp?!?) the low-end "thump" and the very high-end "sheen/presence" sounds more open (or less compressed if you will.) In fact, one could probably make the 2nd-half of the riff-clip sound more like the 1st-half of the riff-clip with a specific multiband-compressor (approx: fast-attack; subtle-ratio; appropriate-threshholds for low-band <80Hz-250Hz> & high-band <8K-16K>.) I wouldn't actually WANT to do this, since the idea (in most cases) is to get the modeller to sound just like the amp, NOT "the-other-way-around" - LOL! I digress...
Bottom-Line: year2525 has done an EXCELLENT JOB of tone-matching his Vox AC30TB amp, and I LOVE his idea about capturing it at various gain-points! (My bassist and I were talking about that very idea just recently!) It makes for more work, but it seems to make sense...
...BTW, if year2525 pulled a Cliff and said "Gotcha" the Axe-FX II is actually the 2nd-half of the clip(s) (to prove a point!) Then I would still stand by my description of what I thought it sounded like (and I know I could easily be fooled, since I think the amp & the tone-matched preset sound VERY SIMILAR here anyways!)
Bill
@OP: These are great. I enjoyed these enough to reply, which I told myself I would resist doing with anything tone match. These are impressive, and for an "on tape" sound, I would use these any day of the week. Kudos, well done.
Sorry, I used "on tape" in quotes as catch-all terminology for any recording medium (digital, tape). I have never found a recording to adequately represent what one hears "in the room," with the musicians/gear/etc. IMO, the only thing a recording can ever provide is an example of how something might sound.. "on tape." The "in the room" or interactive aspect will typically differ, sometimes in unexpected ways. Despite the "attack" issue, your recordings provide a very convincing AC30 type recording. Beautiful.Thanks! Well, good for me then!
By "on tape", do you mean in a recording or when actually recording on tape, because it would fatten things up enough?
I found no way while using the front input. IMO, it is an inherent aspect of the *method* in use. Beyond that... I was already escorted from the podium; I will leave further explorations and debate to others (I have moved on, and am quite happy where I am now ).Also, the attack compression thing you guys mention, been thinking about that.
Maybe there's a way to get around it.
i tried to load these patches up, but I get no sound. Any ideas why?
did that. any other ideas?