That's very true. Maybe it was posted here, but I watched a video in which the worst guitar tones ever were highlighted. "Worst" meaning, in isolation, yet sounded fabulous in the context of a full mix. Over The Mountain was one, and I couldn't believe it.Well, to bring things back into perspective, that necessity is called "mixing". A process where you cut out frequences, dynamics, "feel" from individual instruments so that the overall result sounds good.
Adding reverberation to each instrument may create that "feel" for players, but together in most cases the result will sound like a pile of mud. Especially if everyone brings some random room sound with him.
Don't forget that the isolated guitar tracks are often/usually/mostly post-mix. Meaning what is isolated is the sound after the engineer has worked his craft, chopping here, boosting there, etc. This has then little to do with the original tone of the guitar as it sounded coming out of the amp.That's very true. Maybe it was posted here, but I watched a video in which the worst guitar tones ever were highlighted. "Worst" meaning, in isolation, yet sounded fabulous in the context of a full mix. Over The Mountain was one, and I couldn't believe it.
Paul Gilbert has that same thing going on, wherein his isolated guitar sounds quite trebly, yet works perfect in the mix.
Don't forget that the isolated guitar tracks are often/usually/mostly post-mix. Meaning what is isolated is the sound after the engineer has worked his craft, chopping here, boosting there, etc. This has then little to do with the original tone of the guitar as it sounded coming out of the amp.
So when you "tone-match" an isolated track and say "that's what the original sounds like" well, no, not really. That's what worked in the mix with that specific bass track, these drums, those strings and synths, etc.
This. And this is why chasing exact tones from recordings is not a good idea, imho. What works within a specific mix is made to work FOR this mix. If you play in a cover band and want to have the exact guitar sound for each song you cover (from different bands), you'll be the FOH engineer worst nightmare.Don't forget that the isolated guitar tracks are often/usually/mostly post-mix. Meaning what is isolated is the sound after the engineer has worked his craft, chopping here, boosting there, etc. This has then little to do with the original tone of the guitar as it sounded coming out of the amp.
So when you "tone-match" an isolated track and say "that's what the original sounds like" well, no, not really. That's what worked in the mix with that specific bass track, these drums, those strings and synths, etc.
I still find it fascinating that some folks completely fill their User 1 bank and would be using User 2.What happens when you have a preset that references user cab 12, and you later replace user cab 1 with a Fullres IR (overwriting the space in IR slots 1 thru 32)?
I still find it fascinating that some folks completely fill their User 1 bank and would be using User 2.
Don't forget that the isolated guitar tracks are often/usually/mostly post-mix. Meaning what is isolated is the sound after the engineer has worked his craft, chopping here, boosting there, etc. This has then little to do with the original tone of the guitar as it sounded coming out of the amp.
This. And this is why chasing exact tones from recordings is not a good idea, imho. What works within a specific mix is made to work FOR this mix. If you play in a cover band and want to have the exact guitar sound for each song you cover (from different bands), you'll be the FOH engineer worst nightmare.
I still find it fascinating that some folks completely fill their User 1 bank and would be using User 2.
Another thing to consider is that a studio engineer is going to be a lot more heavy-handed with the EQ and compression than a live sound engineer.Don't forget that the isolated guitar tracks are often/usually/mostly post-mix. Meaning what is isolated is the sound after the engineer has worked his craft, chopping here, boosting there, etc. This has then little to do with the original tone of the guitar as it sounded coming out of the amp.
Weeding out those you aren't using and defragging the remaining space while updating all the presets using the defrag-affected IRs is my pain point. It's a job which should replace a human with a small shell script....Well, it's not that difficult - you just copy stuff there.
Using everything that you copied - that's the tricky part.
Yes. The two IR Player blocks have been combined into a single, stereo IR Player block with individual level and pan and a mix control.
Maybe they could throw in a mode for you.@Admin M@ , @FractalAudio
I don't think this has been answered yet. Would this break my presets with two separate IRP blocks, especially if in series (e.g. cab IR -> TM IR)
What happens when you have a preset that references user cab 12, and you later replace user cab 1 with a Fullres IR (overwriting the space in IR slots 1 thru 32)? Just think of how this approach complicates things, and the additional work it would take to address those complexities.
The hardware is locked at 48kHz, but IR length will be increased to 1330 msSo you know that FW 17 will only be 48khz that is fine ? What about the length 500ms?
You completely miss the point that you may be at a gig and need to build 80 presets between soundcheck and your first set.While this argument is totally valid and understandable, you ARE connected and working with a computer when recording, right? And if you are, there's not much difference in workflow whether your IRs are stored on the computer or on the device itself. And if you're not recording, why would you change those IRs at all?
This wiki entrance is the winner.Gathered information about FullRes in the wiki:
https://wiki.fractalaudio.com/wiki/index.php?title=FullRes
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