the trick to make any IR sound great, and make great ones sound RIDICULOUS

[lovenoy5523]

very interesting

 

[SHEPPARD]

I think most people can't tell/hear the difference between the axe fx and a mic'd cab.

 

[shatteredsquare]

The Room section of the Cab block is just a cluster of short mono delays that IMO sound less than stellar through stereo IEMs. The "Early" parameters of the Reverb block sound orders of magnitude better for this purpose. I've found no real use for Room in the Cab block.

How many make up a cluster? I'm curious to know so I can recreate this tunable 1 inch to 6 inch space between a soft synth and my face in a DAW. It sounds better to me than short reverbs because I don't think they are feeding back into each other, or not much, it makes the virtual space but there is no tail to speak of.

 

[shatteredsquare]

I never experimented with any of the room settings before, but I have to say, there is a big difference here. I've been using 60% room level, 1.00 Room size, and 20% mic spacing, and I feel like I can walk into my guitar sound and walk around. Thanks for drawing my attention to this, Shatteredsquare. Awesome.

While your playing walk the size up, tick by tick, 0.01 at a time. It will blow. Ur. Mind. How good it sounds.

 

[greiswig]

I’m curious if those of you finding this amazing are using your system mostly in stereo mode? I have experimented with this before, and it was a cool effect in stereo. But then when I use it with a mono system (like most PAs), it actually seems to lose some punch and clarity compared to lower levels of room.

 

[Rex]

I’m curious if those of you finding this amazing are using your system mostly in stereo mode? I have experimented with this before, and it was a cool effect in stereo. But then when I use it with a mono system (like most PAs), it actually seems to lose some punch and clarity compared to lower levels of room.

Depends on the venue. In some spaces, time-based effects can smear your tone.

 

[shatteredsquare]

But then when I use it with a mono system (like most PAs), it actually seems to lose some punch and clarity compared to lower levels of room.

if it goes kerput in mono, i bet you could fix it completely by adjusting the mic spacing. since it's "a cluster of short mono delays", room size is just the time factor i would think, so if the phase is bad enough to make the core of the tone disappear in mono i bet if you adjusted the mic spacing (first back towards zero) and see at a what point it comes back together. being that the biggest advantage it provides is for the IR frequencies to hang out for just a little bit and stretch out, stereo image is basically personal preference, it's not even really necessary to achieve what i was looking to do. although i do think if mic spacing is straight at zero i think i remember it it won't work right, because that's like taking a mono IR, diffusing it, and then squeezing it back down to mono. mic spacing needs to be above zero i think or it will probably computer itself to mono, anything right above zero there will probably be a sweet spot to fix phasing problems that started to gut the fundamental.

 

[shatteredsquare]

I’m curious if those of you finding this amazing are using your system mostly in stereo mode? I have experimented with this before, and it was a cool effect in stereo. But then when I use it with a mono system (like most PAs), it actually seems to lose some punch and clarity compared to lower levels of room.

Stephen Carpenter of the deftones was having trouble with phasing when he first switched to AxeFX, he kept fighting and fighting and finally tried running mono on stage, and BAM, all the problems solved. that's live though, on stage. i bet for the records they run stereo of course. Koy No Yokan was 100% AxeFX, that guitar tone is amaaazzzing, it's all 8 string but actually clear and good tone. Self titled Deftones made me very sad when i first heard it, the guitar tone sounded like a circuit bent vacuum cleaner, EMG 808s through a JMP-1 tuned to Qflat. He paid some dude to fly to LA and help him build AxeFX presets for two weeks. Same reason i sold my first one, couldn't figure it out.

 

[shatteredsquare]

make a video explaining and showing what you mean for all us rookies

i just ordered my AFX3, give me a couple weeks and i'll throw up a tutorial. they call me Lazarus.

 

[shatteredsquare]

I wonder about settings for all the deeper parameters in the reverb block (like Echo Density, Stereo Width, etc.) to match what the cab room is doing.

Without knowing how the effect is built it's hard to recreate it without guessing. I tried using a rack in ableton with a bunch of simple delays in parallel at staggered super short timing of .01 .02 .03 ms but it didn't work out too well. the cab room is "a cluster of short mono delays" so it's super short, super clear, cross talk is just as short as the impulse, whereas the reverb block actual will no doubt be some insane lexicon/eventide type convolution algorithm, which are no doubt different architectures depending on which mode you have the reverb block set to.

*dear creator: is the room setting of the reverb block the same "delay clusters" type wiring as the cab room?*

You guys pray with me, maybe he will hear us

 

[scottp]

^

 

[unix-guy]

convolution algorithm

Cliff doesn't use convolution algorithms for reverb. He explained why in the past... Seems to have something to do with realism, if my memory is correct.

 

[shatteredsquare]

I think this has something to do with frequency perception, all the scientists keep beating me on the head saying you don't need it, but when you give the IR just the slightest chance to hang in the air for a second, all the frequencies, specifically the low frequencies, stay there long enough to perceive them more clearly,. The engineers say "the IR has all the low end it's not missing anything" and all the tools show the low end is there, but the little bit of 'space' makes it all bloom like I thought it would. 180ms contains all the relevant info, but I don't think the ear picks up on all of it if it goes by that fast.

 

[shatteredsquare]

i have update, it's not a matter of giving the bass time to 'resonate' because it doesn't have enough room, it's adjusting the phase of the unicorn ears so that the point where the audio gets sourced out of la la land into your monitoring system is in the right spot in the wavelength to catch the full force of the low register, so your monitoring system has a full fundamental to push and you can hear it better. same thing ML does with his robot, but this is a VR way to adjust for any IR anybody shot, ever, even if the phase (mic placement) was poor to begin with. if you get an IR that's already great (@ML SOUND LAB ) and you do this it gets a little freaky how good it sounds.