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xmortumx
New member
Dude what interface do u have... I hav a Firepod... u think i can achieve to sound like urs??? Good Stuff Cheers!
Dude what interface do u have... I hav a Firepod... u think i can achieve to sound like urs??? Good Stuff Cheers!
Farview
Well-known member
It's a Motu 24 I/O. I've never used the firepod, but I doubt it's that different.
The Bludgeon song was recorded on my Tascam DA-88's. That was when the studio was digital tape based. That was 16 bit BTW.
The Bludgeon song was recorded on my Tascam DA-88's. That was when the studio was digital tape based. That was 16 bit BTW.
Sure. I did it, you can do it.
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xmortumx
New member
DO u use any Tube Pre??
Farview
Well-known member
Nope. No tubes in the signal path at all.
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xmortumx
New member
Hey i have amplitube but i never really found of way of getting a kick ass sound(Metal!!) What would u suggest this is what i do..
Jackson Dinky with Emgs 81-->Firepod-->amplitube running Nuendo v3 to record..(never tried pluging it to an amp but i hav a crate 120wat would that work?)
Is it because i dont have an Art MPA gold??? If i got the Art Mp the 30$ would it make a difference?
Farview
Well-known member
Having a cheap tube preamp will not help in any way. It will make it worse. If you aren't going to use a good mic preamp, don't use one at all. (you don't need one with the pod)
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xmortumx
New member
What do u suggest i do so that i can get a good tone out of amplitube?? or a pod would be better??
mshilarious
Banned
Oh man, ain't that the truth! The Beatles had some of the worst all-time guitar tones, once they started to delve into distortion. It wasn't their fault, it was early days for that. Even so, all their tracks sound great.
Having said that, the baddest guitar tone ever is still Lennon's solo on "The End"
(McCartney's and Harrison's tones still suck there though) 
Re: MPA, I was foolin' around test out some products tonight, I had a DI into my MPA hitting the tube stage hard (the VU meter stayed pegged), then out to my monitor subwoofer. It didn't sound as good as my tube amp, but ya know, it didn't sound bad either! Normally I record DI clean with just a little red on the VU, and use the UAD Nigel. Nigel has many silly tones, you have to be careful with it. I imagine a Pod is similar. But I like the results.
Farview
Well-known member
I've never used amplitube, so I don't know if it's any better/worse/different.
J
JuliánFernández
2&4
Farview (sorry I don´t know your name), how´s the AD quality of the Motu 24 I/O? Did you had the chance to compare it to another AD unit? Thanks!
Farview
Well-known member
I would say it is average to good. It's certainly nothing special. I'm sure it is the same quality as any of the other mid-range converters. The only reason it costs as much as it does is because it has 24 AD and DA converters.
Once you get above the junk converters like soundblasters, the converters aren't really going to hinder your sound that much.
amra
Well-known member
I have used various hardware amp models (POD, V-AMP PRO) and Amplitube. To me, Amplitube isn't at the same level, soundwise. It is good for getting ideas or scratch tracks down if you don't have access to a modeler or an amp, but that's about it.
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JuliánFernández
2&4
eyema_believer
Bondservant
Here is a recording of a song using nothing but a Vox Tonelab SE. CLICKY HERE It was used for both the guitars and bass. I didn't mean for it to end up that way, but it did. I sent it as a demo to EMI, and they released it that way. Whatever! There's also a big screw-up in the mix... I couldn't believe they put it out that way! The first of you to pick it out wins... well...nothing really, but we can all have some fun.
Peace!
~Shawn
Peace!
~Shawn
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Ironklad Audio
New member
the $30 MPA, like farview said, is only going to fuck things up...the MPA gold is the $300 rackmount tube preamp. and like mshilarious mentioned, the MPA gold is nice to "dirty" things up a little bit on the way in, but it's not where the bulk of your tone is going to come from.
the trick to getting a truly good tone out of amplitube is to turn the speaker cabinet OFF...of course when you do this, things are going to sound really fizzy and shitty. then you'll want to insert another plugin after amplitube that will allow you to use modeled cabinet impulses. the plugin can either be any sort of convolution reverb, or you can use voxengo boogex(which is free).
you'll need to do some searches to find/download come cabinet impulses, but if you slap these guys behind amplitube in place of its built-in cabinet models, your results will improve DRAMATICALLY. i think this is where stuff like the POD tends to slay amplitube/guitar rig...that program is pretty old, and its cab models are of the dinosaur variety now.
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Zed10R
New member
Farview rules...
farview, I love you man. The few years I've been on this board I've ALWAYS advocated the usefulness and potential (as long as you are willing to go beyond presets!) of modelers like the POD. I'm happy to see someone as highly regarded as youself take a similar stance and inform the "all tube or your sound sucks" crowd that a well tweaked modeler sound, in context with the song, can be indestinguishable from a mic'd all tube rig. Bravo. Thank you.
farview, I love you man. The few years I've been on this board I've ALWAYS advocated the usefulness and potential (as long as you are willing to go beyond presets!) of modelers like the POD. I'm happy to see someone as highly regarded as youself take a similar stance and inform the "all tube or your sound sucks" crowd that a well tweaked modeler sound, in context with the song, can be indestinguishable from a mic'd all tube rig. Bravo. Thank you.
R
Richard Monroe
Well-known member
Go Farview and Acidrock! From the very beginning, in my little studio, I comitted to using modeler technology, for straightforward reasons. First, I was primarily an acoustic guitarist, and electric guitar was always a sideline, although I use electrics a bit more these days. I had to commit the majority of my budget to recording real acoustic sound in real acoustic space, which meant mics, preamps, and room treatment. I simply didn't have the cash to commit to some cool boutique amps I might use for one song. I also couldn't travel with the amps to produce the tones I needed for half a dozen songs in a 2 hour gig. Also, even when i did use electric, I was much more likely looking for a clean, but effected sound than heavy distortion.
One of my consultants recommended a Pod. At the time, I knew almost nothing about the conflicts between the tube amp people and the "Pod people". I bought a Pod Pro 2.0, and started learning how to use it. Later, I added a Bass Vamp Pro, and a Vamp 2. The Vamp 2 is a front end for small solo gigs, and goes right into a small PA. Very recently, I added a pocket Pod, as a front end for my travelling micro-studio, based around a Korg PXR4 Pandora, and for just playing around in a hotel room, or on the beach.
I wound up experimenting extensively with running the POD through a power amp and a cab, and mic'ing it up, and also with running it through studio reference monitors and mic'ing them, which has worked out very well for me. Yes, amp modeling is a technology in its infancy, and it is far from perfected. It seems to me, however, that many of the arguments against it are like the arguments by analog purists against digital recording, a lot of BS built around a grain of truth. Daisy's (?Chessrock's) comment is a perfect example. "You can get a good sound out of it, but it still sucks!" Well, if you can get a good sound out of it, and it is cheap and portable, it does *not* suck.
As many people, including me, and I don't doubt, Farview, have found out, getting that good sound takes time, and work, and experience. I can make 500 awful sounds from a Pod for every good one I have found, but I *have* found some good ones. Please note that all those people who are sticking an SM57 in front of a cranked up tube amp seem to have the same problem. Capturing that Holy Grail sound takes time, and work, and experience.
Since my studio started doing work on a limited commercial basis, I have cranked up more than a few vintage tube amps and stuck a shit-load of mics in front of them, and captured some sounds that I am proud of. I don't have a single problem with vintage tube amps. Somebody please send me one. The evolving home recording culture is not helped by knee-jerk condemnations of the tools people choose to use. Like it or not, as amp-sim technology matures, it is becoming a standard industry tool. When a person walks into my studio with a good old tube amp, I am comitted to capturing the sound that will best represent the owner's hopes and dreams. If you invest the R&D time, you can get perfectly good tones out of a Tonelab or a Pod. It's like the Harley vs. Ninja debate- it obscures the advantages, disadvantages, and best uses of both platforms.-Richie
One of my consultants recommended a Pod. At the time, I knew almost nothing about the conflicts between the tube amp people and the "Pod people". I bought a Pod Pro 2.0, and started learning how to use it. Later, I added a Bass Vamp Pro, and a Vamp 2. The Vamp 2 is a front end for small solo gigs, and goes right into a small PA. Very recently, I added a pocket Pod, as a front end for my travelling micro-studio, based around a Korg PXR4 Pandora, and for just playing around in a hotel room, or on the beach.
I wound up experimenting extensively with running the POD through a power amp and a cab, and mic'ing it up, and also with running it through studio reference monitors and mic'ing them, which has worked out very well for me. Yes, amp modeling is a technology in its infancy, and it is far from perfected. It seems to me, however, that many of the arguments against it are like the arguments by analog purists against digital recording, a lot of BS built around a grain of truth. Daisy's (?Chessrock's) comment is a perfect example. "You can get a good sound out of it, but it still sucks!" Well, if you can get a good sound out of it, and it is cheap and portable, it does *not* suck.
As many people, including me, and I don't doubt, Farview, have found out, getting that good sound takes time, and work, and experience. I can make 500 awful sounds from a Pod for every good one I have found, but I *have* found some good ones. Please note that all those people who are sticking an SM57 in front of a cranked up tube amp seem to have the same problem. Capturing that Holy Grail sound takes time, and work, and experience.
Since my studio started doing work on a limited commercial basis, I have cranked up more than a few vintage tube amps and stuck a shit-load of mics in front of them, and captured some sounds that I am proud of. I don't have a single problem with vintage tube amps. Somebody please send me one. The evolving home recording culture is not helped by knee-jerk condemnations of the tools people choose to use. Like it or not, as amp-sim technology matures, it is becoming a standard industry tool. When a person walks into my studio with a good old tube amp, I am comitted to capturing the sound that will best represent the owner's hopes and dreams. If you invest the R&D time, you can get perfectly good tones out of a Tonelab or a Pod. It's like the Harley vs. Ninja debate- it obscures the advantages, disadvantages, and best uses of both platforms.-Richie