Nolly Archetype - Page 13
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Thread: Nolly Archetype

  1. #97


    Join Date: Sep 2008
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    Quote Originally Posted by Blankplank View Post
    I might be wrong but I'm pretty sure he has a degree in electrical engineering

    Also, he has done a load of amp modding in the past, like, straight up created mods for Diezels.
    Nolly? That's awesome.
    "They can kill you, but the legalities of eating you are a bit dicier." - David Foster Wallace

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  3. #98


    Join Date: Sep 2008
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    Quote Originally Posted by Dominic View Post
    So is the ideal scenario to use a breakout box for something other than balancing amp guts that have been flipped upside down?

    I.e. Guitar > breakout box > A+B where A = recording gear for subsequent re-amping and B = live-rig equivalent signal chain incl. valve amp + conventional speaker miced up to provide signal for monitoring that responds to my playing how I expect it to? I can then take that miced signal and use it on the recording, or not.

    Or is the non-valve tech already at such a high level that all that effort to create a signal for monitoring is not needed?
    If you had room to handle that, it'd be rad as fuck. Or even record in one big room like (I believe) the last Foo Fighters and the last Clutch were done.
    Argbadh - RHLC©

  4. #99


    Join Date: Sep 2008
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    Quote Originally Posted by Randy View Post
    If you had room to handle that, it'd be rad as fuck. Or even record in one big room like (I believe) the last Foo Fighters and the last Clutch were done.
    Missed this earlier, but my Apogee offers native support for this - I can plug into one of the two Guitar Inputs, arm a track in Reaper for that, and then run a lead from that input's Guitar Output into my amp, and then arm two OTHER tracks in Reaper to capture the SM57 and MD21 I leave positioned up against my cab.

    I've honestly never bothered with it because I kind of like forcing myself to commit to a tone during the tracking process, but in theory I could absolutely just arm a third track and capture a DI while I'm recording amp tracks. I suppose it wouldn't hurt to give it a try - I did this exactly once to see if it would work, and I recall it feeling pretty "normal."

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  6. #100


    Join Date: Sep 2008
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    Quote Originally Posted by Mattayus View Post
    But I digress... Nolly's a champion of software and modern techniques, always has been. I don't buy that he's shilling this at all, I just think it's yet another business move and he's just making money the way he always has - being a modern producer. He's got an incredibly good ear and is very talented, I don't doubt for a second that he was heavily involved in the engineering of this, rather than just endorse a pre-designed product that he slapped his name on.
    I'll say this - I don't know if I love his sound as a producer - he has this very modern, clean, almost hyped sort of sound with oddly pronounced dynamics, especially on drum hits (I thought maybe it was just Periphery, but the Devin Townsend album he did has this going too), but he has a very distinctive sound, and he's VERY good at what he does. Add into that the fact he's an astoundingly good player and evidently a very savvy audio electronic engineer to boot, and he's a guy I have a tremendous amount of respect for. He's the sort of guy who definitely deserves to be making a career out of music.

  7. #101


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    I want to start this off by saying that Nolly is the person who inspired me as a teenager to get into audio engineering. I've worked in high end recording studios and work as a R&D engineer for an audio company now. The music industry is changing quicker and quicker and the money keeps getting taken away from artist unless they sell out. It's an odd time sadly.

    Garrett makes a lot of valid points that a lot of people don't like to discuss, but it's always good to stare at them and see how we can learn from them.

    Quote Originally Posted by Dominic View Post
    I'm actually serious now: can I get my exact "valve-amp playing feel" from anything other than a valve-amp rig?

    One might get the sound so close that one can't tell the difference in a blind test when listening back, but surely one can feel it in the way the tone responds as one plays (which one needs to enjoy one's performance – perform one's best)?
    Not yet. We'll get there, but the amount of R&D that needs to be done still in order to simulate all the push and pull of a tube amplifier and considering all environmental changes such as EMI interference, voltage changes from whatever outlet you're plugged, and component tolerances drifting as they age will take a while.

    I've had similar experiences to everyone else in this thread, that nothing feels as proper as plugging into a value amplifier. Companies like Universal Audio are trying to work on this by doing impedance matching, but tubes are kind of like the tape of guitar playing, it's just not the same.

    Quote Originally Posted by Randy View Post
    Regarding the first part, I don't think anything feels like being in the room with a tube head plugged into a half or full stack.
    This intrigued me for a while. I think a large portion of why cranking a 4x12 sounds and feels so good is the loudness aspect of it. The human ear prefers louder sources to quieter sounds when it comes to audio, this has been proven in many blind tests. I would be very curious to do an A/B comparison between a cranked load amplifier that is being silence with a load box. I would compare a 4x12 and a accurate studio monitor that are calibrated to the same loudness and see what I would prefer in a blind test.

    Quote Originally Posted by Randy View Post
    But when we're talking about recording, most studios that even use live amps still compromise on that experience since the cab is usually stashed away in an iso booth and you're listening back on headphones next to a mixing console. Likewise, scientifically, the frequencies the microphone is capable of hearing when you mic a cabinet can be replicated to pretty much (or absolutely) 100% in modelling, since both are ultimately bottlenecked by the range of microphone and the speakers/headphones the listener will be hearing it back through.
    You are correct in that most studios do this. I was fortunate enough to work in a high quality studio where we would typically track the band together to get the drums and bass right and then overdub everything else. That allowed us to crank the hell out of amps in our nice live room. What we would do to enhance user experience is to place them in the control room with us and playback would be off our high quality studio monitors. We would run a balanced signal from the guitar to the amp using a DI box and Reamp Box. A neve preamp/eq was the typical setup and we would always EQ on the way in to the DAW. I'm certain that if you level matched the amplifier and the eq'd response that we would get, most people would prefer the latter.

    Quote Originally Posted by Randy View Post
    I'd be more impressed/interested by Nolly or Misha designing an amp or a pedal than taking ones that already exist and dialing them in however they like and hiding it behind a wall of influencer marketing fluff. But that's risky, so instead we get a Tubescreamer with a mix knob, a 5150 with a noisegate, SD3 with less kits and more rimshots and LePou for $150 with a fancier GUI.
    Spot on the money. Something to check out is the high/low pass filter pedal that Nolly made with VFE effects it's awesome. It was called the VFE Focus. VFE improved and renamed it the Standout.

    Quote Originally Posted by Dominic View Post
    So is the ideal scenario to use a breakout box for something other than balancing amp guts that have been flipped upside down?

    I.e. Guitar > breakout box > A+B where A = recording gear for subsequent re-amping and B = live-rig equivalent signal chain incl. valve amp + conventional speaker miced up to provide signal for monitoring that responds to my playing how I expect it to? I can then take that miced signal and use it on the recording, or not.

    Or is the non-valve tech already at such a high level that all that effort to create a signal for monitoring is not needed?
    The main thing that is missing from modeler's and VST's is the feel of playing threw a value power amplifier. If you are okay without the feel of a valve power amp, then no need to do anything more than just use a modeler or an interface. This is where upgrading studio monitors can make a difference.

  8. #102


    Join Date: Dec 2013
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    Quote Originally Posted by Greg McCoy View Post
    Are you saying that about a member of Periphery?

    The same Periphery that has three different guitarists, each with a signature $200 VST?

    The same Periphery that releases a quarterly publication called, "Products we are currently endorsing".

    The same Periphery that makes KISS's endorsement history look tasteful, well thought out, and restrained?
    Mark Nor Jake have a signature VST. They both have sig guitars and pickups and Marks sorta has a sig pedal with SD.

  9. #103


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    Quote Originally Posted by Dominic View Post
    So is the ideal scenario to use a breakout box for something other than balancing amp guts that have been flipped upside down?

    I.e. Guitar > breakout box > A+B where A = recording gear for subsequent re-amping and B = live-rig equivalent signal chain incl. valve amp + conventional speaker miced up to provide signal for monitoring that responds to my playing how I expect it to? I can then take that miced signal and use it on the recording, or not.
    I've recorded this way. 4x12 in the room with me, monitoring the rest of the tracks through my mains. You definitely get the feedback and guitar/speaker interaction that you don't get with just hearing the guitar through the monitors or headphones.

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