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Have you owned a modeller?

  • I own a modeller and it's good enough for me. It's the foundation of my main rig.

    Votes: 26 44.1%
  • I own one but use it for effects only.

    Votes: 3 5.1%
  • I own one and use it only for effects but I plan to start using amp modelling in the near future.

    Votes: 1 1.7%
  • I own one but it's not part of my main rig.

    Votes: 10 16.9%
  • I owned one for less than 3 months but it didn't do it for me.

    Votes: 1 1.7%
  • I owned one for more than 3 months but it didn't do it for me.

    Votes: 7 11.9%
  • I tried some but they didn't do it for me.

    Votes: 4 6.8%
  • I've never owned or tried one.

    Votes: 1 1.7%
  • I own a modeller but I'm going back to the real thing. I've owned it less than 3 months.

    Votes: 0 0.0%
  • I own a modeller but I'm going back to the real thing. I've owned it more than 3 months.

    Votes: 6 10.2%
1 - 3 of 3 Posts

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Tune It Lower
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I own/employ a Line 6 X3 Pro, and a POD 2.0 (in the form of a Pocket POD Pro) and well, I dig the Sybreed/Fear Factory/Mnemic/Meshuggah cybergroovewhateveryou'dcallit tones above all, and L6 is the wellspring those sounds came from, so I fail to see why I should aspire towards the latest Recto or a vintage AC/30. :shrug:

My findings with the Line 6 stuff have been echoed by others in the past, mainly keep the gain down, as well as layer, layer, layer. That seems to get things into zone, at least in my DAW.
 

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1,114 Posts
Where does that leave us for playing live though? I cant 6-track my rhythm guitars live.
Well, I'm currently building a massive multilayer multisample wavetable triggered by MIDI (from the guitar-to-MIDI systems and computer server rack MIDI datastream)... but I'm guessing the average dude with the ethic of "4/5-guys with 3-amps & a drumkit" don't roll the same way we do at camp Surfacing. :lol:

I think the whole "tone in your hands" explanation came as a response to people who, say, went out and bought a hotrodded Plexi and an Explorer, and then wondered why the sound nothing like James Hetfield. People are always willing to fix their gear, but rarely willing to fix their playing.
^
This. :agreed: Devin Townsend was talking about his early acquisition of the Hetfield picking technique in a recent vid, and I changed my style to theirs and never looked back. :metal: Its interesting, there's a longer attack cycle in the waveform when you pick as such, and I'm using the software to account for that (in the above wavetable project) as you technically lead the beat a good bit to get that "sound".
 

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Keep the gain down? Nah not all the time.
For some styles yeah, but there have been plenty of times where I've used about 70 per cent gain on the amp sims and then used Boost+EQ set to 100 per cent drive and it sounded great. And there are heaps of tones all over the internet that quite gainy, done with POD Farm, that sound crazy good.
For a while I really bought into the "less gain" thing that gets thrown around SS.org seemingly all the time, but I realized that suddenly my palm mutes didn't have enough chunk and sustain. The less gain thing really fits the Meshuggah/Sybreed stuff, but for a lot of the death and groove metal stuff I like doing (think guitar tones in the style of Arch Enemy's Doomsday Machine, Chimaira's last two records, most of Killswitch Engage's stuff, Between the Buried and Me and some of the 90s Carcass stuff, just all that saturated to fuck kinda guitar tones), more gain just sounds better. Yes you lose out on a little clarity, but I'll ALWAYS trade clarity for more chunk on palm mutes and for more sustain and also slightly more compression for being able to do quick legato licks in between chunking away on the lower strings
That's what I mean by "keeping it down"... 70% is standard for my rhythms (with "stomp" section booting), leads get externally boosted even more. I find many of the hotter amp models to start to wash about a bit around 85%+, though. I'd rather grit it up more with a boost, than let it get too fizzy and compressed. There's all sorts of variables going on there and everyone's gonna find a different answer. That's just one of the things I've found to work for me, along with positive effects of layering.

Yeah, that is completely not for me at all. It is not even an ethics thing as much as "4-5 guys with 3 amps and a drumkit" ALWAYS sound bigger and badder than the guys dragging SkyLab up on stage with them. I've just yet to see a band that does all sorts of complicated stuff sound as good live as a solid backline will provide.
:shrug: Its just the bands you've seen then, as the P.A. plays what you feed into it, I'm pretty sure. I don't believe anyone has done what I'm working on right now, so there's really no point to contextualize in any case.

It's all piece-parts really, dude: I can take the best kick I've ever heard live (Hypocrisy), and tell you with 100% certainty that it was a triggered layered set of samples, the best amp sounds were probably a mic'd 4x12, some of the worst was a huge wall of fuckin' stacks (Joe Holmes, w/ Ozzy :ugh:)... Meshuggah's Vetta II's straight-to-board sounded 100x better. Some of THE best bass parts, were undoubtedly computer fed, and there's not many keyboard players that aren't pulling their sound from circuits, themselves being told what to do by MIDI messages. There's great and crap of everything.

On a side note, I think we'll name our server rack SkyLab. :D

I'm not 100% sure, but I THINK he was joking.
No, I'm absolutely not.
 
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