![]() ![]() Power supply allows you to select between a 50 Hz or 60 Hz supply.For example, using these controls, you can choose between a loose, spongy sound and a tighter, hi-fi sound, or something between the two. ![]() In Guitar Rig, clicking on the expand button (+) at the left of the amp module will reveal a new panel, typically containing settings for power supply, Variac, sag, response and bias.Įach of these settings has an important part to play in defining the overall characteristics of the amplifier model, and to the way in which it responds to your guitar signal. To really take control of the tonal properties of your amp sound, you need to get under the hood and get to grips with the “expert” settings. Having selected an amp and cabinet model with the right voicings for the tone you want, the first port of call for a little fine tuning is the amp’s standard controls – gain and EQ but these will get you only so far. So by doing this, we’re giving ourselves a whole new layer of EQ control beyond the amp’s standard bass, middle, treble and presence. Your browser does not support the audio tag.Īnd here’s the exact same amp and settings into a Fender style 2x12:īoth are fine, but you can clearly hear how the different cabinet models are introducing a completely different EQ profile to the overall sound. Each of the cabinet models is, essentially, just an EQ curve, and finding the right one can make or break your virtual amp sound.Īs an example, here’s Guitar Rig 3’s representation of a Plexi style Marshall half stack into a matching 4x12 cabinet: With amp simulation, it’s helpful to think of the cabinet not so much as a means of turning an electrical signal into something you can hear (indeed, in the virtual world, it definitely isn’t) and more as an additional layer of EQ. Don’t be afraid to try some unholy alliances – say, a Triple Rectifier style high gain head with a tweed 2x12 cabinet it just might be the sound you’re looking for, even if it might raise eyebrows if you tried it at your local rock club gig. ![]() In doing this, you might encounter some unexpected results. Think of it like experimenting with colours in visual art: in that scenario, you’d be unlikely to get the best representation of the scene you’re trying to paint by using the colours right out of your paint box you’re going to want to mix and match. With that idea in mind, it’s time well spent to cycle through all the available options to find out what kind of sounds they produce. While that’s all well and good, your options in the digital world are much wider and, moreover, a model of, say, an old JCM800 and a matching 4x12 is just that – a model, an archetype – and so may not correspond exactly with what you’d expect from your own experience with the real world equivalents. If you’re used to a Marshall stack with a lovely old TS-808 in front of it, you’re bound to go for the closest approximation of that set-up your software will provide. The easiest way to begin to find your own sound is by heading for what you know. Feel free to share your own software specific tips and tricks in the comments! In this second part, we’re going to get our hands dirty and really get to grips with how to get the best out of our software amps.Īs before, and largely for the sake of practicality, I’m working primarily in Guitar Rig, but many of the techniques we’ll look at can be applied to whatever software you’re using. In the first part of Guitar Amp Simulators 101, we looked at the fundamentals of choosing, setting up and getting started with an amplifier plugin. ![]()
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