If every IR you try sounds "phasey and hollow" something is wrong with your setup or the way they are implemented.If I ever get an AxeFx or something I still think the key for me will be to make my own IR's. Of thousands of IR's I've tried in Reaper to me they all basically suck. Some get close but they all have that phasey hollow sound on them. I've been bitchin about it for years now, lol.
It's true. When we play out the only people that even MIGHT give two fucks about what gear I'm playing through are the other guitarists in the room. I've never had some random come up after a show to tell us they enjoyed the music but it would have been better if the sound guy mic'd a cab. I've never had a guitarist say that either, but they might at least ask what gear I'm using. It's happened twice now where someone was seemingly interested in my tones until I told them it was a Line 6 board straight to FOH. Weird how the tone became less interesting when the gear was noted.speaking of generic tones, people at the shows be like:
from the other point of view - when people go to the studio and are looking for a producer - it's because they like the sound of the bands recordings they put out. Using pre-sets for modellers, profiles, IRs you can get as close to the capturing of the essence of the sound you like as going to record and get your music produced by that studio/producer.Correct me if I'm wrong, but isn't the whole IRs and convolution thing a very old and well understood concept?
I'd be willing to bet that people get better results when they fire their own IRs because they're capturing an environment they're used to, and not post-processing it the same way afterwards.
Using someone else's IR means you're getting a capture of:
- Their mic
- Their room
- Their cab
- Anything they happen to put in the chain between the generated impulse and speaker
- Their post-processing.
None of that will 100% match your own environment and gear.
That's totally possible. What I really need to do is my own IR's and see how they translate. If I ever find the golden IR I'll probably jump ship to modelling. I'd love to and really want an excuse to jump ship. Less gear,less weight and potential problems etc and freeing up money = a big win, but I won't sacrifice my amp tone for it. If it can't get what I need I'll stick with it. MOre than likely I'm gonna end up doing the disabled cab/power amp block thing and go into my 2502. Nothing seems to beat the 2502. It's really the best thing in the world, imo. With that I can alos do class a, a/b, and simulclass typ things (a and a/b) etc. Now if I could just get away from stereo delays I'd be all set. Stereo delay really is my crutch, but I love it so much. hehe.If every IR you try sounds "phasey and hollow" something is wrong with your setup or the way they are implemented.
IRs shouldn't sound noticeably different from the original capture, definitely not noticeably hollow or out of phase, that's not how the modelling process works. It's not 100% accurate but it certainly shouldn't discernible without software unless you have dog ears.I'm willing to learn and do admit I believe in things that may not be questionably true sometimes. I do tend to talk like my opinion is fact I admit, though I try to say it's opinion if I remember. What are you referring to? Maybe I can learn or shed more light on what I'm talking about.
I think once I get a good IR caputure utiliy (probably an AxeFX) I'll try many experiments and see what's up. I really believe there's problems in the process and mixing them moreso than the tech itself. - For example; It doesn't make sense to me to do normal micing and capture and that's it. Normally it would, but speaking of sinesweeps I don't think they're being dealt with properly, possibly.IRs shouldn't sound noticeably different from the original capture, definitely not noticeably hollow or out of phase, that's not how the modelling process works. It's not 100% accurate but it certainly shouldn't discernible without software unless you have dog ears.
Otherwise I was hasty in replying and didn't realise you were likely talking about transient vs sine sweep, not the actual maths underneath the normally used sine sweep.
One of the first times I went to a studio was with my high school band and I was stoked because dude had all kinds of boutique amps and cabs we could use, but our other guitarist insisted on using his DOD dirt boxes and his crate head into a Marshall MG cab because it was “his sound”. The recording engineer let him do it but basically changed every setting he had until it sounded decent in the mic.and true story is that guitarists are such snobs about their gear and they think that their unique (shitty) tone is great, but in the end producer/mixing engineer will do what sounds the best for the music, in some (many) cases it means re-amping through old trusty plexi, 800, slo, recto 5150 rigs...and guys won't notice.
If @c7spheres bought an axe3 two years ago like I suggested he’d have more guitars now . He may have also joined the FAS forum and learned about the dynaIR stuff they are working on
Any good engineer will have this discussion. This is the dichotomy. I like the capture what's already been created approach. I feel with all the tools available (for free even) people should either learn it or stop telling the enginner what's the right way to do things.I feel like the whole "this is MY sound" in the studio thing should be a discussion before going in -
As in, there's two potential goals of a recording: to reproduce something that exists (to capture "your tone") or to create something. If you're going to the studio to recreate "their sound", then it's fair to do whatever they suggest. If, however, you're convinced that you sound great already and just want to capture it, then that's a very different goal, and you should be ready to deal with the consequences of your gear choices. If you and the engineer don't see eye to eye on that subject, there's a good risk you're gonna have a bad time.
Why? Some weird parallel fret or something?The PRS private stock multi-scale design is terrible.
Why? Some weird parallel fret or something?
I do like that green body though.It just ruins the whole vibe. This is basically the best it can look:
Which is already worse than just a regular scale. But then you also get this Kiesel hybrid:
I'm way more excited about super cheap and okay gear than I am about expensive and great gear.
speaking of generic tones, people at the shows be like: