TURN IT TO 11
Oct 1, 2007 12:00 PM, By Doug Eisengrein
Amp simulator software unlocks creative possibilities for all musicians, not just guitar players
Once upon a time, the top names for guitar amplification and tone were Fender, Vox, Marshall, Peavey and a handful of boutique manufacturers. Then the DSP revolution ushered in such key names as IK Multimedia AmpliTube 2 ($399; www.ikmultimedia.com), Native Instruments Guitar Rig 2 ($339; www.native-instruments.com), Line 6 Gear Box ($199; www.line6.com) and others. The interesting thing is that the new-school names — with the exception of Line 6 — aren't in the business of manufacturing physical amps or stompboxes. Yet their various software packages promise guitarists access to the rigs of their dreams, including replicas of historic and modern preamps, amps, cabinets, effects and microphones to perfectly suit each strummer's unique tastes. While this may all sound like ad hype, nowadays it's old news to most recording guitarists. However, there are avenues of creativity in amp simulation silently begging to be tapped for all musicians.
VOCAL POWER CHORDS
One of the not-so-hidden gems of a few amp software packages is their selection of top-shelf microphone emulations. Do you wish your vocals could boast the quality enjoyed by big dogs such as Dr. Dre or Björk? Short of renting out a gazillion-dollar-an-hour recording studio for access to an esteemed mic locker, you might try running your prerecorded vocals through the emulated Neumann U 87 or AKG C 414 found in AmpliTube 2. While there's no doubt that a clean, quality initial first recording of your vocal tracks (or any instrument for that matter) relies on a decent mic with proper positioning in a quiet recording environment, running your vocals through these emulated gems after-the-fact may impart a unique sonic color to your vocals that your budget mics just don't introduce. Furthermore, you could try dubbing your tracks through the U 87 and then again through the C 414, and — in true garage-band spirit — maybe even output it through a simulated Fender SuperReverb 4×10 cabinet. Try it and hear the results; it's something you would likely never do even if you had one of the real microphones at your disposal.
GROOVE HOLMES REMIX
What would a Hammond Organ be without its sidekick, the rotary speaker cabinet? What if you B3 (and even Native Instruments B4) players had a choice of (or addition to) your Leslie cabinet? Look no further than AmpliTube 2's Rotary Speaker, Gear Box's Leslie 145 or Guitar Rig 2's Rotator effects to complement your whirling sound. The cool thing is that, in each of these simulator packages, you can choose among a plethora of traditional guitar effects, or create a “pedal board”type chain. Have you ever heard your rotating organ played through a spring reverb? How about shunning the Leslie sound in pursuit of a wah-wah pedal? Or uplift just the lower octaves and bass-pedal parts of your B4 tracks with “real” bass amplification; try it out through AmpliTube 2's tube-style Bass Preamp, followed by the software's simulation of a 4×10 SWR Goliath bass cabinet. To take things further, steer your organ tracks into uncharted, ultrathick “Hammond-harmony” territory by playing your B3, B4 or other organ rig through the Waves GTR ($600; www.waves.com) Octaver stomp, or similarly, Guitar Rig 2's Oktaver effect. Legendary organist Richard “Groove” Holmes will be rolling over in his grave with jealousy when you do.
DIRTY DRUMS
Aside from a little reverb, drum kits are typically one of the least effects-exposed instruments in the business. As the grit-happy artist Mr. Oizo knows (or ask just about any SP-1200—toting hip-hop producer), imparting your drums with some sonic dirt can be powerful and result in a unique, big sound. It would take some fancy cabling and use of DI-boxes to run your live drum tracks through your favorite Boss or Electro-Harmonix pedals, but this is not the case in the amp simulator/DAW world. In addition, you can impart the vacuum-tube tone, which many of the amps in these platforms have to offer, to an instrument that is not so often heard with such enhancement: drums. Try running a complete mix of your recorded drums through GTR's Fuzz or Buzz stomps, through Guitar Rig's Big Fuzz (modeled after Electro-Harmonix's classic Big Muff) or Cat (based on the much-loved ProCo Rat pedal) or through Gear Box's versions of the Arbiter Fuzz Face or Ibanez Tube Screamer pedals.
STRUNG-OUT STRINGS
For many guitar players, the rare and sometimes expensive, highly coveted preamps, amps, cabs and pedals that the different emulation programs bundle are a fantastic vision come true. But just as I am encouraging nonguitarists to run their organs, vox, drums and other instruments through traditional guitar-centric effects, I also suggest guitarists and bass players try it out in the other direction. Don't get so infatuated with having access to that Vox AC30 or Mesa Boogie Dual Rectifier and Arbiter Fuzz Face stompbox that you overlook some of the synth and other old-school electro goodies at your disposal. Be sure to sample your favorite Strat through Gear Box's Moog Lead or Guitar Rig's Pro Filter (lifted straight from Native's fat Pro-53 Sequential Circuits Prophet-5 clone), and also try out a warm acoustic played through Guitar Rig's Harmonic Synthesizer. Bass players, be sure not to miss plugging your Warwick or Yamaha through Gear Box's Moog- and ARP-style synth filters, or its Roland RE-101 Space Echo to get all Bootsy on us.
Getting creative with amp simulation software is as simple as trial and error. Don't overlook the vast possibilities that exist for all instruments in guitar amp-and-effect simulation software. For just a couple hundred bucks, you can step up your production game immensely — or simply delve into complete tonal bliss if you play the four, five or six strings.
| Want to use this article? Click here for options! |  |
