|
| BOSS GT-8 |
« View previous topic :: View next topic » |
| Author |
Message
|
| ultraman_cosmo |
 Posted: Mon Apr 17, 2006 11:51 am Post subject: |
 |
|
Mod Squad
Joined: 29 Oct 2004
Posts: 1665
Location: Mines resort city
|
copy n paste.
The were inevitably some fun, useful, not so useful (at that moment) that I came across...and then I got to the old standby Tone Modify, set after the preamp of course. This is where the magic happened for me. I decided to replace Tone Modify with the Acoustic Processor!
I thought, what the heck, the real things are really just EQs tailored for shaping the sound of an amplified acoustic guitar right? At worst, I thought, I willl have just found another EQ and that's not a bad thing. This effect however, has those presets called "Small", "Medium", "Bright" and "Power". I found that "Bright" worked best for me and that the Presence control is absolutely KEY to reducing fizz. It would seem that its center frequency and its bandwidth are also perfect for reducing high end harshness. Now here's the kicker, by reducing the amount of Presence, you can boost the treble to enhance the clarity and articulation while avoiding any harshness! Wooohooo!
Here are my settings for the Acoustic Processor; Bass = -4, Middle = +3, Middle f = 800 HZ, Treble = +24, Presence = -25. YMMV.
I don't know, maybe I'm crazy but I like what it's doing - I'm gonna try it at the gig tonight and see how well I like it for live use and what changes I have to make. It sure sounds good in the studio. Wish me luck boys and girls.
* tak try lagi... pas try baru ader comment benda ne.
_________________
Maiden, loudness, ACDC, black sabath, deep purple, jimmi and vinnie moore
And Now all jazz. |
|
| Back to top |
|
 |
| ultraman_cosmo |
| Posted: Mon May 22, 2006 9:51 am Post subject: |
|
|
Mod Squad
Joined: 29 Oct 2004
Posts: 1665
Location: Mines resort city
|
Check this out guy.
Harmonic Converger
- satu gadget dgan passive curcuit yang digunakan utk buang bunyi fizz dari semua multieffect prossesor spt GT-8, XTL dan sebangainya.
- dengar test drive baru tau aper kelebihan dia.
Test Drive
http://www.bossgtcentral.com/hctestdrive.php
http://www.harmony-central.com/Effects/Data/RadTone/Harmonic_Converger-1.html
////////////////////////////
Welcome to "Radley's Corner"- home of the Harmonic Converger
(and special thanks to Ken for setting it up)
The purpose of this very specific space on the board is to provide a place where I can post (and anyone can read) the latest up-to-date info regarding the sonic enhancement device I design and build, known as the Harmonic Converger. The info you read here supercedes ALL other threads & posts found on this board or elsewhere on the web, as well as any previous literature you may have received from me. No one else can post here, and that is because we don't want this to become another 10-page HC thread that goes in 10 different directions.
The HC is a special circuit I have worked on for 15+ years, which is designed to restore a certain tube-amp essence of tone to modelers and preamps, with the goal of making the modeler sound significantly better (amplike) than it actually is. The HC not only improves the tone, but makes the overall "feel" & "playability" of the modeler better (even better than some all-tube amps). It also makes many more of the Amp, Cab & OD models in your modeler usable (maybe for the first time!) The name "Harmonic Converger" was not pulled out of thin air - it's actually very descriptive of what the unit does sonically.
Have you ever noticed that many distortion tones have a bogus-sounding hi end (mosquito-esk), that was seemingly imported from another universe & sounds totally foreign to the body of the tone (I call these "orphaned highs"). Well, the HC sonically "converges" (homogenizes) the seperate frequency regions by "gluing them back together" in a most musical way, which sounds very organic to the human ear. Part of this process reduces "fizz" while adding a certain brightness & timbre of a good tube amp, imparting that special tube-esk "urgency" to the otherwise boring midrange frequencies.
With the HC, I did not strive for the tone that comes from a naked amp, warts and all (that sound is rarely ever used on Pro recordings without major outboard help) - instead, I went for the sound you typically hear on major studio recordings after all the extra tone shaping & de-fizzing have been accomplished, which is what I've always felt the ideal modeler should be doing anyway! By doing this "heavy lifting", the HC frees up the modeler's EQ to be used for overall tone shaping (instead of eliminating fizz or other undesirable artifacts) and greatly enlarges the sonic "sweet spot" when programming your sounds - in other words, it makes your job a lot easier & faster. I have deliberately chosen to to keep the circuitry inside the HC relatively Hi impedance - Why? because of the warmth of tone (ever played through a low impedance Fender Amp? - I hope not! ;o). Also, the HC is very compact and requires *no* power source or batteries. Because of this, internal heat is virtually eliminated, greatly prolonging the life of all the audio components.
The HC is a continual "work in progress" because I tend to be a perfectionist who feels there is always room for improvement. This means I spend a fair amount of time each week experimenting with new circuits & components in an ongoing effort to make it better.
Pricing/Availability
When you purchase an HC, you are buying 5 things:
1) My Experience (both electronic and musical)
2) "Seasoned" Ears (it's not enough to simply have the "electronic smarts")
3) My Time - HCs are quite time consuming to build and design, and it is intense & unforgiving work. If *anything* goes wrong during the final epoxy potting/assembly process, the entire unit must be TRASHED, and a new one built from the ground up - there is NO WAY to salvage either the parts, or the many hours of detailed labor. Extensive tests & ear tweaking are done throughout the assembly process - these steps cannot be shortened or eliminated, because every electronic component has a +/- tolerance, and this must be compensated for to achieve ideal performance & tone.
4) Specialized/Hard-to-find Components.
5) A unique & quality sonic device that will help you achieve a substantially more natural & organic sounding analog tones (sans cabs & mics) in many different situations, including the re-amping (reprocessing) of tracks that were previously recorded without the aid of the Harmonic Converger. (there is even the possibility of a piezo-acoustic HC in the future if the interest is great enough)
Different designs require varying amounts of time to build (the primary pricing factor), as well as varying parts costs. For these reasons, HCs tend to fluctuate month-to-month in cost. The new HCs *all* come with 1/4" jacks - the "GT LOOP" version has one mono in & out, whereas the "Headphone Out" Stereo model has one TRS (stereo) 1/4" input (same as your modeler's headphone output - the TRS stereo connection cable is included), and two mono outs.
I have now concluded my "first run" of the newest HC models, and the currently established prices are:
STEREO HEADPHONE OUT HC = $275 + $15 s/h to the lower 48 states (it is actually 2 complete HCs in one box) This model works great connected to any modeler's headphone out (POD XT, VOX ToneLab, GNX3000, etc), and can also be used with any modeler's main outs as well. One 1/4" TRS cable is included to quickly connect up to both left & right HC inputs.
MONO/LOOP HC = $215 + $15 s/h to the lower 48 states. The LOOP HC was originally designed for Boss GT Loop circuitry, so it is extremely effective at making these units sound much more real & amp-like. The newest incarnation is now more versatile (extra control) & can be used with all modelers in most situations. When used in the GT effects loop, the HC processing is heard at all outputs (even digital), and all stereo effects following the loop will be heard in full stereo.
Please note that the current HC pricing posted here at the actual time of purchase, is the only official price - I cannot honor earlier price quotes because parts, design complexity, and labor time are in constant flux. I can *usually* build new units within 3 to 4 weeks after receipt of payment, but this all hinges on how many units I am working on at the time - I always try to get units out asap.
PAYMENT: I accept MoneyGram Money Tranfers worldwide https://www.emoneygram.com:443/eMoneyGram/index.do, and *US POSTAL* Money Orders (no other type) inside the US.
More to follow...
Thanks,
Radley
PS: As always, I can be contacted at Radtones@aol.com for any remaining questions.
_________________
Maiden, loudness, ACDC, black sabath, deep purple, jimmi and vinnie moore
And Now all jazz. |
|
| Back to top |
|
|
| ultraman_cosmo |
| Posted: Wed May 24, 2006 10:22 am Post subject: |
|
|
Mod Squad
Joined: 29 Oct 2004
Posts: 1665
Location: Mines resort city
|
Easy Level Matching Procedure GT-8
Anonymous writes "When setting levels for the GT-8 the objective I have is to setup the unit so that output levels are equal to input levels (unity gain). This can be done easily if you have a voltage meter and a reference signal generator.
Measure the signal voltage coming from the signal generator. I use a 1khz sine wave.
Put the unit in bypass mode and pass the ref signal to the input and measure the voltage at the left output. Adjust the output knob until the voltage is the same.
I have already figured out some other unity gain settings for you. Use them as your starting point for every patch.
Using an initialized patch (GT-8 only), set the Master Level to 108. GT-3/5/6 users can just use an empty patch with no FX, no NS and FV = 100.
The Loop procedure, if used, is trickier (for GT-8 only):
In Normal mode, set the send to 88 and the return to 110.
In Branch out mode, set the send to 88. The return level is ignored and has no effect.
In direct mix mode, set the send to 88 and the return to 0. The return is additive - any setting above zero increases the loop's output level because the signal coming into the return is added to the loop's input. This is great for running external fx devices in parallel (RVB and DLY's).
It is a good idea then to compare the output volume (by EAR) in bypass mode to each fx module, individually, within the patch, in order to keep your levels in line. It is very important to do this step by EAR since compressors, OD/DS and preamps reduce the dynamics or apparent volume of the signal, but the metered levels can remain high. Typically a boost is needed to bring up the apparent volume (output level) of these FX types."
CnP
_________________
Maiden, loudness, ACDC, black sabath, deep purple, jimmi and vinnie moore
And Now all jazz. |
|
| Back to top |
|
|
| ultraman_cosmo |
| Posted: Mon May 29, 2006 10:14 am Post subject: |
|
|
Mod Squad
Joined: 29 Oct 2004
Posts: 1665
Location: Mines resort city
|
GLOBAL EQ SETTINGS
LOW EQ -3 to -5> too much and to bassy sounding
MID EQ 0 to 5> set mine to 4 or 5 good for lead work
GLOB:MID FREQ 500 HZ > play with this one a little more
**GLOB:HIGH EQ 4 to 6>too much and you get FIZZ BRITTLE SOUNDING
TOTAL:NS Thres between 1 to 3> set too high and it kills your sustain
AMP EQ: 50% on treble,mids,bass,presense EVERYTHING!!!!!!!!
GT8 EQ KNOBS - 50% THEN adjust accordingly for each patch once you get close to the sound you want.
Don't go crazy with the knobs too much,
otherwise you probably won't get the sound you are after unless you get lucky.
OUTPUT SELECT: LINE/PHONES, LINE/PHONES, LINE/PHONES
OUTPUT SELECT KNOB- located on the back of GT8 looking upside down at it set to 1 or 2 o'clock.
PATCH LEVEL - 100 ALWAYS!!!!!!!!!!!
_________________
Maiden, loudness, ACDC, black sabath, deep purple, jimmi and vinnie moore
And Now all jazz. |
|
| Back to top |
|
|
| ultraman_cosmo |
| Posted: Fri Jun 16, 2006 9:59 am Post subject: |
|
|
Mod Squad
Joined: 29 Oct 2004
Posts: 1665
Location: Mines resort city
|
Permata yang hilang rupanya ada dalam GT8.
Semalam sambil tunggu game bola aku pun melayan guitar setelah seminggu bercuti akibat kecerderaan jari yang terpotong dek cutter... adusssss.
Cenderung semua orang yang ader multieffect terlalu fokus kat equlaizer, distortion, od, delay, reverb dan sebangainya. Study menatang frequency dan cuba mendapatkan tone tone idola masing masing. Ada yang try nak compare preamp itu dan ini. Also effect itu dan ini. Aku puji sebenarnya habit cam ne sebab compare men"compare" ne adalah sebahagian dari kita punya pembelajaran akan effect chain sebenarnya.
Tapi kita ne miskin, mana nak beli guitar gibson or prs yang harga 10 20 libu. Ayoo kenaper nak beli guitar mahal ne! Sebabnya mana nak carik tone kayu, resonance kayu or resonance hollow macam LP custom. Sememangnya eq amp, algorithm amp, speaker simulation sekarang mudah dah nak jumpa. Tapi resonance kayu mana nak carik melainkan kene buat loan bank rakyat pasal nak beli gibson. hehehhehehee.
kalo di cerita kan kat aku prehal multi effect ne maybe aku dah muak dengar ceta pasal distortion, preamp, modul or sebagainya. mana yang best, mana yang kaw. Kalo yang berkaitan dengan effect or modul adalah paling tepat kita ceta pasal quality berbanding kuantiti. Cth macam sitar n spring reverb dalam GT8 semangnya useless. Tak perlu dipertikaikan buat maybe ader effect lain yang lebih berkualiti seperti compressor, limiter, delay, sub delay, chorus dan sebangainya. Satu benda yang paling aku suka kat chorus, delay n reverb GT adalah high cut dan low cut. Ne buat semua chorus, delay or reverb lebih bunyi analog tanpa noise hizz yang biasa kita dengar kat digital reverb.
Tapi kali ne aku nak berkongsi pengalaman pasal resonance kayu. Kita pun tau kayu kayu mahal macam mohagany sememangnya top pasal tone dan resonance dia. Gabungan body ash or alder + neck maple sememangnya jadi kegilaan mamat fender. Semi hollow yang tone dia lebih mellow dan resonance kayu lagi kaw memang jadi kegilaan pemusic jazz dan blues. Terkezut juga aku sekejap apabila terjumpa satu sollution utk dapat tone kayu ala ala prs, gibson or fender vintage. Aku ingat tak der lagi yang best boleh jumpa dalam GT. rupo nya ader lagi permata yang aku belom jumpa.
GS Guitar simulation
- boleh bantu perbaiki resonance guitar anda.
- let me know kalo multieffect lain ader benda cam ne. setau aku maybe variax guitar jer ader somthing cam ne.
- sustain UngGGGGGGGGGGGGGGGGGG
- bukan sustain Grengggggggggggggggggggggg
- sebelom ini kita memang tau Tone modify resonance123 akan bagi resonance speaker ala ala cabinet marshall or fender.
- utk guitar simulation H-> hollow n S-> hollow sangat berkesan utk bagi resonance body guitar ala ala gibson prs of fender.
- effect ne ketara pada tali 6 5 dan 4. selain itu tali 1 2 3 lebih mellow bunyi nya.
- sustain resonance akan bertambah, kata orang kita ada dengung yang kaw.
- masalah harsh or fizz. Tali 6 5 4 lebih jelas tak dikaburi oleh distortion ala ala tone santana black magic woman.
- tapi utk metal biasanya tone n resonance body tak terlalu di titik berat, asalkan bingit metal kah kot. Maybe lebih diambil berat guitarist blues or vintage rock.
- try petik dan hold satu note pada tali 4 dan anda boleh dengar resonance kayu pada tahap yang dikagumi. Ini disebabkan utk vintage tone kita tak nak sustain ending dengan amount distortion. Kita nak sustain ending dengan body tone. Distort masa attack dan ending dengan less distortion dan resonance body.
- resonance kayu ne penting kalo main ala ala tone kat jari macam santana or gary moore
Cara nak guna Guitar simulation GS.
- guitar>....>OD/DIS>Preamp>FX2[Guitar simulation]>FX1[tone modify]>EQ
- betul betul lepas preamp. tak kisah mana satu dulu tone modify or GS sama jer.
- pas tu baru masuk EQ.
GS parameter
- type = H -> hollow >>>> bunyi body gibson prs
- type = s -> hollow >>>> bunyi body fender
- LOw = +10 >>>>>>> lagi tinggi bunyi body lagi bold.
- High = +10 >>>>>> treble side. utk nak tone metal up sampat +30
- body = 70 >>>> bunyi sustain resonance bertambah. 50 - 70 ok lah... lebih dari tu terlalu over resonancenya.
- Level = 30 cukup dah tu, karang clipping.
- adjust balik low n high supaya menghampiri amount eq without GS.
- try but dulu patch yang anda dah puas hati. then baru masuk GS.
Sample Patch
- Saper yang ader GT-8 boleh try n bagi feedback.
- Kalo tak sedap, cakap jer tak sedap so kita boleh working on somting utk improve.
- Guitar pickup bridge humbuker
- ne tok layan tone santana lama dulu.
Effect chain
CS[off]>wah[off]>....OD[booster]>preamp>FX2>FX1>EQ.....>reverb
OD
booster>drive 50>bottom +50> tone 0 >effect L 50 > direct level 50.
- kalo drive tinggi sangat kurang kan lah skit.
Preamp
Single>5150>Gain 40>Bass 50> middle 45> treble 60 > presence 50> level 50 > gain middle
Solo ON >Solo level 50>
Speaker original>mic flat> mic dis on mic> center> mic level 100> direct level 0.
- presence 50 tu dah cukup utk buat squel harmonic yang clear tapi tak bingit.
- gain 40 cukup, nak lebih gain, guna drive od supaya kurang noise.
FX2
GS> type H-> hollow > low +20 > High +20 > body 70 > level 30
- adjust low n high secukup rasa.
FX1
TM> resonance 1 > low +20 > High +20 > resonance 75 > level 40.
EQ
low cut 55Hz> low eq -2db >
lo-mid f 5.00kHz > lo-mid Q 16 > lo-mid eq -20db >
hi-mid f 4.00kHz > hi-mid Q 1 > hi-mid eq +4db
High EQ 0db> High cut 6.00kHz > level 0db
- cut low 55Hz adalah kerana guitar tak perlu dah frequency kurang dari 55Hz
- cut high 6.00kHz sebab amp guitar respone sampai 5kHz jer. lainlah Flat respone frequency amp macam amp keyboard. Tak nak ler dengar dalam headpone lain karang kat amp guitar lain sangat.
- cut 5.00 adalah utk buang fizz pada background gain.
- boost 4.00kHz bagi bright tone. jangan banyak sangat... jadi bingit n bunyi pasir.
- EQ parametic GT memng best, banyak aku boleh belajar prehal eq.
- asalkan kita faham mana bad or good frequency for guitar akan nyebabkan segala multieffect pun jadi syurga... hahahhaahah.
reverb secukup rasa.
- jangan lupa cut high n low dalam reverb setting
- low cut 55Hz and high 6.00kHz or 8.00kHz. kat reverb
- Biasanya kita guna high cut n low cut kat reverb, delay, chorus or dimana jer supaya tak nak dengar terlalu digital. Amount too low frequency and too high frequency adalah signature utk bunyi digital. buangkan kalo nak bunyi analog or vintage.
P/S
Bagi aku setelah dapat feedback dari kengkawan, preamp GT-8 lebih kepada crunch rock dulu dulu dan preamp POdxt lebih modern rock high gain. JTM45 dalam pod pun gain mencanak canak... Bukan ceta mana satu best lagi dari yang satu. Kecualilah kalo kita more to mordern gain dah tentu kita dengar line 6 high gain lebih sedap. Gitu juga orang vintage, dah tentu high gain bunyinya tak sedap. bukan ceta mana satu power tapi mana satu sesuai utk anda. Rasanya korang boleh pilih ikut kesuaian music korang lah yer. maybe pendapat ne membantu. GT adalah multieffect yang paling versetail sebab paling banyak pekara yang kita boleh tweak, kita boleh control banyak parameter. DAn GT juga paling hampes bunyi dia kalo tersalah tweak.
_________________
Maiden, loudness, ACDC, black sabath, deep purple, jimmi and vinnie moore
And Now all jazz. |
|
| Back to top |
|
|
| deadzid |
| Posted: Fri Jun 16, 2006 10:57 am Post subject: |
|
|
Mod Squad
Joined: 13 Feb 2004
Posts: 3891
Location: Shah Alam
|
haha bahaya jugak GT8 ni yea? beli mahal2 skali tak pandai tweak, mula la menyumpah seranah kata GT8 tak sedap..
so boleh ke aku buat conclusion yg:
- PODxt Live utk modern rock
- GT8 utk vintage rock
gitu?
_________________
> facebook
> youtube
> my-mic
> mockspecial.com |
|
| Back to top |
|
|
| IZZI |
| Posted: Fri Jun 16, 2006 10:58 am Post subject: |
|
|
Joined: 11 Dec 2004
Posts: 3447
Location: Melbourne, Australia
|
aku dah rasa mcm dah terpengaruh dengan GT8 ni oi..!
_________________
Gelanggang guitar : http://guitarden.starahead.com |
|
| Back to top |
|
|
| khairold |
| Posted: Fri Jun 16, 2006 11:17 am Post subject: |
|
|
Joined: 08 Jul 2005
Posts: 279
Location: Ampang
|
ultraman_cosmo,
ko ada Ph.D. in multieffect/amp-simulator eh? hehe |
|
| Back to top |
|
|
| ultraman_cosmo |
| Posted: Fri Jun 16, 2006 11:20 am Post subject: |
|
|
Mod Squad
Joined: 29 Oct 2004
Posts: 1665
Location: Mines resort city
|
| deadzid wrote: | haha bahaya jugak GT8 ni yea? beli mahal2 skali tak pandai tweak, mula la menyumpah seranah kata GT8 tak sedap..
so boleh ke aku buat conclusion yg:
- PODxt Live utk modern rock
- GT8 utk vintage rock
gitu? |
lebih kurang cam tulah zid.
Sebab tu aku tak nak jual podxt pasal aku still boleh guna beberapa pakara yang aku rasa labih baik dari GT-8. seperti preamp noise gate. or reverb or EQ dari dalam loop GT.
- perit juga lah kalo nak set lagu high gain.
- payah maksud dia.
Aku kenal 2 3 orang GT-8 user yang last last pening kepala pasal tak faham nak tweak parameter dia.
- macam high, mid n bass kat amp. paramater kat GT adalah dari 0 sampai 120 persent. range yang giler babas. tapi kalo dibandingkan dengan amp bebetul, 30 to 70 dalam GT dah sama macam normal amp.
- kalo kita set style guna pukul 12 or pukul 3 or 9 macam kita biasa buat akan nyebab frequency melampau... kol 3 kat GT dah sama 100 persent.
First week dulu pun aku rasa nak anta balik kat bentley... hahhahah.
With a good tip akhirnya dia jadi effect utama kau juga.
_________________
Maiden, loudness, ACDC, black sabath, deep purple, jimmi and vinnie moore
And Now all jazz. |
|
| Back to top |
|
|
| deadzid |
| Posted: Fri Jun 16, 2006 11:25 am Post subject: |
|
|
Mod Squad
Joined: 13 Feb 2004
Posts: 3891
Location: Shah Alam
|
tu lah.. aku rasa Roland patut buat class or course khas utk belajar tweak GT8 nih.. wajib ada! thread ni sungguh berguna utk reference GT8 user, kena bikin tutorial nih..
_________________
> facebook
> youtube
> my-mic
> mockspecial.com |
|
| Back to top |
|
|
| ultraman_cosmo |
| Posted: Fri Jun 16, 2006 11:32 am Post subject: |
|
|
Mod Squad
Joined: 29 Oct 2004
Posts: 1665
Location: Mines resort city
|
| khairold wrote: | ultraman_cosmo,
ko ada Ph.D. in multieffect/amp-simulator eh? hehe |
tak der lah khairold. cuma multieffect ne boleh ngajar aku prehal frequency, digitak technology. Sebanarnya aku tak mampu beli high end tube amp macam korang. So sentiasa corek selagi ader benda best dalam teknologi ne. Kalo pakai tube amp semamngnya kita tak perlu tau bad frequency FIZZ, HIZZ semua bebenda gampang dalam digital harsh. Tapi walo cam mana pun, pendapat aku ikut kefahaman aku. Kalo salah harap diperbetulkan.
Teringat Guitar simulation S-> hollow memang first muka aku terbayang , muko engko IZZI... hehehhehe.
- ayoo kesian engko tak boleh test drive effect aku masa ko datang sedang ari tu.
- IZZI ader buat preamp JFET emulation marshall utk aku ari tu. Stakat ne aku rasa tu lah pedal preamp yang paling kaw dah menghampiri tube. Hanya DIY nyer orang jer faham. maybe kita pernah dengar preamp kereta jer guna teknology JFET or MOSFET.
- Slamat maju jaya utk IZZI, our custom pedal builder.
ariossss... 
_________________
Maiden, loudness, ACDC, black sabath, deep purple, jimmi and vinnie moore
And Now all jazz. |
|
| Back to top |
|
|
| IZZI |
| Posted: Fri Jun 16, 2006 2:26 pm Post subject: |
|
|
Joined: 11 Dec 2004
Posts: 3447
Location: Melbourne, Australia
|
Thanks Ultraman!
Aku still tgh cari solution utk beberapa teknikal dan hardware problem(Durable high quality POTS, smooth 3DPT without Poping sound and metal enclosure mcm MXR).
So setakat ni kalau ada customer aku yg ada problem dgn pedal yg aku buat tu, sound je aku, service after sale sentiasa terbuka.. sebab buat masa ni kita still dlm testing period.. tp tgk jenis problem la.. kalau sendiri punya silap tu, ada cerita lain pulak heheh..
_________________
Gelanggang guitar : http://guitarden.starahead.com |
|
| Back to top |
|
|
| fReqZz |
| Posted: Fri Jun 16, 2006 3:27 pm Post subject: |
|
|
Joined: 20 Jun 2005
Posts: 1351
Location: Mont Kiara
|
ko buleh bikin amp aku? huhu... kasi sumbat itu tube.. ho ho ho..
_________________
 |
|
| Back to top |
|
|
| ultraman_cosmo |
| Posted: Wed Jun 21, 2006 4:26 pm Post subject: |
|
|
Mod Squad
Joined: 29 Oct 2004
Posts: 1665
Location: Mines resort city
|
Minimising colouration
This one is for people who have non FRFR amps and want to minimize the coloration of your current amp for the best replication of the GT-8's amp models.
Take a CD and put it into a standard stereo, then take the same CD and plug it through your GT-8/ amp rig by using a portable CD player or i-pod or whatever and the right cables and connectors. (If you don't have the right cables and connectors, you probably don't want to bother going out and buying them just to do this trick). If you have or can get two coppies of a CD and play them simultaneously through your stereo and GT-8, that would be ideal. All this to say, basically get a CD playing through your GT-8 and an FRFR rig. Once you have this settup, listen to the CD through one system, then the next and work with your GLOBAL EQ until you get them to sound as similar as possible.
Once you do this, your GT-8/ amp rig should be EQed more closely to an FRFR settup. This is not the be-all end-all problem solver, but it should improve your sound noticibly across the board. It helps take the "cover" off the amps.
Note: all your previously made patches may be ruined by this procedure, but you can fix them fairly easily by using the EQ on each individual patch to counteract the changes you made to the GLOBAL EQ.
Hope this helps someone!
_________________
Maiden, loudness, ACDC, black sabath, deep purple, jimmi and vinnie moore
And Now all jazz. |
|
| Back to top |
|
|
| ultraman_cosmo |
| Posted: Mon Jul 03, 2006 3:37 pm Post subject: |
|
|
Mod Squad
Joined: 29 Oct 2004
Posts: 1665
Location: Mines resort city
|
Cut n paste from line6 forum
- utk GT just guna eq set high cut to 8.00kHz or 6.00kHz
- also cut around 5.oo kHz Q=16 0r 8.
- or set amplier to GAIN sw = low.
- but bagi aku fizz problem bukan hanya pada that range of frequency.
Many users have been talking about an acoustical phenomenon nicknamed 'fizz' on the Line 6 Forums lately, basically giving a name to the high harmonics added to a sound when its’ gain is ramped up. The topic has become so popular, we feel we need to weigh in with an official statement. Here it goes:
Line 6 devices attempt to model, in the most accurate way possible, the sounds of what we consider the greatest amps, effects, mics and cabs in guitar history. We have designed a modeling process that attempts to faithfully recreate every aspect, both what is brilliant and what is broken, of the tone coming from the original gear.
That being said, our engineers have re-tested and re-matched our PODxt's against the original gear in the Battle of the Fizz, in many scenarios, to try to quantify what is happening.
Here is what we did:
1- Tested to see if fizz was part of newly designed cab simulations (post POD2). Recorded a PODxt with its cab simulation compared to a PODxt through the actual cab mic'd up. Conclusion: Fizz was identical in both.
2- Tested to see if fizz was an intrinsic part of the Vetta class amp modeling used in PODxt. Recorded target amp model with Cab off through the real mic'd up cabinet then compared to a Podxt cab simulation. Fizz existed and was the same in both cases.
3- Tested to see if the amp model exhibited fizz while real amp did not. Direct recording of PODxt compared to mic'd up version of the real amp and cab. Fizz was heard in both examples although fizz character was occasionally slightly different between the two of them. No preference was given to one's fizz over the others.
We tested several amps that had been complained about on the forum. Some models exhibited nearly identical fizziness while some were slightly different than their real world counterparts. For example: the Boogie Dual Rectifier in reality has a lot more fizz then the PODxt amp and cab model.
Where does the fizz come from?
Fizz is simply a byproduct of distortion. Distortion, be it made by tubes, tube simulations or even solid-state devices, adds harmonics to the original fundamentals of the notes you play. These new harmonics add complexity and tons of new high frequency content to your guitar sound. All guitar amps, and most distortion pedals, have some function of filtering (EQ) that follows the distortion (sometimes referred to as a gain or clipping stage). The most effective filter, or component that controls high frequencies on your amplifier is the speaker. To prove the genius of guitar speakers as filters - take any great valve amp and hook it up to your home HIFI speaker, and what will you get? Pure Fizz! That's right all amps have the fizz. Here's the kicker - You want the fizz, that is if you desire distortion your going to want the fizz, as it is the natural byproduct of distortion.
What can be done to control the fizz?
We will also note at this point the effect of listening to a guitar speaker on axis vs. off axis. Guitar speakers are particularly directional. That means that your location as it relates to the center beam of sound coming from the speaker will have a tremendous affect on how the speaker sounds. Next time you're playing you amp, bend down and listen to the tone coming from the center of the speaker. It's a lot more fizzy right? Stand up again, and the high frequencies and fizziness is subdued.
Some speaker cabinets are not good matches for some heads, and fizz can be a byproduct of poor matches. Try different cab simulations with your amp model, you may find a better combination for your tastes.
Also the mic placement can have a huge affect on the amount of fizziness you print to tape. Try moving your 57 to be perfectly on access (perpendicular) to the cone of your amp next time you're recording - fizz city! Off-axis set-ups tends to subdue the fizz. Most of our mic models are created with both on and off axis versions.
Well that's all fine and great but I still want whatever it is that's making that fizzy sound to stop! Cool, so do many engineers when recording guitar tone. One common technique is to use a Low Pass filter, or a shelving eq to reduce the high frequency content above 6000-8000Hz. Most commonly though, savvy engineers will simply keep moving the mic on the amp until they get the right balance of low and high frequencies, and we have provided a number of mic and mic placement options for you that cover the top "go to" combinations that we've collected over the years working with grammy winning producers and engineers all over the country.
So here's the conclusion: Yes, there is fizz. Yes, the original amp/cabinet/mic combinations fizz as well. Yes, some people want the fizz to go away. Yes, there are common techniques and tools used everyday for compensating for the fizz.
We deeply appreciate you - our customers. We have made it our life's work to offer you the best tone possible in all our Amps, PODs and Computer products for the lowest price possible. We acknowledge that the collective experience of our forum communities is huge, and that you may disagree with our assessment of this particular situation. We welcome the diversity of your opinions. And take all of your comments to heart. In fact we've tried to build diversity into our products by offer up to 78 amp models too choose from on Vetta, and/or expanded PODs & Toneports. Everybody has a slightly different idea of what sounds amazing, just like we all have slightly different ideas of what's attractive. Some value the variety and wide range of tone available on a Line 6 modeling product. Others only need one great sound, and are willing to make a huge investment to get it. We really respect both ends of this spectrum, wherever it is you land. We hope that our products inspire great music, and that at the end of the day they are a capable and affordable means to the end: inspiring guitar tone to inspire some great art.
Line 6
_________________
Maiden, loudness, ACDC, black sabath, deep purple, jimmi and vinnie moore
And Now all jazz. |
|
| Back to top |
|
|
|
|
|
|
You cannot post new topics in this forum
You cannot reply to topics in this forum
You cannot edit your posts in this forum
You cannot delete your posts in this forum
You cannot vote in polls in this forum
|
|
|
|
