Guitar players, The soundclick MP3 demo page got updated !

[Sascha Franck]

I find it reasonable to believe that it might just be convenient to use synthedit for the wrapper while coding the guts of it separately. I really could care less if it is synthedit or not if it gets the results. Xmastube was very promising.

Well, if you're working x-platform, SE creations aren't the best thing to deal with.
Fortunately, in this case, I couldn't care less as very soon my laptop will become my standalone guitar rig (for both live playing and recording).

[AndrewSimon]

What's a Fuchs amp?

http://www.fuchsaudiotechnology.com/htm ... files.html
I guess they have an interesting tone for you.

Here is a demo I already posted before played by Dimitar using my Fuchs model.
http://www.soundspectral.com/Demos/Express_feeling.mp3

Sounds very cool.
I hope your sim will include those sweet cleanish sounds, not just the heavy settings.

[Teksonik]

I find it reasonable to believe that it might just be convenient to use synthedit for the wrapper while coding the guts of it separately. I really could care less if it is synthedit or not if it gets the results. Xmastube was very promising.

I do not. If you can code in C++ there's no need for S.E. XmasTube performs exactly like Spectralive on my test machine (consumes huge amounts of cpu when not recieving a signal -no it's not denormals). In fact the similarity is spooky.

[Hink]

I find it reasonable to believe that it might just be convenient to use synthedit for the wrapper while coding the guts of it separately. I really could care less if it is synthedit or not if it gets the results. Xmastube was very promising.

Well, if you're working x-platform, SE creations aren't the best thing to deal with.
Fortunately, in this case, I couldn't care less as very soon my laptop will become my standalone guitar rig (for both live playing and recording).

Sascha, can I ask a favor? Will you keep me posted on how using the laptop works out for you? I have noticed in the past that you and I share similar concerns and I would be extremely interested on how it performs. Also I would be interested to know how well a laptop on stage (used by a guitarist) is received by the audience.

[Sascha Franck]

Sascha, can I ask a favor? Will you keep me posted on how using the laptop works out for you? I have noticed in the past that you and I share similar concerns and I would be extremely interested on how it performs. Also I would be interested to know how well a laptop on stage (used by a guitarist) is received by the audience.

Well, we'll see how it all works out.
As I've got NI's Kore, I could most likely keep the laptop closed and probably hidden in a rack caddy as well. So that's one of my main concerns sorted. I mean, unlike with some heavy rugged amp, you just can't afford any bears spilled over a laptop.
Right now I'm configuring some sort of hybrid system, using a Mesa V-Twin preamp for some sounds (that I can't seem to be getting out of amp sims) along with a looper/switcher and whatever software for additional sounds.
The good thing being that Kore is actually doing exactly what I'm familiar with from my analog stuff. I'm just setting up a 3-4 channel thing, so I'm not switching amp patches but their on/off status only. That way I have "overall" (or "global", if you prefer) control over, say, my clean channel's volume, without any need to re-program each patch using that very clean channel.
Kore is then serving as a controller for those things I need global access for. And it seems to be a fine audio interface so far as well.

What I'm not sure about so far is how I'm going to amplify things.
I've already been using fullrange solutions for smaller commercial gigs, but for "real" gigs the true guitar amp setup always turned out to be the better way. I'll give both options a try as soon as the main setup is ready (which should be somewhen this month). Unfortunately I don't have any mini PA system that could compete with either my Twin or my Mark IV in terms of power/punch, but I might be able to borrow something like a powerful fullrange monitor.
This will actually be the most important thing to sort out. I'd really love to go all fullrange, so I'd get the same sound through my monitors and the PA. But as said, this didn't work out too well in the past on larger stages. Funny, when you think about it, because in studio situations it's quite often the other way around, especially when you're on a budget or at home. In that case amp (and speaker) sims are the way to go. You'd think that it'd be even easier/better in a live context, but apparently there's all that "grit", "cut through" and whatever coming from a real guitar amp/speaker that's just tough to duplicate.
Of course, I also don't like the fact that I'd have to spend quite some bucks on a freaking fullrange monitoring system while I allready own two pretty capable amps. I must be crazy or something, because my current setups always served me well. But then, I just love the thought of having access to all the wicked software-based sounds in a live context as well. Kjaerhus Autofilter, followed by a stereo delay, all synced by tap tempo anyone? Yummy!

Regarding the audience, I don't think anybody would give a damn or even notice things. Apart from a few guitarists maybe. I mean, after all this is nerdy stuff. Nobody but us will ever care about. I got as much appreciation when playing through fullrange things than when using the real deal. Heck, just a while ago some other guitarist asked me about my "killer" sound on some live recording that we did ages ago with some fusion-ish band. I've been using a Zoom 9000-something processor (the follow-up of their "belt/strap" model) and some cheesy Gallien-Krueger solid state amp back then... worst setup I ever used by far. I'd gladly post the recording if the cassette wasn't f**ked up (only media I had of it, will try to regain it).

[DaveSmom]

Dang Sascha, do you own everything? LOL.... *jealous*

[Lunch Money]

I'm mostly interested in the Fuch's model. My advice for if you release a "one-amp" version is to make it exceedingly explicitly clear that there's a possibility it may take a long time or even never (hey, you don't believe it's "never", but keep your butt covered) before a full version is released. Sell it "as is", not just as an upgradeable pre-order type thing. You don't want promises to bite you in the ass.

Greg

[pj geerlings]

On the subject of SE - IFAIK this was done in SE and is still going strong - though apparently Guido has taken an extended vacation

There is something to be said for "higher level" languages like Synth Edit - the designer is freed from the mundane C++ stuff to explore a potentially different solution set.

Of course, performance does suffer ...

[Sascha Franck]

Dang Sascha, do you own everything? LOL.... *jealous*

Well, actually it's not that much. And, worst of all, I sold the best things I once had, not really knowing anything about their musical and monetary value back then (a Plexi Marshall for 200 bucks because it's been too loud and unflexible, a Steinberger for around 500 because it's been ugly, an AC30 for 300 because I thought it was broken when only the tubes were down, etc...).
Anyways, as I'm making my living as a guitarist, I need at least some stuff.
And believe me, the most important things I still don't own. A nice PRS (I just want one) and a Strat that is (oh, I once sold a most excellent early years Squier strat for around 200 bucks as well, AAARGH...).

On the subject of SE - IFAIK this was done in SE and is still going strong - though apparently Guido has taken an extended vacation

[...]

Of course, performance does suffer ...

Yeah, MrRay and MrTramp are SE creations as well, and you won't exactly call them bad.
The amazing thing being that, especially considering they're not using samples, they're not using up noticeably more CPU power than other comparable things.

[Vervil]

Regarding the audience, I don't think anybody would give a damn or even notice things. Apart from a few guitarists maybe. I mean, after all this is nerdy stuff. Nobody but us will ever care about. I got as much appreciation when playing through fullrange things than when using the real deal. Heck, just a while ago some other guitarist asked me about my "killer" sound on some live recording that we did ages ago with some fusion-ish band. I've been using a Zoom 9000-something processor (the follow-up of their "belt/strap" model) and some cheesy Gallien-Krueger solid state amp back then... worst setup I ever used by far. I'd gladly post the recording if the cassette wasn't f**ked up (only media I had of it, will try to regain it).

Lol! I was using Zoom 9002Pro long ago, in combination with solid state Marshall combo ("deadly" combination ) I think this Zoom is one you are talking about? Strapped on the guitar belt, with small remote control? Similar things were happening to me, people telling me how good my sound is after gig. I remeber using some strange tricks in zoom, like having room reverb turned on but with strange parameters so it acted like an EQ boost or something, trying to cure abundance of midrange-ness. Anyway it is always the men with the guitar that counts at the end...
Maybe we could make some kind of Zoom survivors web site or something, having audio clips of Zoom gigs for download

[Vervil]

(oh, I once sold a most excellent early years Squier strat for around 200 bucks as well, AAARGH...).

Sorry for offtopic, but now I have to be a fanboy a bit: those are great guitars! Had two of them at one point, still keeping one of them. It plays better then most of the strat guitars I have tried. At that time I was looking for Fender guitar, but this was better then all other USA Fender guitars I could buy at the moment, and was something like 200-250 euros (500DM at the time)

[Midiworks]

SE is only the shell to put things together,
many parts are hand coded in C++ and than integreated.

This sounds very very familiar. Anyone remember Crysonic's Spectralive? They claimed to be such brilliant programmers that they invented some super hi tech audio process but yet needed Synth Edit to wrap the patch handling............Soundspectral=Crysonic?

Let us take a look,
people here were guessing that Soundspectral actually might be:
Native Instruments
Steinberg
Line 6
and a few others I forgot about.
and now we might be Crysonic, the conspiration theorys never stop...

I rather find this amusing.

Soundspectral=Soundspectral

it is as simple as that.



Anyway, I have no idea how Spectralive was created,
I can see nothing, nothing at all that would make think that
it was created using SynthEdit.
No module folder, that would appear when you write your own ingredients, no reference in the resource to SynthEdit either.
On my P4 2ghz, Spectralive is using around 20% CPU
and I think this is a bit heavy but fully acceptable for what it does.
Spectralive is a very useful and nice tool.

If you can code in C++ there's no need for S.E. XmasTube performs exactly like Spectralive on my test machine (consumes huge amounts of cpu when not recieving a signal -no it's not denormals). In fact the similarity is spooky.

Maybe there is something wrong on your test machine,
out of the 250+ people who own a copy of our XmasTube,
you are the first EVER to complain about high CPU usage.

Again, on my P4 2ghz XmasTube is taking 8-9% CPU.
I would say that everybody who is enjoying to play our XmasTube,
will agree that it's CPU consumption is more than fine for what it does.

Do you play guitar by the way?

If you can code in C++ there's no need for S.E.

Funny, I only wonder why in the world we are combining both then ...

[shamann]

SE is only the shell to put things together,
many parts are hand coded in C++ and than integreated.

I don't think you are Crysonic, but when you say stuff like "many parts are hand coded in C++," people are likely to assume you mean that you personally have coded the modules rather than used modules made by other people. Which, if the Xmas amp is anything to go by, is what you did: used modules published by Dave Haupt and others and simply renamed the files.

Nowt wrong using their modules, but disingenuous if you're aim is take credit for their work.

Technically speaking, anyone using SE can say their plugin is "hand-coded in C++", since everything in SE started out that way on Jeff's end.

[shamann]

Anyway, I have no idea how Spectralive was created,
I can see nothing, nothing at all that would make think that
it was created using SynthEdit.

It's all in the way the GUI widgets respond to your mouse. Immediately recognizable.

[Midiworks]

but when you say stuff like "many parts are hand coded in C++," people are likely to assume you mean that you personally have coded the modules rather than used modules made by other people. Which, if the Xmas amp is anything to go by, is what you did: used modules published by Dave Haupt and others and simply renamed the files.

Nowt wrong using their modules, but disingenuous if you're aim is take credit for their work.

Technically speaking, anyone using SE can say their plugin is "hand-coded in C++", since everything in SE started out that way on Jeff's end.

shamann, you are completely mistaken I am afraid.
Dave Haupt, is listed on the credits,
because he coded a very special module for our amplifier.
The same goes for every other credited person.
(with the exception of Kelly Lynch, his module was used for the info-screen,
and is indeed an available 3rd-party module,
and Rune, who created some of the skin elements)

To make a long story short, it is just like I said,
most of our modules ARE hand coded in C++
and only exist for our amplifier and had been written specially for it.

Many things we're doing to create the sound of our amplifier,
are simply impossible to do, by only using the standard SE and third-party modules.

Anyway, I have no idea how Spectralive was created,
I can see nothing, nothing at all that would make think that
it was created using SynthEdit.

It's all in the way the GUI widgets respond to your mouse. Immediately recognizable.

This must be than, a very special hand coded module...