Amplitube 2 Jimi Hendrix RELEASED this month!!!

[frequency_algorithm]

I can't see why I wouldn't use a laptop on stage.....

I use a laptop on stage as well...

-is not a luddite.

I got serato scratch and all that. I don't even care if beer gets spilled on my laptop who cares. I got moog stickers all over mines anyway, and the screen is always dirty. Not to mentioned the crud built up on the keys and from the areas where my palms rest while i am playing games for hours. My laptop is a slut.

[A3ntar]

Very valid criticisms there Sascha.

I agree!

I am very impressed with Amplitube 2 and have been enjoying the demo for the last 4 days and will be upgrading from AT1 asap. But I am unimpressed with the foot controller, especially the fact that it has an audio interface. I have been looking at the behringer FCB1010 midi controller. Is there a way to control Amplitube 2 with it? Tracktion 2 is my main host but I haven't delved into it's midi mapping functions yet as I haven't had the need to so far.

Use console (www.console.jp) or energyXT and you should be able to use your FCB1010.

Btw, right now, with my test setup, I'm using a rather cheap Rolls Midibuddy for program changes, but I'm seriously thinking about the Rocktron MIDI-Mate, which offers a really nice controller implementation.
After that, the only sound carrying cable on stage will be the ones from guitar to wah and from wah to amp input. And I'm already thinking about getting one of those rackbased remote control wahs.

Sascha, the FCB1010 would be another great choice with 2 expression pedals and a very strurdy build.

[Squids]

Well, there are many sides, many opinions, different tastes and all that for sure. Each guitarist is different and so is their music so it highly depends on the details there. By all means if your sound works live with your live hardware rig and you're happy then apart from the hassle of lugging it around (if it is a large rig) then why change? In fact, I would only think a guitarist would take a laptop or Receptor or a Minimac or whatever on stage if he could really benefit from the elaborate set up it offers or the additional sound variety. I already mentioned many pages ago how AmpliTube is used on the Stones tour where they have the same amps they've had for decades on stage (VibraKings, Tweed Twins, Ampeg SVTs) but when they need a particular sound with some certain production characteristics from the record perhaps the midi/engineer/tech, Will Alexander, who has a ProTools rig in the back of the stage would call AmpliTube up to process something. By the way I'll post more pics backstage of the Stones gig in one of our SR myspace blogs www.myspace.com/sonicreality which some people may find interesting.

Getting back to the Stomp IO. Sasha has a really good point about what happens if you kick the USB cable out mid-playing. It's never pretty if you pull out an audio cable from your guitar while your amp is on either (BBZZZZZZZ!!!!) but you can just plug it back in where with the computer it isn't always that smooth with audio interfaces (of any kind). Also, computers themselves can crash and that too isn't something you want to happen live. But, if your system is running solid then the benefits of it are fantastic for live, which may be worth it. The sheer amount of variety of sounds, flexibility plus the authentic character of the modeling make it great for certain guitarists who would otherwise compromise their set up because it would be too complex or expensive to do in hardware (some guitarists have made Bradshaw rigs just to be able to change their stomp box routings easily but not everyone can afford it and it is still a pain... plus a lot of 9 volt batteries to keep buying! Haha).

Would professionals use it live? Yes, some would. As the only thing in their set up? It depends but I doubt it. I've been doing some stuff with the band Genesis recently. Mike Rutherford the guitarist uses AmpliTube 2 and Ampeg SVX and he was very curious to try out a prototype of the Stomp IO. In fact, I am going over there in two weeks and might bring one over (I am also going to Germany if anyone wants to grab a beer with Squids). He's curious about possibly using it in his rig live simply because he likes the sounds he gets in the studio and would love to be able to have that live and control it as well. Securing the USB cable is the problem of the roadie. They always find a way. As for the jack... it is the standard USB jack that you see on anything as far as I am aware. Not sure of any other "industrial strength" usb jack that exists (although some kind of locking jack would be cool if it existed).

By the way, I am just bringing it up these particular artists just as an example I happen to know of. Hopefully the long post makes for an interesting read . I just wanted to make a point about the whole "would professionals use it live" argument. It is interesting to see whether they use plug-ins live or not and how they do it.

Anyway, in my opinion the Stomp IO is really cool. It does a lot more than Rig Control. You can use it as a complete control surface for both performance and full editing of the software. It talks to AT2 beyond what midi can do so the effort of the development has been on that primarily as opposed to generic midi control features of the standlone version that comes with the plug-in. That's not to say that AT2 standalone which just came out won't eventually be updated to have at least the basic midi of AT2 Live. It might I would think. But, when it comes to control the goal was to make the ultimate proprietary controller for the AT2 user (and not just for live, for the studio too!).

Of course one doesn't have to use the audio interface aspect of it, they will be able to use it just as a controller. Although the analog circuitry in the input stage is console grade and sounds punchier than a lot of mid-priced audio cards. Low latency too. But, for the control it does some really great things. One of my personal favorites that I mention is the 6 expression pedal inputs. I love expression pedals and to set it up to have one doing a wah, one volume, one phaser lfo speed and maybe one doing drive (like the old Unidrive) and turning ANY parameter into a virtual "as if it had CV control in hardware" to control with a pedal is really awesome. I know some people who would get it just to have 6 expression pedal inputs! In fact, when I was talking to Mike Rutherford about the Stomp IO's 6 expression pedal inputs Tony Banks walked over and said "Wait, what's this you're talking about?". (That's because keyboard players who have both of their hands on the keys light up when they hear about the possibility of one unit giving them 6 expression pedals!).

Anyway, I am not arguing the point because there's no definitive argument about it. I can fully see how for some people using a computer live is just not something they'd do and for others it's intriguing. I would use it! But, I think the best way to look at the Stomp IO specifically is this. IF you use AT2 a LOT and love it then it is a logical thing to consider adding to your set up! A control surface for it. It's like if you use ProTools and you get a control surface for that. Some do, some don't! If you like the more hands on/feet on approach then when you see how good the price is you may want to enjoy the benefits of it! That's either live or in the studio.

[Sascha Franck]

Oh btw, there's one more thing when using these programmable things live (regardless whether they're dedicated hardware or running on a computer):
The lack of what I'd call a "utility" mode.

Have you ever been playing live and thought that for that very event (be it due to musical reasons or different acoustics) your clean sounds aren't loud enough?
Your crunchy sounds need a bit more bite?
Your lead sounds aren't creamy enough?
Too much overall reverb for that church gig?
Running directly into the monitoring system instead of into an amp?

With my former live rack (that I'm not using anymore because I'm getting sick of all the stuff to carry around with me), none of these has ever been an issue.
Louder clean sounds? Requires turning a single knob on my Boogie's clean channel.
Crispier crunch? I turn up the yellow channel's trebles a bit.
Less overall reverb? I just turn down the return of my line mixer.
Speaker sim on/off? Fine, I just actvate or bypass my RedBox.

None of the existing software amp sims offer anything such as that. If I need louder clean sounds, I will have to reprogram EACH and EVERY of them. The same goes for more crunchy bite, less overall reverb and whatever.
Actually, my rusty GT-5 is still offering a WAY better solution as it's got quite some overall parameters, such as global reverb level, noise gate threshold, speaker sim on/off and whatever. Heck, it even offers two user customizable amp models that can be modified globally, so all the patches using them are affected.

This is why I am opting for NIs Kore in my new setup. With some tricky programming it allows for just that: Adjusting a lot of parameters globally. So, even if I'm using a variety of amps for clean sounds, I will still be able to adjust their overall level globally. The same goes for about each and every parameter. I can as well load different reverbs per patch, but I will still be able to adjust the overall reverb amount.

None of the standalone amp sims existing allows for any such a thing. Which is rendering them rather useless for me in a live situation.

[Amberience]

I've had a few combo amps now. Pedals galore, multi-fx units... I have to say though, I just prefer software - a new breed of guitarist perhaps??

I like that I can constantly tweak and change a patch without having to keep re-recording. I like that I can get some of the maddest sounds from freeware that you'd struggle to get with even some high end hardware equipment.

Maybe my ears are shit, maybe I'm easy to please. I don't hear anything bad about AT2 or GR2 or Gsuite or Freeamp2. Each has their own weaknesses and strengths, even hardware has that. I see no reason why we should expect any of these software packages to do everything equally well when their hardware counterparts don't even do that.

If I get the opportunity, I will use software in a live setting.

If money weren't a hinderance, I'd have a laptop coupled with the Stomp I/O for AT2 and GR2 with Rig Kontrol. I reckon those alone would be more than enough for me to play in a band with.

In terms of monitoring, I guess you could strap on two PA-like speakers onto the outputs on a soundcard for the lappy. There ya go, every sound you could possibly need, right out the box.

I'm not against hardware. It's just that I prefer software, and as Squidsy says, every guitarist is different.

[Squids]

Sasha has some interesting points and I love to hear real world perspectives from guys that play professionally. But yes each guitarist IS different and one person's particular concerns aren't the same as everyone else's. Again, I think at least initially the people who are going to get Stomp IO are the people that really dig their AmpliTube 2 that they want to get the most out of it! The deep level of control you have with this particular integration of hardware and software is much more than the usual. I for one am all for that! Hardware that talks seemlessly with your software? I want as much of that as possible! One of these days I am going to pick up a Kore as well (I used to have the NI 4 control even!). It looks potentially like something I'd use. I am a control surface junky though (remember I also have a Continuum Fingerboard so I am not a conservative customer of such things... I even picked up this control surface that is what M-Audio was going to use for the Surface One).

By the way, I brought up the thing about securing the USB cable (and audio cables for that matter) and learned that this is one thing the Stomp IO BAR is for! Besides being a handle to carry it around with it was designed so you could wrap your cables around it a few times to secure it after it is plugged in. I didn't think of that but that's actually a nice aspect of the design! However, like I said, for pros it would take the road crew two seconds to figure that out. I guess this isn't something you can do with GR2's Rig Control but this is where sometimes design makes a difference.

Anyway, there are some good points brought up and I've made some suggestions on things based on some of them.

[Sascha Franck]

Hm, Squids, seriously: The handle as a cable lock? You do know about the stiffness of most high quality USB cables, don't you?
Seriously, I don't even know whether there's specialized "professional" USB sockets (never seen any), but what you need is a serious cable lock.
I mean, not only that your sound connection could probably be breaking up in whatever situations, but once you pull the cable too hard sideways, there's chances the USB socket will be ripped of the circuit board.
Really, of all the connectors I've ever dealt with, USB ones are the dodgiest. I don't trust them for a minute.

Besides, the max. length issue is a serious one.
That's why I'd really like to see some interface plus a controller. Or, do it like the TC dudes with their G-System. With it, you can have the actual unit mounted below the controller pedal or in a rack, with just a controller cable running to the floor unit.

[stag]

Well if stomp i\o follows the quality standarts of syealth plug...
samplerate locked at 48K, not compatible with ASIO4All on top, what were thinking guys?!
I already own AT2 and several audio interfaces, i just wanted a mimi one and all got was an headache and less 100 euros.

[m_e_t_r_o_n_o_m_e]

cable lock needed yes

[stag]

StealthPlug Features

• 9'/2,5m length cable with integrated audio interface
• 1/4" jack connector MONO IN
• 1/8" mini-jack Headphone STEREO OUT (suitable also for Amp/Powered Speaker OUT)
• USB 1.0/2.0 connector
• Activity LED
• Volume UP/DOWN buttons
• USB bus powered
• 16 bit A/D -D/A converter
• 44KHz/48KHz Sampling Frequency
• Ultra-low latency ASIO and Core Audio Drivers
• Hi-Z direct Guitar and Bass-IN (suitable for any instrument with line out also)

• 44KHz/48KHz Sampling Frequency I don't think this is correct or them i'm missing something here. Oh if you're locking samplerate at least do it at 44.1K, please.
i think most people still use this frequency.

[Sascha Franck]

I think I'll go for the M-Audio one then. 48KHz is nothing I'm gonna deal with.

[Lunch Money]

I agree that it's a bit of a limitation for many people, and if you have decided that it's the wrong limitation, then so be it. I know, for example, that Sascha Frank has plenty of background and experience to make up his own mind.

However, in general, the resolution is acceptable for a device of its kind. USB is a bit of a funky data path to begin with, and if you try clogging it with 88 or 96, you're at risk of screwing yourself over. I have a 24/96 PCI interface, and I actually still use 16/44.1 or 24/44.1. To a hobbyist recordist like me, that's very acceptable. And to someone who is using it for hotel room or living room practice, it is also more than acceptable. The Stealthplug doesn't seem to be marketed as a "pro audio interface" in any way, shape, or form.

Stag, when they say 44/48, they DO mean 44.1. A lot of people in the industry just chop off the ".1" part. Since 48 is another industry standard, you have your choice-- CD resolution or DAT resolution.

Greg

[Sascha Franck]

Oops, I thought stag already had the thing and *knew* it was limited to 48KHz, in contrary to IK's statement.

Greg, of course you're 100% right about 44.1 being shortened to 44.
And fwiw, no way I'm working in anything higher than 44.1 - sorry for any possible misleadings.
I'm in no way running anything more than a humble home studio either and even if I was running a professional business I'd probably stay with 44.1 as well.

[Amberience]

I think bitdepth is more important than sample rate. If you record at 24bit, recording at 44.1 is fine even for professional results.

[silas]

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