Amplitube next models? What will they be?

[blueman]

I never really understood the need for so many mics (or cabs for that matter) when it all gets summed to stereo in the end Ultimately, you have all of this craziness going on with complex phase relationships that are unpredictable (when you exceed a two-mic setup). So, what's the point? Seems weirdly excessive and unnecessary to me. Dare I say...gimmicky? But hey, who can argue with GREAT tone no matter how it is achieved.

Maybe someone here (who is brave) can attempt to explain the 16 mic setup to us

[bishop666]

No one would have bought a SRV record if he had used only 15 mics

[susiwong]

Maybe someone here (who is brave) can attempt to explain the 16 mic setup to us

Easy.
Think of the rates Wagener charges per hour ...
Who knows how many of them really ended up in the mix ?
I bet most of them were only there to have the freedom of choice, and got ditched later on.
Another explanation could be laziness, working in a way similar to GR4's Control Room (which in software makes some sense, considering Weihe's expertise).
Cheers,
susiwong

[blueman]

Aha! So...THIS is how ya get that BIG tone

[Funkybot's Evil Twin]

You'll never get a big tone with all that phase cancellation.

[metalifuxx]

Don't forget to mic the top of the amp head. You will get vibration noise from the knobs for that authentically mic'd guitar sound.

[hibidy]

yeah, so much for that "shove a 57 on it" technique

many of my presets are one mic.

[Funkybot's Evil Twin]

To say one thing in defense of the crazy miking techniques, often only one or two will end up in an actual mix. When someone is putting that many mics on an amp, it's usually just a combination of laziness, the need to save time, and tonal variety. If the tone coming out of the amp is right, usually one (or two) of the mics will get you what you need. Then you just have to mute 13 channels you don't need for that mix, and find the one or two that will work for the next. If you're working on a session where the guitar player never changes amps, you could pretty much record all your guitar tracks without ever having to worry about moving a mic after you start.

This isn't something you'd want to do if you only had 24 tracks, but if you have the mics, pre's, and a DAW, why not? I ain't gonna tell anyone they're wrong for doing it.

[redshift factor]

I think that many mics are being used because the producer has plenty of tracks and wants to keep his options open for mixing.

AmpliTube 3 gives us all of those options and more. We can swap any mic, any cab, any pedal, and any amp at any time, move mics around, double up, add a cab... whatever we want to do, right up until final mixdown.

I think the engineer on that project must be very jealous of those of us using AmpliTube 3. Although AmpliTube doesn't have a model of a "Wizard" amp...



...yet.

Peter?

[SuperNashwan]

If I were working on Amplitube at this point I'd be less concerned about new models and more about how after all this time Guitar Rig still has a far superior effects section for anyone wanting to go beyond just sticking in a bit of chorus and delay. Where are the crossovers, signal splitters/combiners, modulation sources like LFOs, envelope followers, step sequencers and so on? I know not so many guitarists are big on sound design but when your competitor has such a clear advantage in an area you'd think it'd get some attention.

[redshift factor]

You must be a keyboardist.

[electro]

If I were working on Amplitube at this point I'd be less concerned about new models and more about how after all this time Guitar Rig still has a far superior effects section for anyone wanting to go beyond just sticking in a bit of chorus and delay. Where are the crossovers, signal splitters/combiners, modulation sources like LFOs, envelope followers, step sequencers and so on? I know not so many guitarists are big on sound design but when your competitor has such a clear advantage in an area you'd think it'd get some attention.

Little things like click and drag and MIDI learn were positive improvements but Amplitube is meant to deliver just what real AMPs and real pedals deliver in the analog world.

Copying the flexibility of Guitar Rig would require a total redesign and mark a shift away from authentically modelling real gear. Maybe a set of special Stomps that communicate with each other could act the way you want.

[Peter - IK Multimedia]

Correct. Even the new creative effects have our distinct touch that purposely instill a familiarity, especially to guitarist. I won't say it is a "garage" feel, because that's not indicative of their excellent tonal quality, but I think that's part of the vibe too. You can get some pretty outlandish and cool sounds out of something like Rezo but without feeling like you are in math or synth class.

[Agreed]

I don't have a lot of bad things to say about AT3... but can a man get an effects loop one of these days? I get that IK isn't really aiming at "sound design" applications the way NI sort of explicitly is. Two different approaches, two different markets, cool. But real amps have effects loops for a real reason. As it is, you can run two instances and have a sort of pseudo-effects loop (plus VST loading ) by disabling everything after the amp in instance 1, and everything before the cab in instance 2. But that's twice the resources. I don't even want a TRUE effects send/return setup, I would be perfectly content with the Guitar Rig way of doing things, which is just having the option to put things between the amp and the cabinet. That's a fine compromise since having an actual loop out and in between the preamp/tone stack and the power amp would be a pain in the rear to implement.

I don't know how you'd do it in AT3 as it stands - maybe have another module between the amp and the cab sim and have all effects loadable there, though obviously that's hardly a trivial thing to code in... But with people's resource usage concerns, my solution of "just use two instances" probably isn't a good fit for everybody.

I would also like every function in AT3 to be controllable via DAW automation, as well, pretty pretty please. If that is already the case, can someone help me figure out how to switch patches when using DAW automation (not StealthPedal or StompIO integration or direct MIDI control, but using Amplitube's DAW automation interface thingy)? That has bugged me for awhile and I must be missing something, right?

[zerocrossing]

yeah, so much for that "shove a 57 on it" technique

many of my presets are one mic.

Me too! I find that monkeying around with a bunch of mics and what not rarely makes a big positive difference.