The Search for Guitar Amperfection, Part 2

Intro

In The Search for Guitar Amperfection, Part 1, I described my  journey toward guitar "amperfection", which is a term I use to describe the -- possibly mythical -- "perfect" guitar amp tone, especially for recording. Last time, I described the amps I've owned (very few), the amp emulation and modeling tools I've used (several), and my current setup and level of satisfaction. In this post, I'll elaborate. For example, I'll explain why I parted with my beloved Axe-Fx Ultra and, more recently, my Axe-Fx II. I will also discuss my gravitation back toward "stomp boxes", and how advancements in DSP technology have made this an alluring proposition.

Nerd First, Artist Second

I love music. I also love the technologies that allow me to make music. This is akin to using tools for creating visual art: I dig the "colors" and "textures" modern digital signal processing techniques allow me to achieve. Some music-making SP (signal processing) comes in the form of slightly updated versions of classic analog effects. For example, we are in the midst of a Fuzz/Overdrive/Distortion pedal renaissance, with more improvements, re-workings, and even re-imaginings, of "classic" fuzz stomp boxes than most guitarists realize.

If you want a catalog of the very best of breed, search Sweetwater for "distortion, overdrive, boost, fuzz" so you can gawk at the stunning array fuzz box candy displayed in their excellent candy store. If you have a hankering for a significantly deeper catalog, covering many boutique tone pedals, make yourself a cup of Joe, block out a good 15-30 minutes, and perform the same word search on the Pro Guitar Shop site. Oh yes. The loveliness is nearly endless.

If you thought an overdrive was an overdrive, think again. There is much to learn, young padawan.

A Happy Marriage

Analogue Signal Processing and Digital Signal Processing (DSP) have finally reached a state of delightful happiness together. I'm confident their marriage will grow stronger, and that they will produce an incredible number of impressive offspring. For example -- to name only a few -- Strymon, Keeley, EarthQuaker Devices, Red Panda, Way Huge, JHS, Tech 21, Bogner, Electro-Harmonix, and even good ol' trusty BOSS have made huge strides toward a kind of utopian musical nirvana about which guitarists only dreamt in times past.

On the purely DSP-side of things -- and, again, to name only a few -- companies like Universal Audio, Fractal Audio, Two Notes, Kemper, and Line 6 (at least with their new Helix) are pushing boundaries by using very powerful, very high resolution hardware and algorithms to model even the very subtlest harmonic nuances, with breathtaking dynamic detail, to create "virtual" analogue gear for studio and/or live use.

Change of Heart, or Workflow?

I mentioned in the Intro that I have owned the best of the best: the Axe-Fx. Thrice, to be exact. The Ultra (#1), which I sold when I bought the II (#2), which I sold, then later bought again (#3), then finally sold earlier this year. I do not have a love-hate relationship with the Axe-Fx. I am absolutely madly in love with it! (As I mentioned in my previous post: if you have not directly experienced the Axe-Fx, you don't know what you are missing, and that's an understatement.) As it happens, my musical workflow never "gelled" with this amazing piece of gear.

As insanely awesome as is the Axe-Fx, personally I was hampered by the way I interfaced with it. I began realizing that I really wanted more outboard gear I could see and touch.

Creative Momentum

(The concept of "creative momentum" may resonate with you, especially if you are a visual artist and/or a writer.)

In order to maintain a level of creative moment, I started to realize I wanted knobs to twist and turn, without touching my computer and/or without stepping through menus on a device. For all its sonic splendor, my own personal recording "workflow" was not compatible with the Axe-Fx, nor the -- barely passable by comparison -- POD HD500X. (For the record, I'm a huge fan of Line 6. Their M13 stomp box modeler is the Eighth Wonder of the World, as far as I'm concerned.)

Artist First, Nerd Second

The bottom line: I needed all the sonic ridiculicousness of the Axe-Fx, but from a variety of gadgets I could adjust quickly, in the heat of the creative moment. The disadvantage of this approach would be a likely increase in the noise floor during recording. However, the advantage of having direct interfaces outweighed my concerns about noise floor. I decided I would simply work around the issue. As the great prophet Robert Fripp once said during a seminar in Maryland many years ago, "I like hiss." (Actually, I hate hiss! I just wanted to make a friend of mine laugh.)

... Which Leads to the Amp Farm!

But now I have run out of time to discuss it! Next time, I will FINALLY discuss some of the gear comprising my "Amp Farm". I will ruminate on those gadgets at length, for all you gear nerds.

The Search for Guitar Amperfection, Part 1

Intro

I will cover my own search for studio recording guitar amperfection: magical, delicious tone that feels authentic, satisfies the ears, and records well. I have hyperlinked a lot of information in this post, in case you're interested in following the white rabbit.

Purists

I am NOT a purist. Tone is tone, regardless how it was created. My only combo guitar amplifiers -- ever -- have been:

1. Peavey Backstage 30 (high school)
2. Peavey Bandit (Saturation!)
3. Roland JC-120, which I used for a decade
4. Johnson Amplification JM60
5. Gibson Goldtone GA15

Only one or two are considered "real" amps, depending on your level of snobbery. All of them were sold or given away a long time ago. The JC-120 and the Goldtone were gems. Both have gained a lot of respect over the years. (Roland still makes the JC-120!)

I will gloss over the amps I've listed above, since I recorded so little with them. They were great live amps. The Goldtone is the only one I still wish I had, and would likely use it in the studio today if I still owned it. This post is more about finding amperfection for recording in the studio.

Simulators: A Sonic Shortcut

I first started using "modeling" technology with the purchase of the Yamaha FX770 rack multi-effects processor, which included amp simulation. I recorded two albums worth of guitar-based music with it. The guitar amp/cabinet simulations were quite musical. The stereo effects were great, and the interface was easy-to-use. And, as with many other pieces of gear I've owned, I didn't realized how spoiled I was until I sold it. It was a piece music-making gold I abandoned for greener pastures.

Amp Modeling: The Next Generation

Next, I purchase a Line 6 POD 2.0. I owned it during a recording dry spell. I only managed to record one song called "Thrusters" (under the Goocher moniker). This was also during a financial dry spell: I sold the POD. I liked it a lot, but I parted with it for bread.

Soon after, I bought a much less expensive knock-off called the Behringer V-Amp, which turned out to be surprisingly useful and well-made. I recorded one song with it called "Oliver's Travels, Part 2" (again, as Goocher).

During the same period, the Johnson Amplification J-Station tabletop amp modeling unit was on sale. Johnson couldn't realistically complete with Line 6's juggernaut POD amp modeler, so they were selling the J-Station at fire sale prices during this period. The J-Station was built like a tank! A musical acquaintance from the (original) MP3.com days, Jeffrey Ryan Smoots, used a J-Station on one of his instrumental albums.  I was inspired.

Like the kidney bean-shaped POD of that era, the J-Station imposed odd limitations on the simultaneity of certain effects, like compressor and chorus... or something along those lines. I suspect this was a limitation of the DSP horsepower of the day.

Attack of the Floor PODs!

Let me get this out of the way right now: I am HUGE fan of Line 6. Huge! Their products have always been well-designed, intuitive to use, and powerful.

Starting with the POD XT Live, I have owned all of the top-of-the-line floor POD models in succession. The last two -- HD500 and HD500X -- weren't as sonically impressive to my ears. However, the incredible routing power and flexibility of the HD500s still makes my head spin. They are amazing works of engineering. (I suspect the forthcoming Line 6 Helix will make up for what the "HD" models lacked in sonic nuance and dynamism. The Helix seems to be a VERY powerful floor unit within its price range. Looks sexy, too.)

O.M.G. = The Axe-Fx Ultra

I don't remember how I first heard about the Fractal Audio Axe-Fx Ultra. Perhaps the shock of owning, hearing, and recording with an Ultra wiped out my memory.  I remember listening to YouTube videos, and reading artists hype it and describe using it. So, I took the leap, and ordered the Axe-Fx Ultra directly from Fractal Audio.

This cannot overstated:
If you have never experienced the Axe-Fx, you truly do not know what you are missing. I am at a loss how to follow-up that statement with descriptions of how awesome the Axe-Fx Ultra was. Receiving it, setting it up, then finally plugging in and using it was a mind-bending experience. I had never heard such amazing, dynamic, breathing, perfect tone. I'd say "unbelievable", except that I actually owned it and was hearing it with my own ears.

Since my Yamaha FX770 days, I have tended to build amp/cabinet + effects patches from the ground up. I very rarely start with a factory preset. Because of this, and the fact that I never found optimum placement for the Ultra, I ended up using it much less than I intended. It was the Porche of guitar amp modelers + effects, and I was treating it likewise: "parked" in my studio, kept in pristine condition, and very rarely "driven".

O.M.G. x 2 = The Axe-Fx II

When the Fractal Audio Axe-Fx II was announced, I impulsively decided to sell the Ultra so I could "upgrade". (A friend bought my Ultra. Only now -- in late-mid-2015 -- he is appreciating the sonic power he possesses in the Ultra. He wants to buckle down and learn how to program it more completely.) Again, I ordered directly from Fractal Audio -- the only channel through which I could purchase one.

The Axe-Fx II was like the Axe-Fx Ultra on steroids. If the Ultra was perfection, then the II was super perfection. Amazing, wonderful tone. Every single patch -- even crazy, weirdly-wild ones -- breathed like they were alive. (You don't master an Axe-Fx; you respectfully partner with one.)

I used it live on several occasions and -- predictably -- received compliments and queries every time. I used it minimally in the studio, because I was not actively recording at that time. Shame, really. What a magical piece of technology.

"I've Got a Fever, and the Only Prescription Is..."

A home studio. I decided I needed to invest in my home studio so I could record. I sold my Axe-Fx II and a ton of other music gear and bought what I needed (sound conditioning, rack gear, decent monitors, etc.). Oddly -- and now thankfully -- there were a handful of items that would not sell. Among them, the Line 6 M13 Stompbox Modeler and the BOSS DA-2 Adaptive Distortion (which I will cover in Part 2).

Enter The Amp Farm

I will end Part 1 of this series with a picture of the "amp farm". It is simply a tabletop (thus easy-to-reach!) arrangement of guitar effects and amp emulators I use in the studio these days. With this setup, I can achieve the sounds I hear in my head. I will go into more detail in Part 2.

The "Amp Farm"

A tabletop arrangement of effects and emulators.

Djently Treading: Dialing In "Djent" Guitar Tone

Intro

I am an unabashed fan of so-called "djent" Metal. Actually, I enjoy many genres of music, and "djent" has been especially interesting the past few years. (Misha "Bulb" Mansoor of Periphery was the popularizer of the word "djent".) The style can be roughly characterized as: heavy, progressive--often complex, even groove-centric--Metal that maintains a very tight feel.

Extraordinary Djentlmen

Check out Periphery's latest double album, "Juggernaut: Alpha" and "Juggernaut: Omega", for some intense, poly-rhythmic, nuanced, and ridiculously tasteful and dynamic Metal.

The SEQret Sauce

The most complete and helpful guide I've come across for achieving djent-like tone is "Guide to Djent Tone" on the Gilks site. What is the secret sauce of djent? EQ. What kind of equalization? Parametric. Specifically, a bump at 1.4 kHz (1400 Hz) brings out a nice djenty flavor. The more you bump it, the more gnarly it sounds. Too far, and it will sound nasal-y and not very usable.

Getting Started

Where do we start? First, find an effects pedal that contains a parametric EQ. It does not need to be a distortion pedal. It just needs to have a parametric EQ onboard. I scoured the Web (and Sweetwater) for possibilities, and the most cost-effective for me was the DOD Boneshaker pedal. Even though it comes with distortion, I only care about the parametric EQ capability. I keep its distortion knob at zero.

Next--if possible--play a loop of pink noise through your new djent-tone-making parametric EQ-capable pedal, adjusting the hi-Mids until you're able to isolate 1.4kHz (1400 Hz) and notch it up. The reason parametric EQ is desirable is because it is sweepable. The DOD Boneshaker required using the stacked "High" knobs to dial in 1.4kHz. The "Mid" knobs adjusted frequencies significantly lower than 1.4kHz, which was a little surprising. (Learn something new every day.)

Finally, once you've dialed it in, you'll be pleased by the results when you start jamming.

How To Djent-Q

Here is a basic how-to guide for figuring out how to dial in the magic 1.4kHz. Hopefully, these pictures and diagrams will help you, or at least give you ideas how you can achieve a similar result.

Here is a list of what you'll use. All of these are discussed below:

1. A Windows or Mac PC
2. A mobile device capable of playing back audio
3. A cable with 1/8" jack on one end, and 1/4" on the other
4. And your newly-acquired (heretofore referred to as) "Djent-Q" pedal
5. Your instrument (if you forgo the whole pink noise approach)

Pink Noise

The Easy Way (Mobile App)

I used a mobile App called AudioTools to generate pink noise straight into my "Djent-Q" pedal. However, you don't need to buy an App to do this. You can generate pink noise for free (see further below).

The icon to launch AudioTools, which I used for generating pink noise.

The generator in AudioTools. Notice I selected "Pink" noise. To play the noise, I needed to also click the "Mute" button in the lower right to un-mute the sound (muted by default).

Pink Noise

The FREE Way!!!!!!!!!!!!11 (using a PC)

You can download Audacity audio editing app and generate a pink noise sound loop that way. Here's how. Audacity is available for Mac and Windows, and it is completely free.

Download, install, and launch Audacity

From the Audacity menu, choose Generate > Noise...

Choose "Pink" from the Noise type list.

This will generate a 30 second clip of pink noise.

From the Audacity menu, choose File > Export...

I named the audio file "Pink Noise" and put it in the Music folder.

I recommend saving the file in an uncompressed format, e.g., WAV (Windows) or AIFF (Mac).

Now load that audio file onto your mobile device so you can play it into your Djent-Q pedal. If you already own a mobile App that can generate pink noise, then skip this whole "The Free Way!!1" section.

Making Connections

You will need to connect your mobile device to the Djent-Q pedal. I recommend the following type of cable (pictured). I believe I bought mine at Guitar Center, though I'm sure Best Buy, and other tech-related stores, carry this kind of cable. It has a stereo 1/8" jack on one end (for your mobile device), and a mono 1/4" jack on the other end (to plug into the "IN" of your new Djent-Q pedal).

1/8" stereo jack on one end, and 1/4" mono jack on the other end. If you can't find 1/8" stereo, then use 1/8" mono.

Spectrum Analyzer

There are free spectrum analyzer apps, such as iSpectrum for Mac. You'll want to use one that can analyze audio in real-time, if possible.

Free

iSpectrum for Mac. Takes the input of your USB/Firewire/Thunderbolt audio interface and displays the sonic spectrum information in real-time.

Not Free

iZotope Insight. I happen to own iZotope Insight, so I used it instead of iSpectrum.

EQ Method #1

Mobile Device -> Djent-Q pedal -> Audio Interface -> PC (or 2nd mobile device)

Play the pink noise sound into your Djent-Q pedal, through your audio interface, and finally into your spectrum analyzer app.

I kept adjusting the "High" knobs of my Boneshaker (aka "Djent-Q") pedal until I found the magic 1.4kHz. Notice the exaggerated frequency bump at 1400 Hz on the Spectrum Analyzer App in the examples above. 

EQ Method #2

Instrument -> Djent-Q pedal -> Audio Interface -> PC (or 2nd mobile device)

This method is less technical, but can yield good results, too. The reason the pink noise method is easier is because pink noise is evenly-distrubuted across the entire sonic spectrum. Your instrument, on the other hand, will have its own sonic peaks and valleys, so it will be a little harder to "see" the bump at 1.4kHz when you find it.

The Boneshaker

Below is a picture of how I adjusted the DOD Boneshaker pedal to find the magic 1.4kHz. Notice the specific adjustments to the "High" knobs. Also notice that I am not using the Distortion feature at all. I am relying on my Tech 21 Character Series pedals for gain and crunch.

Finally

I hope this has been helpful! Shoot me a comment if you have any questions.