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.)
