Logic pro x guitar amp tutorial free
Master knob: Set the output volume of the amplifier—going to the speaker. For tube amplifiers, increasing the Master level typically produces a more compressed and saturated sound, resulting in a more distorted and powerful—that is, louder—signal. All other product names and images, trademarks and artists names are the property of their respective owners, which are in no way associated or affiliated with IK Multimedia.
AmpliTube 4. Upgrade to AmpliTube 5. Hyper Realistic Tone Get ready to have your mind and ears blown. Big Live Room. Studio A. Studio B. Stomp FX placed into Rack section. Stomp FX placed into Rack section – Edit mode. Rack FX placed into Stomp section. Rack FX placed into Stomp section – Edit mode. How it works Chances are, you already know how it works.
Infinitely expandable AmpliTube 4 comes with the built-in Custom Shop gear store feature that allows you to add gear to your collections any time a-la-carte or via collections. Gear Selection First and foremost, AmpliTube is all about the gear.
New British models AmpliTube 4 welcomes 5 new classic amplifier models to the mix representing some of the best British tones from the 70s, 80s and 90s. Effects Loop New in AmpliTube 4 is an additional slot in the signal chain right after the amplifier pre-amp section but before the power stage. Below are all the gear models you can add to your rig through Custom Shop. An iconic distortion pedal that has stood the test of time. This model alters the sound of the input signal by changing the sample-rate, cutoff frequency and by distorting it.
This effect can produce very aggressive distorted sounds, more pronunciated than overdrive stompboxes. The Low pass filter is very creative when combined to high distortion levels. First produced in , this is one of the most versatile distortion boxes ever made.
From subtle crunch to complete mayhem, this pedal has been used by countless guitarists of all styles. This hard-to-find vintage unit includes a built-in oscillator for infinite sustain.
Hold notes to create amazing synth-like sounds or boost solos for more cutting tone, combined with classic distortion tones. Nothing compares to this pedal for pure distortion mayhem. From subtle to over-the-top, the SD-1 pushes amps harder without sacrificing clarity and tone.
It’s basic controls make it easy to dial in the exact sound you want. One of the most versatile distortion boxes ever. From smooth, light crunch, to extreme shred sustain and over-the-top gain, this pedal has been a classic ever since its release in the early 80s.
This pedal is a model of a beloved 80’s-era distortion pedal by a company known for making amps with amazing distortion. This model packs a whole powerful amp into a single stomp box. This effect is a model of a classic high end compressor. It is capable of mild compression or intense signal slamming, and does it all with a tremendous amount of finesse. This model is a clean, highly effective 1 octave graphic equalizer, capable of fine tuning and dialing in that perfect tone.
This is a clean sounding band graphic EQ. This stomp is an advanced filter effect. It uses the envelope of the incoming signal to control a synthesizer style filter.
It is capable of sounds ranging from very simple auto wah effects to extreme never before heard filtering effects. This complex stomp effect uses an LFO to modulate the frequency of its filter. With the included BPM sync this is a very useful effect for creating interesting, moving guitar parts with a minimum amount of trouble.
Make your guitar sound like a sitar or like a synth-drone to create sonic textures nobody will think has been done with a guitar. A unique effect that can add synth-like drones and sustaining resonances to your parts. Set up the scale you want the resonances to sing on and control the notes with your controller to create arpeggios and steps while playing.
A powerful and deep beat synced filter effect. This will make your guitars and bass parts to sound like a rhythmic synth, if you want it! This effect is modeled after the classic wah pedal used by many of the top players from the 60’s and 70’s.
In addition to the wah effect it also features an auto function, allowing it to be used easily without an external controller. This is a new exciting feature. This is a faithful rendition of a very sought-after wah pedal. Based on a multiple feedback opamp circuit, the pedal modeled here is a very expressive and unique wah pedal.
This is considered to be one of the best sounding wah-wahs of all time. Jimi Hendrix used many fuzz box units like this vintage model which adds to the powerful sound palette that AmpliTube 3 can offer. This effect is modeled after a classic germanium transistor fuzz stomp effect. Typically used on lead guitar, this effect has remained a popular distortion effect throughout the years.
This classic germanium transistor fuzz effect was the main fuzz box used by Jimi Hendrix. Often combined with a wah, this effect produced permanent sustain and endless distortion. Adjust the knobs to create a distorted sound, then reduce the level of your guitar volume knob to create a cleaner tone. Turn up your guitar volume knob when soloing. These tend to be loud and clean with a tight low-end and restrained distortion.
Great for lush, reverb-saturated chords or strident solos. It can be crunchy when overdriven, but most players favor it for clean tones.
It excels at clean tones with a minimal overdrive. This model is favored by blues and rock players. Tip: Although these amps tend toward a clean and tight sound, you can use a Pedalboard distortion stompbox to attain hard-edged crunch sounds with sharp treble and extended low-end definition. See Pedalboard distortion pedals.
At medium gain settings, these amps are suitable for thick chords and riffs. Raising the gain yields lyrical solo tones and powerful rhythm guitar parts. Complex peaks and dips across the tonal spectrum keep the tones clear and appealing, even when heavy distortion is used.
Captures the sound of a late s watt amp famed for its powerful, smooth distortion. Notes retain clarity, even at maximum gain. Most amp modelling plugins can load in impulse responses, but you can always use Space Designer in post-production to shape the sound even more. I usually set my HP filter around 40 Hz, but you might want to go up to 60 Hz if you want more of a vintage-funk bass tone.
If you go below 40 Hz, you may clutter up your mix so be careful. I want to create a darker sound for this track. Once you find it, widen your Q and boost until it sounds fuller.
Using mid—boost EQ in this way helps sharpen up the amp sound without making it ‘fizzy’. Some users suggest feeding two chains of amps and effects from buses, but to play without annoying latency, it is necessary to engage Logic’s Low Latency button, and this disables bus sends as well as plug-ins that cause long delays when active. After recording, click off the Low Latency button and all your tardy plug-ins and buses come back to life.
Using buses is no problem if you are treating a dry guitar track you’ve already recorded, but if you want to hear something like the final sound as you record, bus sends are probably not the way to go. Which amplifiers you choose depends on the sound you’re out to achieve, but a useful tactic is to choose an amplifier and speaker combination that delivers a bright attack for one channel with perhaps a warmer sound that has more body to it for the other.
By mixing them using the amplifier output level controls, you should be able to get a solid sound that still has a well-defined attack. One often—overlooked feature of Logic’s guitar amplifiers is that if you click EQ above the tone controls, you’ll see a menu offering alternative EQ types, and they all sound distinctly different.
If the amp sound is too dull or too edgy, try a different EQ. It’s well worth experimenting with different amp and cabinet models. The virtual microphone position can also make a big difference to your final tone.
Amps load up with default choices of loudspeaker cabinet but again you can mix and match to get closer to the sound you’re looking for. Speakers make a huge difference to the sound and, in very general terms, the smaller speakers tend to sound thinner and brighter whereas the larger ones have more low end and less ‘edge’ to the sound.
How To EQ Bass Guitar in Logic Pro X (w/ Presets)
They have virtually the same interface, but paid Logic provides much more opportunities for professionals. Just plug your guitar aamp an instrument logic pro x guitar amp tutorial free to an audio interface connected to your computer. After recording, you will see a blue box with a waveform — this will be your recorded track. Even though it is professional software, it has a pretty simple and user-friendly interface. Besides that, the main advantages of this DAW are the advanced audio editing fdee, lots of loops, virtual instruments, and built-in plug-ins for any needs and tastes.
Therefore, you can safely learn how to produce music at a high level. The main logic pro x guitar amp tutorial free here is to make sure frwe your DAW is synchronized with the audio interface. It will depend more on the goal you need to achieve.
For example, do you want to get a clean DI track and process it with your plugins? Or do you have a good-sounding amp and cabinet and want to capture just that sound?
The Audio function allows you to capture the clean signal from your electric, electroacoustic, or bass guitar. Press Audio to record an electric guitar as a clean DI. And there you have it. You will see a blue box with a waveform on it.
It will be your recorded electric guitar audio. It is important to note that having a DI signal for your guitar will always be advantageous because it is easy to edit. In addition, it gives you a lot of options for further manipulation logic pro x guitar amp tutorial free your больше информации tone.
For example, you can run it through your favorite amp sim plugin and achieve your desired sound. You can also create a new track thanks to the Free or Bass function. Here you can experiment with lovic guitar amps, cabinets, and mic distances. Also at our disposal is a pedalboard with just a massive selection of guitar effects pedals. You have to listen zmp experiment. The key factors that will affect your sound are the Pedalboard and Amp Designer plugins.
The pedalboard, as in reality, should be placed at the beginning of your guitar chain. Logic provides virtual effects of many types, logic pro x guitar amp tutorial free distortion to compressors. Just build your sequence with what works best for you. The Amp Designer plugin should go after Pedalboard. Here, you will choose between different types of virtual amps based on their legendary physical copies.
You can combine the amp with various cabinets and microphones, which will also affect the character of the sound. The ability to record a guitar through Guitar or Bass is a great way to immerse yourself in the sound experimentation that Logic Pro X offers with its built-in plugins.
You can switch between presets, change their settings and achieve what you want. That is, you also need to adjust the gain, adjust the metronome, and press Rec. The main difference is the presence of a guitar tone library. If you record a guitar part with the preset, its base is still a clean DI signal. So if you remove all effects, you get the same audio track as in the first option. If you have a physical amp that you love the sound logic pro x guitar amp tutorial free, you can also record an electric guitar in Logic Pro X.
But this method is more zmp and requires additional physical equipment. The point is that in this case, you can record the guitar directly, without a cabinet. So be careful; turning on a guitar head without a cabinet can damage your amplifier!
The load box can replace the guitar cabinet on the way to your audio interface and provide akp ability to get a guitar amp signal. The amo is, if your guitar amp is logic pro x guitar amp tutorial free, your waveform will look almost like one solid straight line. In this case, it will be difficult for you to find the correct transients to edit the parts during the production.
Otherwise, you need another piece of physical equipment called a DI box. With it, you can get two signals simultaneously: from a guitar amp and a clean DI. It так parallels desktop 11 on high sierra free Это help you later navigate where the transients are and edit the overdriven signal.
This method is the most advanced and is still used in professional recording studios. In this case, you can capture not only the sound of your favorite guitar head but also the speakers of the cabinet. But like the previous one, you will need additional physical equipment.
The most important thing here is the microphone. It can be either a dynamic or a condenser microphone. It all depends on what посетить страницу have. Note that the industry standard, in this case, is considered a dynamic mic Shure SM Many believe that it can give you the most transparent and most rich guitar пишешь, windows 10 stuck after factory reset free download понравилось from the speaker.
But how do you set it up right? This method of recording will give you plenty of possibilities. For example, use a second mic for room ambiance. You can even capture the sound of a guitar with more than three microphones. But remember that just like in the previous method, you will also get a straight waveform signal, which will be challenging to edit.
Therefore, the DI box can serve as a good tool for you here as well. Logic Pro X is a professional and versatile audio workstation where you can easily record an electric guitar in several ways.
It is suitable both for professionals and beginners. It all depends on what kind of equipment you have. If you want to try all the features of the built-in Logic plugins, record your guitar with the available presets. If you want /11133.txt clean signal, record with Audio and then reamp with your favorite plugin.
Logic pro x guitar amp tutorial free, of course, you can record guitar directly logic pro x guitar amp tutorial free your 3-rd party amp sim. This DAW is also ideal for more experienced musicians and producers who want to capture the sound of a particular guitar amp and cabinet.
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Should Drums Be in Mono or Guitag Kick, Snare, Clap and Percussions. Ilarion Ivanenko is a remote mixing and mastering engineer from Ukraine, a musician with more than 15 years logic pro x guitar amp tutorial free experience. Specializes in rock, metal, progressive and the other genres. So how do you record an electric guitar in Logic Pro X?
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Logic pro x guitar amp tutorial free
I know a number of Logic users who have tried Logic’s Guitar Amp Designer plug-in, skimmed through the presets, and then dismissed them as less authentic than some of the third-party options. That may logic pro x guitar amp tutorial free be entirely fair, as with a little perseverance, it is possible to coax some extremely usable sounds out of it.
In order to achieve a stereo signal chain for a mono guitar input, you’ll need to use a stereo channel with the Direction Mixer plug-in inserted first in the signal path. As a rule, amp modelling works well enough logic pro x guitar amp tutorial free clean sounds and also for heavily distorted, edgy rock sounds — it’s when you want something that falls in-between the two that you have to work a little harder.
While the focus on this Logic workshop is on getting the most out of Amp Designer, I like where possible to put some analogue pedals before the input to my audio interface rather than relying on Logic’s pedalboard for everything. As well as ensuring you have the right input impedance, using analogue pedals helps round off any sharp peaks that might cause brief converter clipping, which in turn makes the attack of the notes sound more natural.
And don’t be tempted to push your record levels too high — peaking at around dBFS is more than loud enough. If you call up a Dual Mono plug-in you’ll see L and R tabs that let you view and adjust the rree and right channels independently.
This opens up some interesting creative possibilities, particularly when it comes to guitar processing.
To make use of these Dual Mono plug-ins, we need a stereo channel — logic pro x guitar amp tutorial free though the guitar input or pre-recorded dry track is probably mono.
My approach is to set the track to stereo input, then instantiate a Direction Mixer plug-in from the Imaging plug-in menu and adjust its Spread fader to give zero stereo fdee — which puts your mono input equally into the two logic pro x guitar amp tutorial free. A Dual Mono instance of the Pitch Correction plug-in will let you achieve a natural-sounding double-tracked effect.
Эта adobe premiere pro cc 2015 v9.0 + crack 64 bit free download очень you want a safety net to ensure your bent notes end up адрес exactly the right place, then put an instance of Logic’s Pitch Correction after it set to Chromatic and with a slow correction speed — about half way up on the correction z fader.
This allows your bends and wobbles to pass through intact but any long sustained notes will land on an accurate pitch. This might sound like a bit of a logic pro x guitar amp tutorial free, and it won’t work quite so well if you like to use those slightly off-key blues bends, but it can also be used creatively by setting different correction speeds for the two sides of logic pro x guitar amp tutorial free Dual Mono instance, to introduce small changes in pitching when notes are being bent.
This helps cement the fake stereo double—tracking illusion that I’ll cover later on. A little compression before any amp modelling can help make the sound feel more springy.
If you haven’t got a compressor pedal you can always just use a plug-in — I like to use the Logic X Opto or Vintage FET compressor models set to an attack time of 10 to 20 ms and a release time of maybe 50ms. A ratio logic pro x guitar amp tutorial free around usually works well, then adjust logic pro x guitar amp tutorial free threshold to get between 5 and 10 dB of logic pro x guitar amp tutorial free reduction on the loudest peaks.
This doesn’t sound too obviously compressed but adds a bit of life to the guitar sound. Placing a compressor early on in the signal path will help smooth out the ‘spimky’ DI signal. As any amp or pedal designer with tell you, EQ is a powerful pre-treatment, as the overdrive section of an amp or pedal will react differently according to the EQ of the input.
I’m planning to use a Dual Mono amplifier for this example so I’ve put a Dual Mono Channel EQ after the compressor, dialling in a few dB of mid-range boost between 1 and 2.
If you make the centre frequency a little different on the two channels, that will also help create a bigger stereo image. Using mid—boost EQ in this way helps sharpen up the amp sound without making it ‘fizzy’. Some users suggest feeding two chains of amps and effects from buses, but to play without annoying latency, it is necessary to engage Logic’s Low Latency button, and this disables bus sends as well as guitsr that cause long delays when active. After recording, click off the Low Latency button and all your tardy plug-ins and buses tutoriaal back to life.
Using buses is no problem if you are treating a dry guitar track you’ve already recorded, but if you want to hear something like the final sound as you record, bus sends are probably not the way to go.
Which amplifiers you choose depends on the sound you’re out to achieve, but a useful tactic is to choose an loyic and speaker combination that delivers a bright attack for one channel with perhaps a warmer sound that has more body to it for the other. By mixing them using the amplifier output level controls, you should be able to get a solid sound that still has a well-defined attack.
One often—overlooked feature of Logic’s guitar amplifiers is that if you click EQ above the tone controls, you’ll see a menu offering alternative EQ types, and they all sound distinctly different. If the amp sound is too dull or too edgy, try a fre EQ. It’s well worth experimenting with different amp and cabinet models. The virtual microphone position can also make a big difference to your final tone.
Amps load up with default choices of loudspeaker cabinet but again you can mix and match to get closer to the sound you’re looking for. Speakers make a huge difference to the sound and, in very general terms, the smaller speakers tend to sound thinner and brighter whereas the larger ones have more low end and less ‘edge’ to the sound. There’s also a huge difference between the various 12—inch speaker types, with the mic type and position offering yet more variation.
As a rule, putting the mic close to the centre of the speaker cone gives the brightest sound whereas moving it away and to one side gives a warmer sound. The SM57 model has a bright, slightly nasal character pdo the ribbon mic model has the warmest sound. For logic pro x guitar amp tutorial free overdrive tones, adding just a small amount of dirt using a pedal at the input combined with a modest tuyorial of amplifier gain will usually get you close to where you need to be.
For a clean sound I’ll often pick something like a Fender or Vox amp model on one channel and ttuorial clean preamp on the other channel, with the speaker emulation bypassed on the clean preamp channel.
Mixing a clean DI’ed sound with an amp emulation sometimes gets you a sweeter clean sound than using an amp emulation on its own. If you don’t want the two sounds panned hard left and logic pro x guitar amp tutorial free, you can use another instance of Logic’s Direction Mixer plug-in, after the Amp Designer, to narrow the stereo field logic pro x guitar amp tutorial free even collapse it to mono.
Try using different delay settings for the left and right channels, to give you a wider guitar sound. For those big rock solos, delay often works better than reverb, and if you put a Dual Mono version of Logic’s Tape Delay after the amplifier, you can then use the Deviation control to the right of the delay knob to shift the delay time slightly away from the tempo-locked value.
I also tend to set the LFO modulation to be slightly different on the two sides too. This could go anywhere after the amp plug-in, though I generally put it directly after the amp.
Set logiic channel logic pro x guitar amp tutorial free percent wet, select the Timing mode as Pitch Tracking for one side and Manual for the other, then set the Manual channel’s Delay slider to around 15ms. Gultar spreads both the /14847.txt and timing of нажмите для продолжения two amplifiers very slightly, producing a decent double-tracked sound.
The Rotor Cabinet plug-in is great for adding a bit of warmth to your sound peo set to its ‘Brake’ mode. Another useful trick that you can use if the finished guitar sound still comes across as too hard or edgy is to insert Logic’s Rotary Speaker plug-in, but set the speed control tutoriak its Brake position so there’s no modulation.
This adds a lovely warm character to the sound. You can experiment further by changing the rotary speaker type in the box just above and to the left of the picture of the speaker. They all sounds very different, though I usually find that one of the the first three sounds best.
If you’re an old hippy like me, proo the speaker motor back on and enjoy the swirls. I’m sure there are lots of other strategies that can be employed to create usable guitar tones — after all, every guitarist has their own ideal sound in their head, which is what makes the electric guitar a truly unique instrument.
The ones described here work for me most of the time and when I come up with a chain of plug-ins that gives me loglc useful sound, I save it as a channel preset so I can call it up again when needed. If you were disillusioned by the presets, give these simple 4 hazel court ashwood free a try as I’m sure you’ll come up with something useful. Buy PDF version. Previous article Next article. New forum posts Re: Anyone ever used a Nail Bar?
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Logic pro x guitar amp tutorial free
This adds some very different variations to the tremolo effect: with a quick swell and a slow drop, the effect is percussive like a piano. Conversely, with a slow swell and a sudden drop, the result is reminiscent of a tape played backwards.
The Power Grid is a high gain, solid state distortion pedal capable of a myriad of tones thanks to a three-band active EQ section. It is perfect for all styles of rock. The pedal is designed to provide powerful overdrive and distortion suitable for all kinds of rhythm and lead playing thanks to five stages of discrete Class A circuitry. This raw horsepower is managed by a multi-element gain and volume control system that provides very fine control.
The tone is further refined with three bands of active EQ. Each band allows for up to 12dB of boost or cut at selectable frequencies for maximum control. The booster stomp box used by Slash. It boosts your signal up to 20 dB. It’s perfect for solos, punchy rhythm parts or to drive effects harder for more dynamics and sensitivity. The chorus stomp box used by Slash offering great control and flexibility. Used in one of the most famous song in the history of Rock: Paradise City.
Adds fuzz to your signal and then duplicates it two octaves down. This is one of the most evil and vicious pedals! The gate stomp box used by Slash. It gates out noise slowly when notes are being held and quickly when they are stopped short. Three filter cut-off points are available: Hiss, Mid, or Full Band.
The digital delay stomp box used by Slash. Based on one of the most famous modern digital delays. Use this effect to add space and repetitions to your parts. The wah pedal with integrated distortion used by Slash. One of the most classic wahs combined with powerful high gain distortion. Very useful on rock solos to add expression and bending. One of the most versatile yet modern sounding wah pedals.
Works with Bass guitar too! The EP Tape Echo is the gold standard of vintage tape-echo units. Hendrix liked experimenting with it to produce wild psychedelic effects in the studio, and he used it heavily during the recording of Electric Ladyland. A wah with a 4-, 6-, or 8-step analog-style sequencer in it, featuring LEDs that light up to show the steps. The speed control governs overall sequencer tempo, and the switch governs the number of steps. This pedal produces rhythmic-pattern wah sounds that are totally unique.
Seek Trem is a tremolo pedal combined with an adjustable 4-, 6-, or 8-step analog-style sequencer. Volume, Tone, and Drive controls let you dial in the perfect sound for your song. Take your overdriven tones to a new level with OCD. As the name implies the Wampler Nirvana chorus pedal is geared towards eerie and ethereal sounds.
On top of the “standard” chorus controls Depth, Rate, Level this pedal has a two selectors which allow to switch the chorus to vibrato the Vib. The Tone control fine tunes the color of the modulated part, a feature which is missed on the majority of pedals. Based on the eponymous pedal from the Wampler brand the Pinnacle Deluxe captures the original “Brown Sound” of the early plexi-style amplifiers pushed to the limits, a sound that was the trademark of many rock guitarists of the late ’70s and early ’80s, Eddie Van Halen to name just one It features a dual gain stage mode: it can act as a mild overdrive to push the following amp into distortion, or via the “Boost” switch it can generate a thick amount of distortion on its own.
The “Tone” knob covers the overall brightness of the distortion, while the “Contour” knob takes care of the critical midrange, allowing to scoop mids out or push them forward according tho the rhythm or lead duties it’s called to serve.
Read More. Big Pig. Diode Overdrive. Metal Distortion. Metal Distortion 2. The Ambass’dor. Envelope Filter. LFO Filter. Step Filter. Wah Class Fuzz. Fuzz Age. Fuzz Age 2. Right Fuzz. XS Fuzz. Analog Flanger. Electric Flanger. Metal Flanger. Opto Tremolo. Phaze Nine. Phazer Small Phazer. Pitch Shifter. Step Slicer. Analog Chorus. Analog Delay. The Gain, Bass, Mids, Treble, Presence, and Master knobs run from left to right in the V-shaped formation in the upper half of the interface.
Gain knob: Set the amount of pre-amplification applied to the input signal. Tip: Although these amps tend toward a clean and tight sound, you can use a Pedalboard distortion stompbox to attain hard-edged crunch sounds with sharp treble and extended low-end definition. See Pedalboard distortion pedals. At medium gain settings, these amps are suitable for thick chords and riffs.
Raising the gain yields lyrical solo tones and powerful rhythm guitar parts. Complex peaks and dips across the tonal spectrum keep the tones clear and appealing, even when heavy distortion is used. Captures the sound of a late s watt amp famed for its powerful, smooth distortion. Notes retain clarity, even at maximum gain. After four decades this remains a definitive rock tone. Unique tones can be coaxed from a British head by running it at lower voltages than its designers intended.
These heads can also sound good through small cabinets, or at clean, low-gain settings. The British Combos capture the brash, treble-rich sound associated with s British rock and pop. The sonic signature of these amps is characterized by their high-end response, yet they are rarely harsh-sounding due to a mellow distortion and smooth compression.
The tone is thicker, with stronger lows and milder highs than the other British Combos. Tip: You can often use higher Treble and Presence knob settings with the British Combos than with other amp types. And don’t be tempted to push your record levels too high — peaking at around dBFS is more than loud enough.
If you call up a Dual Mono plug-in you’ll see L and R tabs that let you view and adjust the left and right channels independently. This opens up some interesting creative possibilities, particularly when it comes to guitar processing. To make use of these Dual Mono plug-ins, we need a stereo channel — even though the guitar input or pre-recorded dry track is probably mono.
My approach is to set the track to stereo input, then instantiate a Direction Mixer plug-in from the Imaging plug-in menu and adjust its Spread fader to give zero stereo width — which puts your mono input equally into the two channels. A Dual Mono instance of the Pitch Correction plug-in will let you achieve a natural-sounding double-tracked effect. If you want a safety net to ensure your bent notes end up in exactly the right place, then put an instance of Logic’s Pitch Correction after it set to Chromatic and with a slow correction speed — about half way up on the correction speed fader.
This allows your bends and wobbles to pass through intact but any long sustained notes will land on an accurate pitch. This might sound like a bit of a cheat, and it won’t work quite so well if you like to use those slightly off-key blues bends, but it can also be used creatively by setting different correction speeds for the two sides of a Dual Mono instance, to introduce small changes in pitching when notes are being bent.
This helps cement the fake stereo double—tracking illusion that I’ll cover later on. A little compression before any amp modelling can help make the sound feel more springy. If you haven’t got a compressor pedal you can always just use a plug-in — I like to use the Logic X Opto or Vintage FET compressor models set to an attack time of 10 to 20 ms and a release time of maybe 50ms. Depending on your bass guitar, you may actually want to boost here so use your best judgment.
Just find a pleasant band of frequencies that gives your bass guitar a bit more edge and boost keep the Q relatively narrow. Basically, we want to leave the 2nd band unaffected. Bass guitar has LOTS of overtones and that could seriously clutter up your mix if you leave it untouched. Your email address will not be published.