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TSE PLUGINS (official website)

     
Only the stomp pedals are available for Mac. The amp sims are only available for PC.

The main developer and founder of TSE Audio is OnQel (John A. Johansen). Recently arrived in the amp sim and stomp box simulation developmment business, he's amazingly skillful.

He makes excellent products that I highly recommend! I wouldn't be surprised if he would start his own commercial company some time from now to sell his products, like many others who started off with great free software. But so far, eveerything is free and high-quality, so let's take advantage of it!

Of course, you can donate on his site if you like and use his products on a regular basis. This will encourage him to go on. A Rock/metal suite is being prepared for some time early 2014, but the exact date has not been communicated yet.

March 2014 news...
OnQel released version 2.0 of the X50 amp simulator, but it's now a commercial product (50 euros) presented here.

On this page

Guitar amplifiers: X30 - X50

Overdrive stomp pedals for guitar: 808 - R47

Overdrive stomp pedal for bass: B.O.D.

Downloads

X50 v1.0.2
for Windows VST, 32 and 64-bit versions
(TSE_X50_1.0.2_VST_WIN.zip, 3.21 MB)

X50 beta 3
for Windows VST, Beta 3 version
(TSE_X50_beta3.zip, 1.42 MB)

X30 v1.6
for Windows VST, 32-bit version
(tse_x30.zip, 992 KB)

808 v2.0.1
for Windows VST, 32-bit version
(TSE808_win32.zip, 1.16 MB)

808 v2.0.1
for Windows VST, 64-bit version
(TSE808_win64.zip, 1.19 MB)

808 v2.0.1
for Mac OSX VST/AU, 32 and 64-bit version
(TSE808_OSX.zip, 2.88 MB)


R47 v1.0.1
for Windows VST, 32-bit version
(TSE_R47_v1.1_WIN32.msi, 1.21 MB)

R47 v1.0.1
for Windows VST, 64-bit version
(TSE_R47_v1.1_WIN64.msi, 1.23 MB)

R47 v1.0.1
for Mac OSX VST/AU, 64-bit version
(TSE_R47_v1.1_OSX.zip, 2.02 MB)


B.O.D. v2.0
for Windows VST, 32-bit version
(TSE_BOD_VST_win32.zip, 785 KB)

B.O.D. v2.0
for Windows VST, 64-bit version
(TSE_BOD_VST_win64.zip, 805 KB)

B.O.D. v2.0
for Mac OSX VST/AU, 64-bit version
(TSE_BOD_2.0_OSX.zip, 2.02 MB)

These amplifier simulators are provided as "DLL" files.
They must be used within a host software, like a D.A.W., and are therefore not usable alone..
Click here to know how to use them.

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X50

The final version of this amplifier is now available, but I leave a link to download the Beta version, because I noticed a problem I don't know how to bypass: in sonar, I can open this plugin, but as soon as I want to close it after adjusting my settings, Sonar will crash. I contacted his designer, OnQel, to tell him about the issue, and I hope he will fix it. But this problems seems to happen only in Sonar, so you can try the plugin, it should work fine with other DAWs...

Please note that this problem only happens with X50's 64-bit version. The 32-bit version works perfectly fine in Sonar (in both 32 and 64-bits versions of Sonar).

The X50 is based on the Peavey 5150 amplifier. There are two versions of the red channel, in order to reproduce the two existing versions of the original amplifier. You can select the mode from the second screen of the X50. A manual is included is in the zip file.

TSE X50
TSE X50
TSE X50
TSE X50

X50 DEMOS

CHIC - METALLICA - PINK FLOYD - SIMON's METAL - THE WHITE STRIPES

"Le Freak" by Chic

- Download preset for X50 v1.02 -
- Chic: settings -


Guitar: SR Les Paul (mp3 file)


Guitar: Fender Stratocaster (mp3 file)


Guitar: Fender Telecaster (mp3 file)


"Enter sandman" by Metallica

- Download preset for X50 v1.02 -
- Metallica : settings -


Guitar: SR Les Paul (mp3 file)


Guitar: Fender Stratocaster (mp3 file)


Guitar: Fender Telecaster (mp3 file)


"Time" by Pink Floyd

- Download preset for X50 v1.02 -
- Pink Floyd: settings -


Guitar: SR Les Paul (mp3 file)


Guitar: Fender Stratocaster (mp3 file)


Guitar: Fender Telecaster (mp3 file)


"Simon's Metal" by Simon Chenu

- Download preset for X50 v1.02 -
- Simon's Metal: settings -


Guitar: SR Les Paul (mp3 file)


Guitar: Fender Stratocaster (mp3 file)


Guitar: Fender Telecaster (mp3 file)


"Seven Nation Army" by The White Stripes

- Download preset for X50 v1.02 -
- The White Stripes: settings -


Guitar: SR Les Paul (mp3 file)


Guitar: Fender Stratocaster (mp3 file)


Guitar: Fender Telecaster (mp3 file)


Download TSE X50 (32 and 64-bit, versions, 3.21 MB)

TSE X50
TSE X50
In the Beta 3 version, it s advised to set the "bias" parameter according to the type of tube you wish to emulate.
With a 6L6GC tube, set the bias to -51. With an EL34: about -39. With a 6550: about -58. With a KT88: about -50.
Of course, you are free to try other values to get the sound you want.

"Simon's Metal" by Simon Chenu

- Download preset for X50 Beta3 -
- Simon's Metal: settings -


Guitar: SR Les Paul (mp3 file)


Guitar: Fender Stratocaster (mp3 file)


Guitar: Fender Telecaster (mp3 file)


"Time" by Pink Floyd

- Download preset for X50 Beta3 -
- Pink Floyd: settings -


Guitar: SR Les Paul (mp3 file)


Guitar: Fender Stratocaster (mp3 file)


Guitar: Fender Telecaster (mp3 file)


Download la version Beta 3 de TSE X50 (1.42 MB)

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X30

This simulator is based on the ENGL ES30 amplifier.

Note that 2 versions of the X30 are provided (Sovtek and Sylvania). They simulate different types of tubes, but the developer himself said the difference is slim. Also note that the demos below were made with the Sovtek version, as are the presets you can download.

TSE X30
TSE X30

X30 DEMOS

CHIC - METALLICA - NIRVANA - PINK FLOYD - SIMON's METAL - THE WHITE STRIPES

"Le Freak" by Chic

- Download preset for TSE X30 v1.6 -
- Chic: settings -


Guitar: SR Les Paul (mp3 file)


Guitar: Fender Stratocaster (mp3 file)


Guitar: Fender Telecaster (mp3 file)


"Enter sandman" by Metallica

- Download preset for X30 v1.6 -
- Metallica : settings -


Guitar: SR Les Paul (mp3 file)


Guitar: Fender Stratocaster (mp3 file)


Guitar: Fender Telecaster (mp3 file)


"Smells like teen spirit" by Nirvana

- Download crunch preset and drive preset for X30 v1.6 -
- Nirvana: settings -


Guitar: SR Les Paul (mp3 file)


Guitar: Fender Stratocaster (mp3 file)


Guitar: Fender Telecaster (mp3 file)


"Time" by Pink Floyd

- Download preset for X30 v1.6 -
- Pink Floyd: settings -


Guitar: SR Les Paul (mp3 file)


Guitar: Fender Stratocaster (mp3 file)


Guitar: Fender Telecaster (mp3 file)


"Simon's Metal" by Simon Chenu

- Download preset for X30 v1.6 -
- Simon's Metal: settings -


Guitar: SR Les Paul (mp3 file)


Guitar: Fender Stratocaster (mp3 file)


Guitar: Fender Telecaster (mp3 file)


"Seven Nation Army" by The White Stripes

- Download preset for X30 v1.6 -
- The White Stripes : settings -


Guitar: SR Les Paul (mp3 file)


Guitar: Fender Stratocaster (mp3 file)


Guitar: Fender Telecaster (mp3 file)


Download TSE X30 (tse_x30.zip, 992 KB)

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B.O.D.

An overdrive stomp pedal for bass.

TSE B.O.D.


B.O.D. - Direct bass sound, without an amp sim
mp3 file


B.O.D. - All knobs in central position
mp3 file


B.O.D. - Clean sound with accentuated basses and "Deep" button activated
mp3 file


B.O.D. - Clean sound with accentuated trebles and "Bright" button activated
mp3 file


B.O.D. - Sound with both gain and input volume to the maximum
mp3 file

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R47

A distortion pedal for guitar, inspired by "The Rat", a late 70s pedal from Pro Co.

TSE R47


Chords, no pedal - mp3 file


R47 - Chords, Vintage cabs - mp3 file


R47 - Chords, Modern cabs - mp3 file


Solo, no pedal - mp3 file


R47 - Solo, Vintage cabs - mp3 file


R47 - Solo, Modern cabs - mp3 file

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808 Overdrive

An overdrive stomp pedal for guitar, based on the Tube Screamer.

TSE 808


Chords, no pedal - mp3 file


808 - Chords, Vintage cabs - mp3 file


808 - Chords, Modern cabs - mp3 file


Solo, no pedal - mp3 file


808 - Solo, Vintage cabs - mp3 file


808 - Solo, Modern cabs - mp3 file

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DEMOS SETTINGS

Miscellaneous

Indications - Microphone positioning

Guitar amplifier simulations

ACDC, Chic, Depeche Mode, Led Zeppelin, Metallica, Niagara, Nirvana, Oasis, Pink Floyd, Simon's Blues, Simon's Metal, The Animals, The Doobie Brothers, The White Stripes

Indications

All guitar parts were played by Simon Chenu (guitar player, pianist, drummer, singer, guitar teacher) with three different guitars:
- Les Paul-shaped guitar, the brand is SR Guitars, equipped with 3 pickups: a modern Humbucker neck pickup, a vintage P90-like middle pickup, a vintage Humbucker bridge pickup.
- Fender Stratocaster American Deluxe with stock pickups.
- Fender Telecaster American Deluxe with 2 Humbucker custom pickups : The neck pickup is a Lollar Regal, the bridge pickup is a Fender Wide Range. Simon used the Lollar for demos with distorsion, and the Fender for clear demos.

For each simulator tested:
- Each demo was recorded with all of the three guitars described above,
- Each demo includes two guitar tracks, recorded separately (no copy and paste), and panned right and left in the stereo field.
- With each demo, two different impulse responses (different microphones) were used with each guitar.
- No distorsion pedal was used, in order to show whether or not the simulations can produce the distorsion needed in some musical genres.

The settings of each demo are identical for all three guitars. Some demos will sound better with one guitar than it will on the other two. For instance, in Nirvana's demos, the sound of the Mercuriall demos recorded with a Telecaster is closer to the original sound than what I got with a Les Paul or a Stratocaster, because I made the settings for Telecaster first.

Ideally, each amp sim tested should use different impulses, in order to find the microphone and the positionning that fits the amp best, as you would do when recording real amps with real microphones. Unfortunately, this would take me a considerable amount of time to do, and I cannot afford to do that.

All the impulses I used for these demos are from Redwirez. No EQ was applied, I just added a slight compression on some demos, and a bit of reverb so that it doesn't sound too dry.

These tests help to demonstrate how important the choice of an impulse is. From my experience, I would estimate that the sound you get is: 30% from the guitar you use, 30% from the amplifier head, and 40% from the impulse. Of course, these values will vary according to the pickup settings on your guitar, the settings of the amplifier, and the use of either a clean or a highly distorted sound will greatly influence the relative importance of these elements.

Microphone positioning

Microphone positioning    Microphone positioning
(pictures: copyright Redwirez)

The closest the microphone from the center of the speaker, the less proximity effect you get, and so you get less lows.
The closest the microphone from the cab, the more precision you get. By moving the microphone farther, the sound becomes less "harsh".

"Back in black" by ACDC

A good old-school Hard Rock sound from the early 80s for this famous riff by ACDC.

Guitar on the left:
1 impulse of baffle Marshall 1960A (loudspeaker: G12M) through a microphone Neumann U67 in Cap Edge position, at a distance of 2 inches (5 cm). Stereo panning: 100% left.
1 impulse of baffle Marshall 1960A (loudspeaker: G12M) through a microphone Neumann U87 in Cap Edge position, at a distance of 4 inches (10 cm). Stereo panning: 100% left.

Guitar on the right:
1 impulse of baffle Marshall 1960B (loudspeaker: V30) through a microphone Shure SM57 in Cap Edge position, at a distance of 1 inch (2.5 cm). Stereo panning: 100% right.
1 impulse of baffle Marshall 1960B (loudspeaker: V30) through a microphone Royer R-121 in Cap position, at a distance of 3 inches (7.6 cm). Stereo panning: 100% right.

Impulses from Redwirez.

"Le Freak" by Chic

From what I've read, Nile Rogers, Chic's guitar player, doesn't use an amplifier. He plugs his guitar (a stratocaster nicknamed "The Hit Maker") directly into the studio's console preamp. As the objective here is to test amp simulations, I obviously won't do the same. In order to get this clear high sound, I used the following cab impulses:

Guitar on the left:
1 impulse of Fender Dual Showman cab (loudspeaker: JBL D130) through a microphone AKG C414B-ULS in Cap Edge position, at a distance of 4 inches (10 cm). Stereo panning: 100% left.
1 impulse of Fender Dual Showman cab (loudspeaker: JBL D130) through a microphone Neumann U47 in Cap position, at a distance of 2 inches (5 cm). Stereo panning: 50% left.

Guitar on the right:
1 impulse of Marshall '68 Basketweave cab (loudspeaker: Celestion G12H30) through a microphone AKG C414B-ULS in Cap position, at a distance of 4 inches (10 cm). Stereo panning: 100% right.
1 impulse of Marshall '68 Basketweave cab (loudspeaker: Celestion G12H30) through a microphone Neumann U47 in Cap Edge position, at a distance of 4 inches (10 cm). Stereo panning: 50% right.

Impulses from Redwirez.

"Personal Jesus" by Depeche Mode

This riff was originally played on a Gretsch guitar, through a Rivera Venus 5 amp head and a Rivera 2x12 cab equipped with Celestion G12T-75 loudspeakers. I don't know how the original studio recording was made, but live, the sound is transmitted by a Shure SM57 microphone, and a Shure KSM32 microphone, both placed against the cab cloth. I don't have any KSM32 impulse, but from the actual microphone response diagram, it seems that the closest response curve is that of the Earthworks TC30 microphone, for which I have impulses from Redwirez. Also, I don't have an impulse from the Rivera cab originally used by Depeche Mode, but I do have Marshall and Bogner cabs impulses, both equipped with G12T-75 loudspeakers. I used the following cab impulses:

Guitar on the left:
1 impulse of Bogner Uberkab cab (loudspeaker: Celestion G12T-75) through a microphone Shure SM57 in Cap position against the cloth. Stereo panning: 100% left.
1 impulse of Bogner Uberkab cab (loudspeaker: Celestion G12T-75) through a microphone Earthworks TC30 in Cap position against the cloth. Stereo panning: 100% left.

Guitar on the right:
1 impulse of Marshall 1960B cab (loudspeaker: Celestion G12T-75) through a microphone Shure SM57 in Cap position against the cloth. Stereo panning: 100% right.
1 impulse of Marshall 1960B cab (loudspeaker: Celestion G12T-75) through a microphone Earthworks TC30 in Cap position against the cloth. Stereo panning: 100% right.

Impulses from Redwirez.

"Stairway to Heaven" solo by Led Zeppelin

Undoubtedly one of the most famous solos ever, a true standard that I couldn't ignore here. It was played by Jimmy Page with a Fender Telecaster and a Supro amplifier, from what I could find.

Guitar on the left:
1 impulse of Supro Thunderbolt cab (loudspeaker: Jensen 15") through a microphone Sennheiser MD409 in Cone position, at a distance of 2 inches (5 cm). Stereo panning: 10% left.

Guitar on the right:
1 impulse of Supro Thunderbolt cab (loudspeaker: Jensen 15") through a microphone Neumann U87 in Cone position against the cloth. Stereo panning: 10% right.

Impulses from Redwirez.

"Enter sandman" by Metallica

Another Metal sample from a well-known song by Metallica. Here, I leave the lows in their central position, I lower the mids quite a bit and raise the highs. The saturation is also pretty heavy, depending on the amp sim tested.

Guitar on the left:
1 impulse of Mesa Rectifier cab (loudspeaker: V30) through a microphone Sennheiser MD421N in Cap position, at a distance of 2 inches (5 cm). Stereo panning: 100% left.
1 impulse of Mesa Rectifier cab (loudspeaker: V30) through a microphone Beyerdynamic M160 in Cap position, at a distance of 1 inch (2.5 cm). Stereo panning: 50% left.

Guitar on the right:
1 impulse of Roland Jazz Chorus 120 cab (loudspeaker: Roland 12) through a microphone Royer R-121 in Cap Edge position, at a distance of 4 inches (10 cm). Stereo panning: 100% right.
1 impulse of Roland Jazz Chorus 120 cab (loudspeaker: Roland 12) through a microphone Shure SM57 in Cap position against the cloth. Stereo panning: 50% right.

Impulses from Redwirez.

"J'ai vu" by Niagara

Great riff in E minor for this Blues Rock song by Daniel Chenevez, guitar player from the 1984-1993 French band Niagara. The original song is played on Marshall amps with a LesPaul guitar, paired with a Stratocaster, but I don't know what amps, stomp boxes or settings were used. To try to get close to the original sound, I used the following cab impulses:

Guitar on the left:
1 impulse of Marshall 1960A cab (loudspeaker: G12M) through a microphone Shure SM57 in Cap position against the cloth. Stereo panning: 100% left.
1 impulse of Marshall 1960A cab (loudspeaker: G12M) through a microphone Beyerdynamic M160 in Cap Edge position, at a distance of 0.5 inches (1.3 cm). Stereo panning: 100% left.

Guitar on the right:
1 impulse of Marshall 1960B cab (loudspeaker: JBL K120) through a microphone Shure SM7 in Cap position, at a distance of 2 inches (5 cm). Stereo panning: 100% right.
1 impulse of Marshall 1960B cab (loudspeaker: JBL K120) through a microphone Neumann M8 in Cap position, at a distance of 6 inches (15 cm). Stereo panning: 100% right.

Impulses from Redwirez.

"Smells like teen spirit" by Nirvana

This famous song starts with a crunch guitar that turns into a heavy saturated sound. The original piece was played by Kurt Cobain on a Fender Mustang left-handed guitar. The information about the amp and cab used for the recording are contradictory but apparently, he often used Marshall 1960A cabs. These are the impulses that I used:

Left guitar:
1 impulse of Marshall 1960A cab (loudspeaker: G12M) through a microphone Shure SM57 in Cap position against the cloth. Stereo panning: 30% left.
1 impulse of Marshall 1960A cab (loudspeaker: G12M) through a microphone Beyerdynamic M160 in Cap Edge Off Axis position, at a distance of 1 inch (2.5 cm). Stereo panning: 90% left.

Right guitar:
1 impulse of Marshall 1960A cab (loudspeaker: G12M) through a microphone Royer R121 in Cap Edge position, at a distance of 2 inches (5 cm). Stereo panning: 30% right.
1 impulse of Marshall 1960A cab (loudspeaker: G12M) through a microphone AKG C414 in Cap position, at a distance of 2 inches (5 cm). Stereo panning: 90% right.

Impulses from Redwirez.

"Wonderwall" by Oasis

One of the most famous songs from Oasis, and probably one of the most covered songs around campfires. The original version is played with an acoustic guitar, so having it played here with an electric guitar might sound a bit strange, but this shows the ability of amp sims to offer a clean, and if possible a warm sound.

Left guitar:
1 impulse of Marshall 1960B cab (loudspeaker: V30) through a microphone Shure SM57 in Cap position, at a distance of 4 inches (10 cm). Stereo panning: 100% left.
1 impulse of Marshall 1960B cab (loudspeaker: V30) through a microphone AKG C414B-ULS in Cap position, at a distance of 6 inches (15 cm). Stereo panning: 100% left.

Right guitar:
1 impulse of Vox AC30 cab (loudspeaker: Silvers) through a microphone Electrovoice RE20 in Cap position, at a distance of 4 inches (10 cm). Stereo panning: 100% right.
1 impulse of Vox AC30 cab (loudspeaker: Silvers) through a microphone Neumann U47 in Cap position, at a distance of 2 inches (5 cm). Stereo panning: 100% right.

Impulses from Redwirez.

"Time" solo by Pink Floyd

The purpose here is to reproduce David Gilmour's great solo and see what simulators are capable of when you have to put your guitar sound up front. The original song uses the distorsion from a fuzz pedal (FuzzFace) but in these demos, I don't use any pedal. I used the following cab impulses:

1 impulse of Hiwatt SE4123 cab (loudspeaker: Fane) through a microphone AKG C414B-ULS in Cap position, at a distance of 0.5 inches (1.3 cm). Stereo panning: dead center.
1 impulse of Hiwatt SE4123 cab (loudspeaker: Fane) through a microphone Royer R-121 in Cap position, at a distance of 0.5 inches (1.3 cm). Stereo panning: dead center.

Impulses from Redwirez.

Simon's Blues

Simon Chenu created this short Blues demo especially for the Grebz website. The demo helps judging the ability of amp sims to generate a good old Blues sound. Please note that I added a spring reverb simulator (SpringAge from Overloud) to stick to the ambiance.

Guitar on the left:
1 impulse of Fender Deluxe Reverb cab (loudspeaker: Oxford 12K5-6) through a microphone Neumann U87 in Cap Edge position against the cloth. Stereo panning: 40% left.
1 impulse of Fender Deluxe Reverb cab (loudspeaker: Oxford 12K5-6) through a microphone Shure SM57 in Cap Edge Off Axis position against the cloth. Stereo panning: 20% left.

Guitar on the right:
1 impulse of Vox AC30 Blues cab (loudspeaker: Blues) through a microphone M8 in position Cap Edge position, at a distance of 0.5 inches (1.3 cm). Stereo panning: 40% right.
1 impulse of Vox AC30 Blues cab (loudspeaker: Blues) through a microphone Audix i5 in position Cap Edge Off Axis, at a distance of 2 inches (5 cm). Stereo panning: 20% right.

Impulses from Redwirez.

Simon's Metal

Simon Chenu created this short Metal demo especially for the Grebz website. The demo helps judging the ability of amp sims to generate a Modern Rock sound.

Guitar on the left:
1 impulse of Engl Pro 4x12 cab (loudspeaker: V30) through a microphone Shure SM57 in Cap position, at a distance of 1 inch (2.5 cm). Stereo panning: 100% left.
1 impulse of Engl Pro 4x12 cab (loudspeaker: V30) through a microphone AKG C414B-ULS in Cap position, at a distance of 1 inch (2.5 cm). Stereo panning: 50% left.

Guitar on the right:
1 impulse of Marshall 1960B cab (loudspeaker: V30) through a microphone Shure SM57 in Cap Edge Off Axis position, at a distance of 1 inch (2,5 cm). Stereo panning: 100% right.
1 impulse of Marshall 1960B cab (loudspeaker: V30) through a microphone Sennheiser MD421N in Cap Edge position, at a distance of 3 inches (7,5 cm). Stereo panning: 50% right.

Impulses from Redwirez.

"House of the rising sun" by The Animals

This very famous arpeggio was recorded in 1964 by Hilton Valentine, guitarist of The Animals, with a Grtesch Tenessean guitar and a 30-watt Selmer Twin Selectortone amplifier. I don't have any impulses from this amp, so I picked other cabinets that are good for clean sounds: the Fender Deluxe Reverb and the Vox AC30, which became the amplifier of choice for The Animals after the Selmer.

Guitar on the left:
1 impulse of Fender Deluxe Reverb cab (loudspeaker: Oxford 12K56) through a microphone Shure SM57 in Cap position against the cloth. Stereo panning: 100% left.
1 impulse of Fender Deluxe Reverb cab (loudspeaker: Oxford 12K56) through a microphone Neumann U47 in Cap position against the cloth. Stereo panning: 100% left.

Guitar on the right:
1 impulse of Vox AC30 Blues cab (loudspeaker: Blues) through a microphone Neumann U87 in Cap position against the cloth. Stereo panning: 100% right.
1 impulse of Vox AC30 Blues cab (loudspeaker: Blues) through a microphone Shure SM57 in Cap position against the cloth. Stereo panning: 100% right.

Impulses from Redwirez.

"Long Train Running" by The Doobie Brothers

This demo allows to see how well amp sims can produce crystal-clear sounds.

Guitar on the left:
1 impulse of Fender Deluxe Reverb cab (loudspeaker: Oxford 12K56) through a microphone Shure SM57 in Cap position against the cloth. Stereo panning: 100% left.
1 impulse of Fender Deluxe Reverb cab (loudspeaker: Oxford 12K56) through a microphone AKG C414B-ULS in Cap position against the cloth. Stereo panning: 50% left.

Guitar on the right:
1 impulse of Mesa Rectifier cab (loudspeaker: V30) through a microphone Shure SM57 in Cap position against the cloth. Stereo panning: 100% right.
1 impulse of Mesa Rectifier cab (loudspeaker: V30) through a microphone AKG C414B-ULS in Cap position, at a distance of 4 inches (10 cm). Stereo panning: 50% right.

Impulses from Redwirez.

"Seven Nation Army" by The White Stripes

The purpose here is to get a vintage, raw sound. The impulses I chose are made after cabs equipped with Jensen loudspeakers, that Jack White seems to be very fond of. The original guitar sound is difficult to reproduce with amp sims alone, as Jack White used a Digitech Whammy stomp box, set down an octave, whereas I only use the amp in the demos.

Guitar on the left:
1 impulse of Fender Twin cab (loudspeaker: Jensen C12N) through a microphone Beyerdynamic M160 in Cap Edge position against the cloth. Stereo panning: 75% left.
1 impulse of Fender Twin cab (loudspeaker: Jensen C12N) through a microphone Neumann KM84 in Cap Edge position against the cloth. Stereo panning: 25% left.

Guitar on the right:
1 impulse of Fender Tweed Bassman cab (loudspeaker: Jensen P10Q) through a microphone Sennheiser MD441 in Cap Edge Off Axis position, at a distance of 2 inches (5 cm). Stereo panning: 75% right.
1 impulse of Fender Tweed Bassman cab (loudspeaker: Jensen P10Q) through a microphone Earthworks TC30 in Cone position against the cloth. Stereo panning: 25% right.

Impulses from Redwirez.
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MESSAGES

(Leave a message)

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Siko
04/11/2018, 10h39

Bravo Xavier, juste un petit mot de soutien, je suis impressionné par ton site et tes compos, très motivant pour un "jeune" débutant comme moi, je ne manquerais pas de revenir pour en écouter plus et profiter de ton expérience.
Bonne continuation et merci.

* * * * * * * * * * * * * * * *

Merci à toi, ça fait plaisir !
Grebz



Nicklaus
03/03/2018, 14h10

Salut,

Je viens de prendre connaissance de ton site, c'est pas mal du tout, je voulais me mettre aux IR depuis un bout de temps, et là j'aurais quelques questions.

J'ai énormément de matériel de musique et j'aimerais tout centraliser dans un Helix.
Pour ça il faudrait que je puisse séparer chaque élément de mon rack et de mes pédales de manière indépendante, est-ce possible?
J'imagine que oui, il suffit simplement d'avoir une différence entre l'entrée et la sortie des appareils, comme les tutos que tu proposes.

Par contre j'aimerais pouvoir faire une IR de mon ampli de puissance et là je bloque un peu.
En effet, si je veux sortir le son de mon ampli de puissance il faut obligatoirement que je passe par un baffle et là ça va colorer mon son. Existe-t-il un moyen de récupérer juste un fichier IR de mon ampli de puissance un Mesa Boogie fifty-fifty.
Et pouvoir aussi récupérer un IR de mon baffle seul.

En fait ce que vous je voudrais faire dans le Helix c'est pouvoir charger plusieurs IR de chaque élément de mon rack, un pour le preamp, un pour l'ampli de puissance, un pour le baffle...

Si tu as des idées pour faire quelque chose, je serais ravi d'avoir tes conseils, merci d'avance



Mouss Kerr
01/31/2018, 19h08

Bonjour,
Félicitations pour ton site. J'essaie de télécharger les simulateurs d'amplis gratuits sans succès. Je m'y prends certainement mal car je débute. Mon matériel : PC I5 64 bits. DAW Reason 9.5. J'ai créé un dossier VST ajouté dans préférences ... Avancé. J'y ai transféré le fichier DLL mais impossible de l'ouvrir sous Reason. Merci par avance



uni
01/13/2018, 19h29

Solid work across the board. Found myself here because of your amp heads and then never left!


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Glad you find the place nice and cosy. You're welcome here!
Grebz



Ym_trainz
11/11/2017, 00h35

Merci pour ce tuto !
Le seul bémol que j'apporterais, c'est la dynamique finale : ne pas céder au chantage mais rester à -14 / -12dB RMS si on exporte sur CD. En revanche, -12 / -11 dB pour un mp3 192kbps paraît acceptable.
Ym_trainz

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Oui, dans la mesure du possible, je confirme que c'est bien de rester à des niveaux inférieurs à -12dB. Il faut tendre vers ça le plus possible. Mais en arrivant à -10dB dans mon exemple, je fais malgré tout déjà mieux que la plupart des albums actuels.
Quant à l'export CD, il est quand même de plus en plus rare. La plupart des gens écoutent désormais leur musique depuis leur téléphone portable, et bien souvent en mp3. Et honnêtement, la différence entre un fichier wav et un fichier mp3 à 320 kbps est indiscernable pour 99 % des gens. Même à 192 kbps, rares sont ceux qui sont capables d'entendre la différence, surtout quand c'est écouté au travers d'écouteurs ou d'enceintes bas de gamme ou moyenne gamme.
Grebz

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