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March 27, 2015
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I realize that some folks may be using Amplitude live. However the parirmy purpose (and therefore the best value) is using Amplitude in the studio. When I track electric guitars for recording projects, although I will go through the exercise of mic-ing guitar players’ amps, I also always ensure that I have a direct box inserted between the guitar and the start of the player’s signal chain (i.e. a dry signal’). 95% of the time, I find that the mic’ed track of the amp setup isn’t usable, primarily because many of the guitar players with whom I’ve been working on different projects don’t really know’ how to dial in their amp sounds. They spend too much time listening to their amps blowing past their knees, which isn’t what a microphone is hearing’ (BTW, assuming you’re playing through a FOH system that’s optimized to the performance venue, the mark that a guitar player has his guitar sounds dialed in’ is when the FOH engineer doesn’t have to use large amounts of EQ to make your mic’ed amp sound correctly in the mix). Furthermore, there’s the age-old problem of what might sound good to your ears playing live in 3D doesn’t sit correctly in a stereo mix, particularly as you start adding and using other ancillary instrument tracks that you don’t ordinarily have when you’re playing live. This is where Amplitude shines. Since I’ve got the original performance track’ of the dry guitar signal, by using Amplitude, I can reshape that performance track to best fit the song’s production approach. 99% of the time I use Amplitude in the studio, I’ll hear comments like, Wow How can I get that same sound live? (if it’s the guitar player) or What pedals, etc. did you use to get that sound? (if it’s someone listening to the project that wasn’t involved in it’s production).So While for live’ stuff, I’m right there with Karl, et. al., on tubes and analog signal chains, I sure do love the digital tools available for creating tone magic in the studio LOL!
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