PlanetZ forums - scopeusers.com

Hello again.

Another quick question:

Is anyone out there using the Dynatube Amp Sim bundle?

I'm intrigued by this piece of software not only because of the 0 latency factor, but also because of what I've seen & heard here: http://dynatube.creamware.com/

We have a fairly decent selection of real amps available here in the studio already, such as an old Ampeg V4 Head (circa 1972) along with a 1962 Fender Vibralux, but these Sims really seem to do a nice job at emulating some other Classics as well.

Just curious as to the actual "real world application" of these Plugs based upon others experiences with them.


Again, all comments, and suggestions welcome.

Thanks.

J.R. Shaw
Redfish Audio

best amp sim i've used......

same here, have a pod xt pro, and the dynatube sounds much better...

They don't necessarily sound great out of the box - as with a real amp - you will actually have to build a recording-chain to really get the most out of them.

They respond very well to your playing, and the cab/mic-sim sounds very natural. Though for variation you could always run the sims without cab/mic out to the real world.

In connection with the scope environment they are incredibly great! So versatil, so perfect in sound. Only thing I missed comparing to the real thing is some crispy crispy high peaks which somehow make the speaker-membran more present (I can't describe it in english, sorry) but they are nearly perfect and I never thought this would be possible with computergear., I also own POD and don't use it anymore - just for practising.

I would for sure buy a dynatube ASB/klangbox with some SCOPE effects in !!!!

Martin

voidar, which is the recording chain you set up?
for me, i added vinco, a low cut (actually the 8 pole highpass filter from flexor), dynatube and then an eq.
in the past i have also tried TEqDrive, but now i don't use it anymore for heavy distortions...

I just messed around with a project for some hours.

At first I always run my guitar through an MXR 10-band into my GT "The Brick" mic/instr.-pre, boosting 12dB at 500Hz, and some 6dB at 250Hz and 1KHz. This just makes my guitar cut more and virtually eliminates all the muddy low-end in Dynatube. This is a trick I use with real amps too, and Dynatube responds perfectly to it.

As for the project, it was setup something like this:

Dynatube -> STW Ambience ("guitar room"-patch) -> Vinco M or S -> ISON EQ M or S -> STW Plate.

I got some really great and lively tones that way. I think I ran about 20-25% on the Ambience and 10% on the Plate.

I used primarily the Mesa and the Marshall (not at the same time), and I also loaded an Overdrive in the Marshall's pre-insert slot just to get some more drive.
I also found an Expander in a post-instert slot would work great for eliminating amp-noise during stops. Works better than a gate for sure.

As for the settings on Vinco and ISON. You basically have to apply your knowledge on recording guitars.
I guess I used a low-shelf, cutting below 75Hz and giving a boost in that area. Also I used a high-shelf to boost 6.4KHz. And some boost at 1.2KHz-1.4KHz area. I also applied high-pass at 20Hz and low-pass at above 16KHz.

I was focusing mainly on high-gain metal tones and there's really no limit to what you can achieve, from crunch to grind, modern or old-school.

The project took about 75% of my 12DSP's though, so it would only be practical during recording, and I would probably just record dry first and re-amp later.

A tip: for tight high-gain it is adviced to keep master on both models no higher than 9:00 o'clock. The Marshall can take some break-up, but the Mesa will just fall appart - it's on tube-rectifier setting after all.

I would for sure buy a dynatube ASB/klangbox with some SCOPE effects in !!!!

B.t.w. I think such a box would be pretty cheap compared to other competitors when being able to setup 2 or three dynatubes simultaniously arranging them in the stereo-panorama!!! Get some effects in there too: Gate/Expander, EQ, Vinco!!!, psyQ!!!, chorus,... hm. endless possibilities which should not be too much compared to a 12voice polyphonic MINIMAX or am I wrong there? You won't need slots for the effects, just add the most important till the end of DSP capacity is reached.

Martin

I can't seem to find this thread anymore.

Yeah, I got blasted into the Ether there for a bit.

All my threads got nuked along with me.

Thought I must have ticked somebody off or something.

Not bad considering I only had made three (3) posts at the time.

I contacted John, and he hooked me back up.

Freeky Sh##t!!

JRS