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  • #76






    Quote Originally Posted by Mats Nermark
    View Post

    For me the omission of a stereo delay in a digital guitar oriented device is totally mind boggling in this day and age.



    Cheers,



    Mats N




    Hi Mats! We missed you at Summer NAMM.



    As to the delay issue, while I don't speak for Digidesign, I assume their reasoning went something like this.



    The units they modeled were mono delays (and I do feel the models are quite realistic). When using Eleven Rack as a Pro Tools interface, you have access to "modern" stereo delays as plug-ins. When used as a live device, I question how many guitarists use stereo delays - I pretty much keep things in mono for live performance, as I find few venues are set up where everyone in the audience can get good stereo imaging.



    To me, this is a different situation from a parametric EQ. Although it's easy to add a parametric EQ in Pro Tools, for live use a parametric EQ can be indispensable in dealing with peaks/dips in the guitar or acoustic environment.



    So if anyone at Avid is arguing about whether to add stereo EQ or a parametric EQ, I'd vote for the parametric
    _____________________________________________
    There are now 14 music videos posted on my YouTube channel, including four songs by Mark Longworth. Watch the music video playlist, subscribe, and spread the links! Check back often, because there's more to come...

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    • #77






      Quote Originally Posted by Anderton
      View Post

      When used as a live device, I question how many guitarists use stereo delays - I pretty much keep things in mono for live performance, as I find few venues are set up where everyone in the audience can get good stereo imaging.



      To me, this is a different situation from a parametric EQ. Although it's easy to add a parametric EQ in Pro Tools, for live use a parametric EQ can be indispensable in dealing with peaks/dips in the guitar or acoustic environment.



      So if anyone at Avid is arguing about whether to add stereo EQ or a parametric EQ, I'd vote for the parametric




      I do concur on this issue on the stereo level. . . most venues aren't really set up for good stereo imaging. I've had a few that really were, and took advantage of it in the moment, but I typically run mono, especially if I've got another guitar player with me.



      I'd settle for a nice three band parametric EQ with a high and low shelf option. Seems like it wouldn't be too difficult an addition to the rack.



      Speaking of EQ, the option of putting EQ after the amp/cabinet combo is awesome. No more miking a cab and living at the mercy of the soundperson's EQ whims . . .



      -Travis

      __________________

      http://www.theunlikelies.com/
      http://www.theunlikelies.com

      Comment


      • #78






        Quote Originally Posted by Anderton
        View Post

        Hi Mats! We missed you at Summer NAMM.




        Thanks, Craig! I've never been to Nashville so that was an even bigger incentive to go but as life (and surgery) would have it it may be next year. WInter NAMM first though.









        Quote Originally Posted by Anderton
        View Post

        The units they modeled were mono delays (and I do feel the models are quite realistic). When using Eleven Rack as a Pro Tools interface, you have access to "modern" stereo delays as plug-ins. When used as a live device, I question how many guitarists use stereo delays - I pretty much keep things in mono for live performance, as I find few venues are set up where everyone in the audience can get good stereo imaging.



        To me, this is a different situation from a parametric EQ. Although it's easy to add a parametric EQ in Pro Tools, for live use a parametric EQ can be indispensable in dealing with peaks/dips in the guitar or acoustic environment.



        So if anyone at Avid is arguing about whether to add stereo EQ or a parametric EQ, I'd vote for the parametric




        While I agree with this to some extent many players I lnow here in Europe use stereo on stage even if they don't mike it for the audience. It's a player satisfaction thing. My hope is that Digi/Avid doesn't have to choose.



        Cheers,



        Mats N
        - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
        BT King - all my backing tracks can be found at :
        http://nermark.articulateimages.com

        Comment


        • #79
          Thanks Craig and everyone else for all of the info thus far. I've been looking at the 11R for quite a while and vacillating whether to pull the trigger on one or not.



          I have what I had considered a pretty good interface/performance unit in the Black Box Reloaded, and of course use it with my ProTools M-powered.



          I like what I see with embedding the your presets right into the tracks, very handy.



          Well, time to sell something I reckon and take the plunge to 11R. Anyone wanna buy a nice well broke paint horse?
          Keep your feet in the stirrups
          And a light hand on the reins.

          Comment


          • #80






            Quote Originally Posted by Lee Fox
            View Post

            The last thing I want in my amps, whether I build them myself, or from a commercial product, is that nasty, 60 cycle intrusion."




            Our decision to include this sonic artifact reflects our philosophy at the time we were developing the vintage amp emulations. We took a measured a "warts and all" approach because without some of these characteristics, we felt that the authenticity was compromised. Feedback from beta testers would describe how "something was missing" from the experience and when we would incorporate these artifacts, the response became "that's the sound!"



            Not all the amps in Eleven Rack behave this way and we were aware that it's not everyone's bag. So again, we took a measured approach and put just enough of it in to give the amp that vintage character but far from making it sound like the amp was busted.



            That being said, I can recall few positive experiences playing through tube amps that were in dire need of servicing. Of course, I was completely oblivious to what was going on at the time but sometimes a little mayhem with your gear is just what the moment needs...



            Hiro

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            • #81
              I know that the Eleven Rack comes with the full version of Pro Tools LE software. I use the Presonus Firebox as my audio interface. Can I run Pro Tools LE with this Firebox?

              Comment


              • #82






                Quote Originally Posted by steve350
                View Post

                Can I run Pro Tools LE with this Firebox?




                No. Pro Tools LE requires Avid hardware to run. However, you can use Avid hardware with non-Avid programs.
                _____________________________________________
                There are now 14 music videos posted on my YouTube channel, including four songs by Mark Longworth. Watch the music video playlist, subscribe, and spread the links! Check back often, because there's more to come...

                Comment


                • #83
                  Let's look into the various effects in more detail - we'll start with the distortions.



                  The three attached images show the options: Black Op Distortion, Green JRC Overdrive, and Tri-Knob fuzz. My original plan was to record an audio example for each one, but each distortion is capable of a wide range of sounds - to record examples of all the options would take a lot of time. In particular, the tone controls (called Cut in the Black Op distortion) have a huge effect on the sound, and that effect varies depending on the amount of overdrive (the level controls are just that - level).



                  So, in this post I'll give a subjective description of the three distortion units. The next post will have an audio example for each one that I feel is at least representative, but again, let me emphasize each one of these can get very different sounds.



                  Black Op Distortion With the Distortion control below 12 o'clock, it's possible to get crunchy, sparkling distortion tones that aren't too heavy on distortion. Past 12, though, the distortion gets really heavy and has a "solid state" type of sound. The Cut control takes away highs as you move it more clockwise; the effect is relatively understated, like a guitar's tone control as opposed to active EQ. Although you can get huge overloads by turning Distortion all the way up, this distortion seems designed to have the widest range of distortion sounds. I had no trouble coaxing some pretty sweet leads from it.



                  Green JRC Overdrive I consider this the smoothest/most tube-like of the three; it sounds very defined when paired with an amp/cab combination. The "Overdrive" name is spot on; it's warmer than a crunchy sound, and not as over-the-top as the two other units have the potential to be. It gives a good account of itself for rhythm guitar parts.



                  Tri-Knob Fuzz This is more about fun with shred. It goes into heavy distortion fairly early in the Sustain control's rotation, and only gets more intense from there. The Tone control has a unique kind of taper: The center position seems fairly neutral, while rotating counter-clockwise sounds like a high-pass filter that takes away some lows and accents the highs, while rotating clockwise takes away highs and pushes the lows. This is the distortion I'd use for metal/shred type effects,
                  _____________________________________________
                  There are now 14 music videos posted on my YouTube channel, including four songs by Mark Longworth. Watch the music video playlist, subscribe, and spread the links! Check back often, because there's more to come...

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                  • #84






                    Quote Originally Posted by avidgtrpm
                    View Post

                    Feedback from beta testers would describe how "something was missing" from the experience and when we would incorporate these artifacts, the response became "that's the sound!"







                    Hiro








                    And IMO, you guys absolutely nailed it! I'm glad you guys managed to recreate these wonderful amps so well. To me, they sound like the originals that I have been fortunate to play or own, and that also means that they just sound great.

                    Comment


                    • #85
                      The first attached sound is a patch I created yesterday to be general use distorted rhythm patch for live playing - recorded with my Gibson Les Paul (Burstbucker bridge pickup) into Protools 8.



                      I've also attached a screenshot of what I used on that particular patch, using Flange, Green JRC Overdrive, Treadplate amp, etc.



                      The second attached sound is my Martin DC-16 acoustic plugged straight into the C3 Lunar Steps patch - kept at factory settings except for the delay.
                      http://www.theunlikelies.com

                      Comment


                      • #86
                        So two issue I have since I got 11R,

                        This is the main issue, I'm not happy with the eq pedal. I think Avid should have put more time into this cause looking at their other eq they design they could have achieved it. For the past 34 hours I have been trying to dial in the tone of my 5150 but can't due to the mids being so limited. So would be great if Avid could come up with a tighter Eq.



                        Last issue is why doesn't 11R come with Eleven Le software? I have other recording rigs that would be nice to have it. I mean it's just about the same thing?

                        Comment


                        • #87






                          Quote Originally Posted by travisswan
                          View Post

                          The first attached sound is a patch I created yesterday to be general use distorted rhythm patch for live playing - recorded with my Gibson Les Paul (Burstbucker bridge pickup) into Protools 8.



                          I've also attached a screenshot of what I used on that particular patch, using Flange, Green JRC Overdrive, Treadplate amp, etc.



                          The second attached sound is my Martin DC-16 acoustic plugged straight into the C3 Lunar Steps patch - kept at factory settings except for the delay.




                          Nice work - and thanks for the participation.



                          If you'd care to share a patch, it is possible to attach ZIP files. I have one I've been working on that I'm going to attach.



                          Thanks again!
                          _____________________________________________
                          There are now 14 music videos posted on my YouTube channel, including four songs by Mark Longworth. Watch the music video playlist, subscribe, and spread the links! Check back often, because there's more to come...

                          Comment


                          • #88
                            A request for Craig or anyone else to provide info on FOOT PEDALS



                            I asked my dealer if it was possible to get foot pedals that could work like the keys of the Axiom keyboard to trigger tracks to play in live performance from a pro tools file.

                            What I had in mind is getting the bass guitar sound from Transfuser to go up and down the scale (1-4-5 etc) while playing the Eleven rack voice.

                            He said any keyboard bass pedals would do the job (eg Roland) but they are $1000 plus

                            Does anyone know a cheap (one octave) pedal solution that would allow the player to call in Transfuse sequences and pre sets while playing guitar live?

                            Comment


                            • #89
                              Glad I found this thread. I've been looking for both an amp sim and an audio interface (mainly for guitar, but also with a mic input for recording acoustic guitar and vocals) and this would seem like an all-in-one solution. However, I'm currently using, and quite accustomed to, an older version of Sonar in XP. I'm not up to date on all of the jargon used here about "M-powered" or "Pro Tools HD", but I want to use the Eleven Rack as an audio interface with Sonar. Is anyone here doing that?



                              Also, when used as an interface does the guitar input play through the headphones/speakers while the playback from your DAW is playing? For those using as an audio interface with the computer - how are you hooking up monitors to it. Looking at the back of the unit it isn't apparent to me which outputs I'd use.

                              Comment


                              • #90






                                Quote Originally Posted by ContraStudio
                                View Post

                                Last issue is why doesn't 11R come with Eleven Le software? I have other recording rigs that would be nice to have it. I mean it's just about the same thing?




                                The amplifier graphics and DSP algorithms and are the same (minus speaker cone breakup) and the amp settings are compatible with Eleven Rack but that's where the sameness ends. Even with the similarities, it's going to be tricky for me to convince my colleagues at Avid to give it away. The Eleven plug-in is still a product we sell and customers are buying it despite the existence of Eleven Rack.



                                Despite the business implications, there are some interesting potential recording workflows when you combine the functions of the plug-in with Eleven Rack hardware that has built-in DSP. I definitely see a benefit in the re-amping scenario but it all depends on how much tracking one does with effects.



                                Ahhh, good to be back from vacation talking gear again...

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