“Your tone will always be better when you’re
pushing air with real amps
and speakers.”
“That digital stuff doesn’t
sound as good as the real thing.”
When people start making
these kinds of statements, I
immediately assume that they
haven’t taken the time to learn
the software or that they are
basing their comment on an
experience they had many years
ago with a piece of software
when the software-modeling
world was still in its infancy.
The fact is that modeling soft-
ware has improved by leaps and
bounds in recent years and—in
many real-world situations—it
can sound even better and be a
more suitable choice than tradi-
tional amplification.
For instance, let’s say you’re
on tour and the whole band
is using in-ear monitors. With
direct software, you can keep
your tone 100-percent consistent
from show to show. Worn out
tubes, lazy speakers, and tone-altering surges and sags caused
from inconsistent venue power
are all removed from the picture
when you go direct. Also, audio
afflictions, such as singers trying
to get you to point your amp in
a different direction or soundmen telling you to turn down
because your amp is bleeding
into the vocal mics, magically
evaporate from the stage when
you use modeling software.
These are huge advantages.
So how can you get the best
tone out of your modeling
program? Whenever I use any
modeling software, I always try
to make sure I’m hearing with
my ears and not my eyes. For
instance, the Vox amp in the
software may not always be the
best starting place for getting
the truest Vox-like tone. That
chimey London grit you’re look-
ing for might actually come
from a Fender amp model
through a Marshall cabinet, so
don’t rule out any choices until
you’ve given them a thorough
listen. The best way to make
your own great sounding presets
within your modeling software is
to do it the same way the mod-
eling professionals do it, which is
to compare your modeled tone
with a real amp tone and tweak
until you can’t tell the difference
between the two sounds.
The advantage here is that
your hands are free to try different cabinets, amps, and
microphones, and to adjust
other EQ parameters while the
computer plays your DI track
back through the modeling
software for you. Also, this
allows you to really focus on
listening without having to
play. Once you think you’re in
the right tonal ballpark, bus
your “DI” track, which should
be going through the modeling software, to the “Model”
track. Now, A/B the “Model”
and “Amp” tracks and see how
similar they are tonally.
Guitar modeling software such as Line 6’s Gearbox Gold allows you to
tweak virtual amp settings—including gain, and EQ—as well as emulate
stompboxes, speaker cabinets, mics, and mic positions.
Name one track “DI,” the sec-
ond “Amp,” and the third track
“Model.” Go out of your guitar
into a DI box. The signal from
this DI device goes straight to
the computer and gets routed to
the track called “DI.”
Next, run a signal out of
the DI box’s Thru jack into
the front of your amp. Mic
up your amp and dial up the
best tone you can. Arm both
tracks—“DI” and “Amp”—
and record a minute or two
of your playing. At this point,
you’ll already have your refer-
ence tone (“Amp”) recorded
and you can start reamping
your “DI” track thru your
modeling software.
Make the necessary adjustments and keep comparing and
tweaking until you have reached
sonic uniformity between the
two sounds. This process is also
beneficial because it can help
you become more knowledgeable about other aspects of
your guitar tone beyond amps,
guitars, and pedals. Being able
to simulate different mic models
and positions at the click of a
mouse is a great way to start
getting a general idea of how
certain mics and mic placements
will affect your final tone.
Along with being a way to
have a portable live rig, my
direct setup is a great way to
do eSessions in my hotel room
while I’m on the road. A pro-
ducer can email me a stereo mix
of a song he’s working on and
all I have to do is drag the stereo
mix into a Pro Tools session,
set up a couple of guitar tracks,
fire up the modeling program,
and start playing. I don’t have to
worry about disturbing neigh-
boring hotel guests or dealing
with the hassle of capturing my
amp’s tone with a bunch of out-
board gear and mics. Yes, we’re
all accustomed to the tone of
our favorite amp, but which rig
is more convenient and appro-
priate to take out of the trailer
and haul up to your hotel room
so you can work on tracks late at
night? Would this be your 100-
watt half-stack in hulky road-
cases or your six-pound laptop?
PAUL “TFO” ALLEN
is a multi-instrumentalist
who has worked with Big
& Rich, Adele, Sebastian
Bach, 112, Jake Owen,
Larry the Cable Guy, and
many others. He also
has his own project called Ten Finger
Orchestra, and can be reached at tenfin-
gerorchestra@yahoo.com.
