Guitars, exported, unprocessed: https://dl.dropboxusercontent.com/u/13184331/Extinguisher_GTRS_raw.mp3
Guitars, exported, processed: https://dl.dropboxusercontent.com/u/13184331/Extinguisher_GTRS_processed.mp3

AC30 for the crunchy verse thing, cranked Hiwatt for high gain, Bassman for clean. Cabs bypassed, exertal impulses (Blues, Fanes, Jensens. Proper cabs. Royer 121s and Neumanns.) Fakemap --> Fakecab --> Waves NLS Neve --> Wave Arts Tube Saturator --> Soundtoys Decapitator (Chandler EMI channel setting, blended 50%). Yeah, that's a lot of stuff to fake a guitar tone. But I think it works. Oh, Bricasti Studio B Close impulse as 'verb on the guitars. Echoboy for the delay on the clean thing.

Processed tracks have compression and EQ on both guitar and bass. +2dB on the clean guitars for the processed ones; I just slapped Waves LA3A on the buss- all guitars going to a stereo buss.

Oh, the bass is Sansamp + Amplitube SVT-CL model using the internal cabs, Royer 121 and Neumann U67 blended.

Yeah, no drums. This is just a test of the emergency broadcast system. Or Amplitube. Or something. Vaguely mixed on headphones. Just a test to see if it sound Liek Maps or not.

I should add: the AC30 bit has Amplitube's model of a T-Rex Mudhoney in front of it. Nasty filter thing is from my Pod XT. Clean guitar has a BBE Mind Bender vibrato.

That sounds fucking brilliant Is it the external cab impulse schitt that makes the difference? I've never been able to get that convincing a toane out of maplitube.

The external cabs are a big part, gotta say. Especially in the top end, getting it reasonably smooth and convincing. That being said, Maplit00b is the thickest sounding of the software mapsims I've tried so far. I think the AC30 tracks are a bit too gainy from the pedal, but that's easily remedied.

The cab impulses are layered like I was running a multi-mic setup. Lots of Royer 121 ribbon mixed with Neumann U47/87 + KM84 for the room. The bass sounded better using Amplitube's internal cabstuff- sorta like an improved version of SVX (which is pretty convincing in its own right, even still, though it's been around for a good while now). I couldn't find an external bass cab impulse I liked. The Hiwatt, there's a Beyer M160 in there in place of the Neumann, so lots of (faux) ribbon goodness.

I used Redwirez mixIR 2 to load all the impulses. Slapped a Neve channel impulse on the end, too, just 'cause.

So far I haven't found a software modeler that can't be improved by slapping a better cabinet on the back end.

For what it's worth, I feel the faux-hardware post-fauxmap basically has the same effect as it does IRL with realmaps into a pile o' nice gear. The amp and cab are nice enough on their own; it's all the stuff afterward that makes it "sound like a record"- the cherry on top, all the little detail stuff, that extra push over the cliff, etc.

Which as far as rock guitars are concerned, basically means adding another layer of subtle dirt on top. It's the sound of untold numbers of records- just beating up a good mic pre will show this right quick. It's something I think we're missing out on with the usual modern recording paradigm, especially home-recorded stuff. Think about all the gear you're not running through, and then perhaps the plugin chain doesn't seem so excessive.

Instead of mic --> pre --> EQ --> fader --> tape --> tape return line amp--> EQ --> compressor or other external processing --> fader, it's mic --> pre --> computer. A little less colorful, don't you think? And lacking a lot of the fun stuff that tends to impart a sound of its own and a lot less gain stages.

I agree that sound excellent. I've only used amplitube a handful of times, and withe 11R I've used that only for the quick demo I did here. playing nothing but dumbass covers leaves little need to record. I did record our female singer and me on acoustic for a project she wanted

https://dl.dropboxusercontent.com/u/13184331/Extinguisher_drums_test2.mp3

With halfass-drums. Less gain on the AC30 bits.

I'm pretty satisfied with the sense of space on this. For a halfass mix, especially. Everything sits where it should, and to me, the guitars sound like amps in rooms. I could make a record with this (Amplit00b) and be pretty satisfied.

Sounds really fuckin' guut, indeed.

That's great

Tanks guyse. FWIW, I discovered scrolling through the effect pedal models on here that there's an HM-2 model in Amplitube 3. I should A/B it with an actual HM-2.

Yeah the HM-2 compare would be cool.

Sounds good man. Is that your telecaster?

I'm curious if it's even close- the HM-2 is such an odd pedal.

And thanks. The gainy stuff is the silverburst Tele; the loud AC30 verse thing and the clean chorus bit is my beat up old black Strat.

Here's another one:

https://dl.dropboxusercontent.com/u/13184331/AWBR_raw_GTRs_Bass_test.mp3

There is no EQ or any other post processing on anything. These are the raw tones I'm getting exported out of Amplitube and my attendant faux-hardware chain. Exported them all as .wavs, started a new session and just moved some faders. No drums or synths or effects save for pedals. Just guitars and bass.

Bass is Amplitube SVT into SVT 4x10 with U67 and Royer ribbon, plus Sansamp DI

Crunchycrunchy guitars are cranked-to-10 Hiwatt and cranked Engl crunch channel into Hiwatt Fane cab with R121, Beyer M160 + room; Engl into Recto cab with 121, U87 + room. Lead octave guitar at the end is cranked Hiwatt again.

Clean guitar left + slightly crunchy guitar in the bridge is Tele --> AC30 with Blues, same Royer, Neumann + room thing.

Clean guitar right is Strat --> Bassman --> 4x10 w/Jensens, same mic-ing thing. Eventide delay pedal on the front end going in.

Noise guitar in the bridge is Tele --> WMD Geiger Counter pedal on the front end --> Hiwatt, not quite as gainy.

I'd be pretty pleased getting these as tracks to mix.

https://dl.dropboxusercontent.com/u/13184331/Extinguisher_Amplitube_Test.mp3

I am pleased with this. Pretty organic rocksounds, with nary an amp in sight. Loving the separation and thickness here.

Okay, I'm pretty satisfied, overall, with how all this shizzle is going to sound. Tone-wise and mix-wise: https://dl.dropboxusercontent.com/u/13184331/AllWillBeRevealed_9_20_test.mp3

That really does sound quite good, Snax-O. Also, though I have heard it a time or two before, that tune struck me this time as really being very solid and dope in it's composition. The textures/progression iz cool.

Thank ye! Yeah, considering I've been working on this on and off for, er, like, a long while... Mostly off, to be fair; I've taken months off working on ze rekkid, but I think at this point everything's all there sonically re: the individual tones. I just have to mix it and do some overdubs. Well, and bounce down some more stuff from Amplitube, SD2 (doesn't sound like everyone's forum clips but it is SD2) and various softsynths.

https://dl.dropboxusercontent.com/u/13184331/SilenceIsTheLoudestSound.mp3

I might be getting the hang of this Amplitube thing. Mixed on 'phones though, so it may be balanced a little wonky...

AC30 for the cleans and fuzz guitar, cranked Hiwatt and Engl crunch channel for rawk riffing. The solo is an old scratch track. Bass is SVT + an IRL Sansamp.

Noice toanz. Snare is a bit loud and cymborz are a bit quiet, but I tend to be okay with that...

I'm fond of the loudsnares myself; I want the body/ring/decay of the drum to be heard through everything without compressing the crap out of it, so I tend to mix 'em up fairly high when I can. Cymbals, my main concern is just making sure the thing doesn't turn into a wash of brass, especially with a lot of riding on the crashes and open hats. The hat track I EQed a little oddly- I'm boosting 500 and 800hz, with a massive cut at 200 and a slight cut at 2.5k to make the individual track dark and middy vs. the overheads. I need to darken up the cymbals a little still I think, but overall it should be alright.

The snare is actually compressed in parallel (I'm using Softube's FET compressor, which has a wet/dry function) with a reasonably fast attack (it's an 1176-type thing, so attack times range from fast to uberfast) and the release almost-but-not-quite as fast as it'll go- I'm adjusting the release time almost as an EQ as it shaves off top end the slower the release. So it's a big, cracky ringy open thing, which I like. And IMO the acoustic drum sounds are pretty realistic. SD2 + an extra kick and snare sample (a DW kick and Mapex brass snare) blended in. Not the usual "SD2 forum clip drum sound", I think.

I may actually keep the scratch solo, even if it is just a lowly Pod. Especially as I think I have it somewhere without the delay- the delay is stereo, and I never record the Pod stereo, so that means it was added after the fact, was bounced down and is hiding somewhere.

Paradoxically, the more distortion/saturation plugs I use, the clearer, more open and separated the mixes get. It's rather nuts. Tons of NLS and Decapitator action here, and there's a new tape sim that just came out I'm demo-ing on here. It's pretty CPU-heavy so it's on the busses (kick, snare, toms, OH, bass, bass clean, verse guitars, fuzz guitar, clean guitars, drum machine) vs. individual tracks, and adding that really opened everything up further- everything in its place. Lots and lots of room on the guitars, too. Very little room on the drums, actually, though I have an impulse of an old AMS RMX-16 (the nonlin2 patch with the longer decay) as a send for the snare and toms. With a gate before it. So '80s. Really a classic though; I've used a real one before and it's cool. One of the few pieces of "vintage digital" gear that still finds use in high-end rigs.

While I'm rambling, re: layers of filth- Okay, exporting everything out from Amplitube, post-cab impulses, there's an impulse of a slightly driven Neve preamp blended in at 20% for the dirt guitars (and the same desk channel, clean, for the clean guitars), feeding NLS on either the Neve or EMI settings with the drive up to just below it starts to break up, then Tube Saturator, and each mic on the virtual cabs (I have a room mic in there too) is bounced down to its own track. Because I don't run amp sims (unless used as a distortion effect), softsynths or samplers while mixing "for real". Then in the actual mix session, NLS again on every channel. Tape sim on the busses, followed by Decapitator, generally blended at 50% on bass and guitars, with the actual level of dirt dialed to taste. That's a lot o' subtle filthing up before it sees a compressor or EQ.

But it makes a sort of sense- it's basically going through a faux console, pres and its attendent bits, tape, back into another desk to mix... Push up the faders and it's mostly already there. The downside is that there is a lot of time spent prepping tracks, but it makes for a really efficient workflow come mix time.

These two, I think are pretty rockin':
https://dl.dropboxusercontent.com/u/13184331/01%20AllWillBeRevealed_9_27_test.mp3
https://dl.dropboxusercontent.com/u/13184331/02%20Extinguisher_9_29_test3.mp3

Acoustic snare is probably a bit too reverberant here; no idea if the acoustic guitars actually sound good:
https://dl.dropboxusercontent.com/u/13184331/03%20ImaginaryGirl_9_27_test.mp3

This keeps developing. I dumped some guitars and replaced them with a synth part. I will probably add a little more in the way of synth accents. HM-2 bassfuzz happening here. You'll know it when you hear it. I think my ears were shot when I mixed this:
https://dl.dropboxusercontent.com/u/13184331/04%20Australopithicine_9_27_test.mp3