Dodj, you like tube amps and big cabs, and we appreciate your preference for those equipment. I like a good tube amp as much as anyone else and when an amp is incapable of making me hear what I need to hear during a performance, I tend to play less inspired... (expired would be a better term in some cases). Point is, WE UNDERSTAND YOU. You would get less flames if you extend the same degree of understanding to others, and maybe even appreciate their efforts.
Thank you sir.
Now, there is no need to point out that one technology is better than the other because it's all relative. Even at times, it's all inter-related. Both digital and analog have their advantages and disadvantages. Tubes and analog may be better for some while simulations may be better in other instances. As recordists, we should put aside our preferences and try to get the best tone with what is presented to us by our clients. If we can't do it, then we give it to someone who can.
While I said before that
nothing beats miking up amps, people perceived that as being anti-POD, anti-GT8, anti-whatever that doesn't require miking. All I said before was that the "experience" of tracking with real amps can affect one's inspiration. While it is true that we set aside our own preferences, I believe that my goal here is to tap into the artist's preferences, not mine. Hence the mastering thread. A lot did not like the drum sounds. I had my own interpretation of the mix which the band did not like. They chose the least punchy drums-version mix. Was that my call? It was the artist's. This is the very same procedure I do with all of my artists, but I would be honest enough to tell you that sometimes I don't like shortcuts. "Tone-chasing" for a lack of a better term. I really am not into the "preset" method of things because working with an artist requires attention to detail, which in some cases, shortcuts miss out. And normally, "shortcuts" are a product of new technology.
I am, and never was a technophobe. And you're right, new and old technology are even interrelated. And that interrelation is what confuses most people most of the time. Some people think "Wow, ang ganda pala ng tunog ng Vox AC30" and when you ask them, "saan ka nakasubok?". Ang sagot, "Sa POD!" Same thing for drum-triggering versus mixing realtime miked-up drums, and stuff like that.
The F-M curves have a direct bearing on volume. Our ears are more sensitive to frequencies from 1 to 6 khz, which is where intelligibility lies. The loudness switch or setting on some hifi systems are an attempt to compensate for the perceived loss of low and high frequencies during low volume settings. At lower volumes, we tend to hear less of the other frequencies so we often compensate by putting the familiar smiley curve on most graphic eq's, or we engage the loudness switch.
So where does the F-M curve fit in all of this? Practically, it doesn't if you are miking up a cab since what will matter is the type of mic and the position you are putting it in - a mic has no F-M curve, but it does have a frequency response curve. How about amp sims? Again, it doesn't matter since at what point in an ampsim will the F-M curves matter? Only at the monitors and to the guy listening at the mixing position.
Sir, what I was saying that the FM phenomenon is manifested well if you work with different models of amps. Unfortunately, the "produced sound" captured by the mics, preamps, whatever has nothing to do with this, only that DURING the tracking process, a guitarplayer might feel that his amp dimed to 10 inspires him to play compared to say, a PODXT patch through a monitor with 5" woofers, especially if the guy loves to play beside the amp.
So how about guitarists? Again, this is relative because sound levels decrease exponentially in proportion to the distance from the source. Not only that but there is also the approx 1 ms delay for every foot of distance one is from a cabinet. After that, there is the interplay of sound from wall and floor reflections as well as the interaction of frequencies (subtle comb filtering). By close miking a cab, you tend to capture differently from what a guitarist is hearing, or to be exact, what a guitarist perceives to be hearing. Miking techniques have been developed in an attempt to capture every possible nuance from the guitarists position but often this is impractical in most recording situations.
One major question is, are we supposed to be for ACCURATE SOUND REPRODUCTION, or PRODUCED-SOUNDS? Example. Say I had a vintage Slingerland Drum Kit. Should my goal be recording the kit as if the kit were right in front of me? 10 feet from me? Or should we tailor the individual sounds of each drum so we can make it sound like that of tunes heard in heavy metal recordings? It's all about production values, and what the producer wants.
Same thing goes for guitarists. Whenever a guitarplayer wants his amp miked, initially your goal might be to accurately reproduce the sound.. But in some cases, the engineer may need to boost a little treble post mic preamp to compensate for the mix. But that does not mean he is altering the voice of the amp. But why do I think the loudness or ground-shaking matters to the guitarplayer? Because that might be what he's accustomed to when he plays live, or at home. And I call that - motivation, which is a major ingredient in recording.
Amp sims attempt to recreate the interaction of sound waves by including cabinet simulations as well. They can also simulate mic placement as well as add room interaction. If one is really anal, add convolution to the mix by getting an impulse sample of your favorite room, mic and amp. Will it sound close? While it won't be exact, some simulations definitely come unnervingly close.
Some people claim they are accurate, some say the difference is night and day, AMPS vs. AMPSIMS that is. But what we cannot take out of the equation is that the person recording must find what inspires him the most, whether it is a POD or an amp.
About not getting the point with regards to using practice amps? Those little monsters will tend to distort earlier than larger powered amps and cabs especially when played loud. It is this characteristic that inspires some people to be creative. You have to be quick to recognize that trait when an artist insists on using his particular gear. Like I said earlier, you can always massage a tone later, especially if you keep that option open to you.
I prefer both loud and soft amps. But mind you, I still find 15W tube amps loud.
As for feeling the air being pushed? Remember that one starts 'feeling' sound at 80 hz and below, something which most guitars and amps are inefficient at producing, unless we're taking about bass guitars, bass cabs and subwoofers, but these are only good up to maybe 40 hz tops.
I wonder, it must be the ground shaking that inspires me sometimes.
