Steve Harris wrote: >On Sat, Oct 26, 2002 at 12:47:53 +0200, Tim Goetze wrote: >> the neck, usually placed exactly where the second octave is on >> an over-sized fretboard, has far less dominant harmonics than > >Cheers, I really should learn how to play the thing sometime.
i've found playing along with a prominent and slow one- to three-shot delay a fun crash course in both rhythm and harmony, without having to know a thing about musical theory. try not to move the left hand too much in the beginning, rather use all fingers and all strings. >> always. i think it might be because a real valve amp sort of >> 'spreads the excess power' by turning the wave into almost >> square at this point, where the guitar signal carries a lot of >> energy. more of a limiter effect, right? > >Maybe, or maybe the valve reacts to transients in some way - that could >partly be a side effect of the HP filter, emphasised by some valve effect >we haven't modelled yet. i think that what we are missing is this transition from hard to soft clipping as the input becomes weaker soon after the string has been struck. can you drop a hint about how you came up with the valve algorithm? >> i just tried it before the first valve and it does help a >> good deal to have a better attack [in fact i got carried >> away strumming a funk pattern, a first time for playing the >> guitar through the box], but i'm slowly running out of cpu. > >OK, the CPU problems can be improved. Looking at the rectifier I haven't >really optimised it at all. Do you have a feel for whether it should be >faster or slower? probably it should be quicker to react. it's not easy to sort out though, i still haven't got around to get the pre-eq right. four (or more, if more list members care) ears are certainly better at sorting this out than my biased two. i've put three files for testing setups on http://quitte.de: /power-chord.flac -- a low power chord (root, fifth and eighth) you know this one from the guys that want to be really bad. the more distortion the better. should really give a wall of sound, without any auto-wah at all. /arpeggio.flac -- a fast-paced arpeggio on an unwound string, this one should sound familiar from ego-maniac solo work. should sound clear and sharp, with lots of distortion. /riff.flac -- excerpt from a jazz melody. i'm particularly interested in getting this to sound right. unlike the first two, this was done on the neck pickup, so it's a good candidate for testing for muddyness. should, but needn't go with little distortion, but ringing attacks. there's no eq or other fx on these recordings. tim
