SnappleMan

Depends on how you work, I'm on i7 Sandy Bridge and I can get to 75% load pretty easily.

Is English your first language?

How does something like this leave your brain without some kind of filter that raises a flag telling you that it makes absolutely no sense? What the hell is "apperal"?

Okay so if something can be made to sound exactly like the real thing (which I can do pretty easily, and so can anyone else who takes the time to tweak with things), and if you have not only the perfect model of your amp/mic/speaker/room, but can also model a huge number of amps you don't have in your house, it doesn't beat the real thing? Don't get me wrong, I understand the appeal of having an amp or two in your studio, that's why I have my own amps, but to say that they cant sound as good as the real things is just silly. You need to stop playing with presets and start learning about what makes up good guitar tone. But I know that even after I completely destroy your idiotic points with hard facts (as I have) you'll come back with a new ridiculous point to argue about like "but my friend from last year gav guitar rig 3 and I preset the sound but it sounded faker than amps because of the mids because I dont understand what im talking about" Notice the accuracy I achieved in copying one of your replies by leaving out words and using very incorrect grammar all while spewing irrelevant babble about a subject I really know very little about. It's this type of researching and observation that you should use when listening to your amp or any guitar tone you like to try and copy it via an amp sim.

And also going back to 8 years ago, I've discovered that some very early amp sims were used to produce tones on professional albums that sound simply amazing, yet when I used them back then they sounded like cheap toys to me. So in the end, like anything else in music, it comes down to the skill of the user. So blame yourself if your amp sims sound like ass.

But you do see it on sims. Some sims these days offer you the option of using recorded impulse responses, which can emulate your particular speaker and room, not to mention they come loaded with all kinds of mic models which very accurately color the sound just as the real mics would, so you can get the exact same sound from an amp sim that you can get from an amp in your room if you take a few minutes and learn what sets this software apart from the versions that were released 8 years ago.

No, what you notice is the character that your mic/speaker/room add to the sound. You really should know what you're talking about before you start talking about it.

I have a 5150 that I record, and I also use peavey Revalver MKIII. They're so identical that I can (and have) punch in with the amp sim over the recorded live amp track and you can't tell the difference. So people who have problems with modern amp sims are just full of shit.

To properly use Cubase in an x64 environment you have to make sure that you go into the shortcut properties and click so that it's always running with Administrator privileges. That way when the Waves plugins need access to the Waves shell, they'll get it and the plugins will work. This also makes sure that all your plugins run correctly and all your product registrations match up every time you run Cubase, otherwise you may install something that changes the Cubase profile a little bit and then you'll no longer be connected to the registry and you'll have to re-authorize all of plugins again, and if the Cubase ID doesn't match with the old Cubase ID stored in the product registration in the registry then that plugin wont work till you completely remove it from the system and reinstall. It's a huge mess, so yeah just run Cubase in administrator mode at all times.

http://ocremix.org/forums/forumdisplay.php?f=16

Wrong forum dude.

I try not to layer too many synths, except maybe leads. Most of the time I use synths to add texture and harmony, and the occasional lead/solo. And since drowning them in layers or effects can muddy things up very quickly, I tend to keep them dry and punchy. (though, even having them concentrate on counterpoint and harmony can still cause them to get overloaded and muddy at times) It all depends on the song though, here's a little snippet of just the synths from one of my songs: http://dl.dropbox.com/u/32558357/s2_synbk.mp3 As you can hear there's nothing layered, it's all very dry because there's going to be another layer of samples over it (strings, keys, pads, more synths) and a big drumkit, and about 8 tracks of distorted guitars. Here's a clip of some more synths going over that, these have some effects on them to add depth: http://dl.dropbox.com/u/32558357/s2_fanbck.mp3 And here's a clip of the guitars: http://dl.dropbox.com/u/32558357/s2_gtrbk.mp3 And here's a clip of the drums and some backing synths. This one is unmixed so you get very roomy drums and the synths/guitars are low in the background). http://dl.dropbox.com/u/32558357/s2_bndbk.mp3 And here is a clip of the drums after some mixing and effects: http://dl.dropbox.com/u/32558357/s2_drmbck.mp3 So if you mix all that together (except for the unmixed drums one) you'll get an idea of how I use synths.

"toughness" of the strings? Considering many acoustic guitarists like to use nylon (or even gut) strings (both of which are easier on your fingers than steel strings), I'd say that your toughness argument falls flat on its ass. Acoustic guitar is harder to play than electric, I know because I play both, and I play both well. The size/shape of the guitar makes a big difference, the accessibility of the top 12 frets is very different between acoustic and electric guitars, and not only that but you can't hide behind distortion when playing acoustic, so you have to be a better player to pull off the same phrases.

You'll have to forgive me if this place has taught me to expect certain things over the years. In any case, heed my warning. Learn to properly use midi, it's crucial. also: 5. Decent speakers/headphones for monitoring the sound correctly.

The first thing anyone should do is learn some music theory, learn how to properly use MIDI, and start learning an instrument. But very few who want to make remixes do that, because they want instant gratification. And then they'll go crying to their small circle of supportive friends when every remix they submit to OCR gets overwhelmingly negative responses and NOs from all the judges. It's the circle of life. Moral of the story (as usual) is that no amount of software or samples will help you make music unless you actually know what music is and how to write good versions of it. But you wont listen to this advice anyway, you'll download some software, download some MIDIs, download some synths and samples and then you'll be off on your adventure of battling with the judges panel for years unable to understand why your music is not good enough for the site.

If he goes PCI for the soundcard then why would be downgrade to USB MIDI? Most PCI soundcards have MIDI I/O built right in which is latency free.

The golden rule is to use less gain. For rhythm guitars especially. Less gain= more clarity and crunch (to a certain extent), and your low-mid EQ will do more than it would on a very distorted sound. Chorusing wont give you a heavier, fatter sound, it'll just spread the sound out a bit and create a thicker dynamic. Also, don't always rely on the amps EQ settings, most amps get really muddy when you crank up the low EQ on them. Back off on the amp EQ and make up for that cut with some post low end EQ.

Revalver MKiii has the best sounding distortion. And their Peavey amps are spot on 100% accurate. But saying that an amp sim isn't "heavy" enough is just silly. You just need to learn to work with it. You can get the heaviest sounding tone ever out of an amp in your bedroom and when you mic and record it it'll sound like a pube being plucked.

Electric guitar is easier in that it's physically easier to play, but at the same time the stuff you find intimidating is the easiest of all. Most of the stuff that isn't notated comes out of a guitarists repertoire of licks. Meaning, phrases and patterns you teach yourself that you link together to form a guitar solo or whatever else. Since the way a guitar is designed makes it possible to use the same pattern over a different spot on the fretboard to change key, all you need to do is learn the patterns and then you just move them up or down the neck depending on what key your song is in. Like on a piano, gmaj and emaj have completely different fingerings, but on a guitar all major chords have the same fingerings, you just move your root from g to e and you're set. So any cool phrase you learn will work in any key (given you're aware of subtle changes in tension notes and whatever else that characterizes the feel you're going for).

The only thing you get with a Mac is better resale value, though for the amount you overpay I don't think it's worth it. These there are countless music production packages that are just fantastic on either platform, not to mention FL is lame and there are better things out there than Logic. What you really should be looking at is the value. I've got an old Dell laptop that I've been using for personal use and field recording for about 4-5 years now, and it's still in perfectly working condition.. and that's just a shitty Dell. I've also got a Macbook (same specs as the Dell) that I bought around the same time for twice the price, and still works great too. It all comes down to how you treat your stuff. Generally that's the case with all my machines: for every PC I have an equivalent Mac, and I seriously prefer working on the PCs (I just prefer Windows to OSX), but the hardware performs identically for me and the software is no more or less reliable (because I took the time out to make sure my PC hardware was absolutely compatible and configured to communicate together properly, though with a laptop you're getting that right out of the box so it's less of a hassle).

Changes in the weather and humidity change the bow of the neck, and you should correct the intonation every time you string up your guitar or leave it unplayed for a long period of time. For the most part once you set the intonation you wont have to do it again unless you change string gauges.

Tuning a guitar isn't as simple as turning the knobs till it matches the same notes on a piano. You have to make sure you set the action and intonation correctly. The action is the height of the strings from the neck and body of the guitar. Ideally you want the strings to be as low as possible without giving you any buzzing or unwanted noise. This is achieved by adjusting the truss rod (google this to learn how to do it properly for your guitar). After you've correctly set the truss rod you want to adjust the strings at the bridge, unless you're using an acoustic guitar. Messing with the bridge on an acoustic guitar is quite different and more difficult (to me at least) than on an electric. The key in setting action is that you get the most comfortable string pressure to suit your playing style. The lower the strings are, the easier the guitar is to play. Intonation is EXTREMELY important. When you tune your guitar you can't just tune the open strings and call it a day. You have to make sure that your intonation is set correctly. Intonation is the length of the string across the neck and body of the guitar. This length determines the tuning of the string all over the board. This means that just because you tune your D string to D you wont necessarily have a perfectly in tune E or G on that string. The way to test for this is simple: tune your string up to pitch, then play the natural harmonic at the 12th fret (lightly touch the string at the 12th fret, pick it, then as soon as you pick the string you take your finger off the fret, this should give you a bell type sound). That harmonic should be right on pitch, then fret the 12th fret normally and play that, the note should be the exact same pitch as the harmonic. If it is, your intonation is fine and all the notes on that string will be at pitch. If it's off then you need to change the string length by adjusting the bridge saddles for each string. A saddle is the little piece that holds a string in place at the bridge. On electric guitars this piece is independent of the rest of the bridge and can be adjusted easily, on an acoustic guitar though the saddle is one huge piece that all the strings are attached to and to adjust it you need to do some pretty serious routing to your guitar. If you have an electric guitar and your string is sharp (meaning the note at the 12th fret is sharp), just adjust saddle so that it moves back away from the neck (do this very slowly, only a quarter turn at a time), this will lengthen the string a little and give it enough room to vibrate so that your note should be in tune. If your 12th fret is flat, then you need to shorten the string length by moving the saddle closer to the neck (again, with small quarter turns of the adjustment screw on the saddle, if you go too far you'll have a hard time tuning your strings). Oh and after you do all this setting up of your guitar, make sure you stretch your strings (if it's a new set). Strings will go out of tune as you play them for the first couple days because they naturally stretch to their final length. You can stop this by stretching them as you're stringing up for the first time. To stretch a string you tune it to pitch, then grab it at the 12th fret and pull up (be careful not to break it). Let it go and play the string, you'll hear it go flat, retune and repeat the stretching till it stops going flat. IMPORTANT: Abuse youtube and google for info, videos, discussions and tutorials on this stuff. Don't do anything in haste, make sure you understand everything before you try any of this stuff. It's really simple once you understand it.

Too bad, I'm really looking forward to hearing this. Cool Jam is one of the best songs.

Neblix, you need to stop posting for a bit. Either that or stop rushing to wikipedia to get as much half right information as you possibly can just so you can reply to every thread and try to appear knowledgeable.

Don't buy a new guitar. What a horrible suggestion. The huge THUMP you get is because of the way the string vibrates in that position, your pickup height, and your tone settings. Make sure you run your guitar through a compressor to catch that thump, lower the low end EQ on your amp, and lower the pickup height under the bass strings. The first thing I would do is tackle the string vibration. The string action shouldn't make a big difference in the bass response in your guitar, but if it's set improperly it may be a factor. Make sure you set your guitar up for the lowest possible action without getting fret buzz, that should give you more control over the strings. After that I'd mess with the pickup height and just make sure you have something in place to catch that low end thud (like a compressors). And the most basic solution would be to just mute the string more when you're over the fret position that causes the loudest thump.