#Strymon iridium metal software
#Strymon iridium metal simulator

The last thing I will add is to not neglect the room mic’s and balance. Who wants to turn the drive up on amp to 5.4? What is 5.4 on amp knob? I’m more of a “around there is where I like it” kinda player. What my mind expects when I turn a dial is what I hear after I do it. Might just be me, but I also prefer to have the realistic visuals as well. In my experience, the IK stuff is just so much closer to being mix ready and pleasing to ears right out of the box when compared to other companies. Like it or not, IK has modelled that kind of stuff very well. Yes, old tweed Fenders get fizzy and boxy when you crank’em to the max. It’s a different approach and very different than the IR approach, but I prefer IK’s dynamic modelling philosophy and algorithm over static IRs.

#Strymon iridium metal software

I have thousands of IRs that I’ll use with the various software and hardware amp modellers that I play around with, but Amplitube still offers more because of the fine tuning you can do. With all amp heads, cabinet choices, speaker choices, mic choices, eq choices etc., there’s got to be something that you like. I quite like the “older” Marshall models as well. The new Satriani can get late 70s Marshall tones easily. Late 70s Marshall tones are in Amplitube without a doubt. That’s kind of a rule of thumb but things need to be experimented with to find what your ears like. If you want to beef up another drive pedal or fuzz, go after the fuzz. If you want to alter your fundamental guitar tone only, it’d go first. Come on IK!!!! pjcass1981 Posts: 27 Joined: Mon 2:00 amīefore the amp, you’re going to want to experiment depending on what is before or after the eq. I'm just waiting for hardware product that has built in DSP and Amplitube. Amplitube has all that is needed to get a tone that is equal to or even better than the 2000$ big boys on the market. Be patient and find what works for you and the context of your playing. Again, just an interesting choice by Strymon for stock cabs.Įq is a rabbit hole that can make or break your experience with modellers like Amplitube etc. Changing up IRs makes all the difference for the Iridium because of the expanded range of EQ. I prefer companies to leave it to user to find the cut-off points at the top and bottom of their guitar, depending on what is needed and appropriate for a given context. So much of that perception comes down to EQ.

#Strymon iridium metal simulator

Amplitube sounds like a SuperHiFiUltraHD3D billion dollar amp simulator with the amp in a real room and the Iridium sounds like an overdrive pedal through a 30 band EQ and a compressor/limiter going direct to the board when comparing. Not having that 80-140 can be less than satisfying when playing on your own and is downright when you A/B something like Amplitube and the Iridium. I understand their choice, since this works so well in a mix (live and recorded), but I do think it's an odd choice to make since so many buyers would be picking up an Iridium for practice/solo playing at home. However, I was shocked to hear that the stock IRs look to have a low-cut/hi-pass somewhere in the neighbourhood of 140. People seem to be very impressed with the Strymon Iridium and for the 3 or 4 days I've been testing one, it does seem to have some nice tones. It will not only do things like reduce or add bass, middle, and treble, it will change the character of the distortion and harmonic content. Shifting EQ before the amp can do a lot more to the quality of the harmonic content than it would coming after. Amplitube 4 uses a dynamic amp modelling system and amps react like they do in the real world. You'll get too much low end build with drums and bass in a recorded mix without a doubt.Īlso, don't neglect the impact that an EQ can have going into an amp (see Brian May's boosted midrange god-like tone).

The magic 80 that I see so often on message forums and dialed in on presets for amp modellers is perhaps best suited for live use not recording. Looks like the Black Crowes Amorica is somewhere in the neighbourhood of 100-120.

For example, I've noticed that Malcolm Young's rhythm tracks on a lot of AC/DC stuff seem to have a low cut at around 120-140. I've been experimenting a lot with recorded tones and comparing what my ears perceive as a good low end vs what is on recordings I love. It can also depend on the amp.Īlso, don't hesitate to bring the low cut up passed 80 when you are playing in context with other recorded music, tracking/mixing, or in a band mix. We are usually off to the side and above.

For me, the high cut can help to simulate the fact that we don't hear our amps with our ears at speaker level. Depending on your speakers or headphones, the high cut can vary. You mentioned 12K and above, but realistically that number could depend on your audio output source.