New SooperLooper Update 1.6.16

For those of you who use SooperLooper – it looks like Jesse snuck a new release under the radar back in January that I’m just catching now.

The only release note is that the AU unit is now more stable under various hosts,  for those of you with AU validation issues – this might help out a lot.

For those of you who have a Mac and aren’t using SooperLooper – now’s the time to get on board.  SooperLooper is a shareware application that uses a lot of the functionality of the Oberheim/Gibson echoplex looping unit.  It’s leagues above the looper that you get with Mainstage and could be all you need to do a 1 person show.

(If  you do start using it – you should definitely send a couple of bucks Jesse’s way for all the hard work he’s done on it.)

-SC

Recabinet 3 Announced – New IRs And A New AU/RTAS/VST Shell

For those of you who have been exploring the laptop/tech aspects of the site – Recabinet announced yesterday that the new 3.0 update will be sold on the  http://recabinet.com site on January 18th, 2011.

In addition to a number of 20 cabinets and 8 mics, you also get a new VST/AU RTAS Shell for hosting IRs in Mac or PC.

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(Screen shot taken from Recabinet website)

Here’s what I find appealing from a first glance perspective:

  • Drop down menus for the cabinet and mic positions are big time savers
  • The eq functions are a good idea
  • Individual gain controls (in addition to the host gain) offers a lot of flexibility
  • A number of bundled presets – also a very good idea

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Here’s a list of the cabs and mics

(taken from Recabinet website)

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Cabinets:

  • 1960 – based on a Marshall 1960AV 4×12
  • Angora – based on a Line 6 Vetta 4×12
  • Blackface 4×10 – based on a Fender ’65 Super Reverb 4×10
  • Chordal – based on a Roland JC120
  • Damien – based on a Marshall 1936 2×12
  • Dazed – based on a Supro Thunderbolt
  • Eagle – based on an ENGL Pro 4×12
  • Excel – based on a Randall RS412XLT100 4×12
  • Genzie – based on a Genz Benz G-Flex ported 2×12
  • Green – based on an original 1970s Marshall 4×12
  • Igor – based on a Krank Krankenstein 4×12
  • Manatee – based on an Ampeg SVT 8×10
  • Motown – based on an Ampeg Portaflex B15N
  • Ogre – based on a Bogner Uberkab 4×12
  • Oversize – based on a Mesa Standard 4×12
  • Sterling – based on a Marshall Hand Wired 4×12 (late 1960s reissue)
  • Tangerine – based on an Orange 4×12
  • Top Boost – based on a Vox AC30
  • Tweed 1×12 – based on a Fender ’53 Deluxe 1×12
  • Zodiac 2×12 – based on a Selmer Zodiac Twin 30

Recorded with the same mics as before

Microphones:

  • 57 – based on a Shure SM57
  • 545 – based on a Shure Unidyne III 545
  • 121 – based on a Royer 121
  • 409 – based on a Sennheiser MD409
  • 421 – based on a Sennheiser MD421
  • i5 – based on an Audix i5
  • Reference – based on an Earthworks M30
  • U87 – based on a Neumann U87

Pricing

While the cost for new users is $130, users who purchased the Recabinet 2.0:

  • between November 1st, 2008 and October 22nd, 2009 are eligible for a FREE upgrade (only between January 18 and January 26, 2011)
  • on October 23rd, 2009 or later can upgrade to Recabinet 3 for $60

If I understand this correctly, this means that even if you were remiss in not getting Recabinet before – if you buy Recabinet 2.0 before January 18 for $15 – you can get the new plug in for $60.  But, since this is a presumption based on the information on the website and not and official policy of recabinet, you should contact them to see if this is the case before purchasing.

If this is the case – it’s a smart incentive to get people to use their impulse responses.

X Code 3.2.5 / AU Lab 2.2 Now Available – Caveat Emptor

Here’s a pretty tech oriented post for those of you who have been using AU LAB for an audio unit host.

For those of you using AU Lab – the new X code 3.2.5 update is now available – which includes an update in AU Lab to version 2.2.

I did the update this weekend – and couldn’t get AU lab to work for the life of me.  If you’re using a newer mac – you might have better luck – but I was unable to get audio routing to the channel and the program would crash when trying to open a new document.

Based on the release notes I was able to see – the biggest update to the software was an automatic aggregate device configuration.  Which I don’t really get as setting up an aggregate device in Audio MIDI set up is well documented.

That may be the issue with the problems I had but in the meantime I had to go back and install the previous X code version over 3.2.5 to get a working version of AU Lab.

Like I said – You may have better luck if your system is more up to date.  Here’s what I’m running (note: I running 32 bit instead of 64 bit).

Special Note:

This suggestion only involves not using Software Update to install the new X code tools.  If you want to install the rest of the tools and skip AU lab – you’ll have to do it manually

  1. just follow the directions below
  2. choose X Code 3.2.5 instead of 3.2.2
  3. When down downloading choose Custom Install and install what you need

What to do if you DO need to re-install AU-Lab

Re-installing AU lab is not as straight forward as you might think.  There are probably multiple ways to  do it – but this is what worked for me.

While there are a series of paid subscriptions – you can sign up for the Apple Developer Program for free.  This will give to access to previous versions of X code tools (which has AU lab as a component).

Once you register and get to the login screen: Look for a screen called Downloads and Programmer Assets.

Then look for Developer tools.  If you scroll down you’ll see X code 3.2.2 Developer’s Tools – which has version 2.1 of AU Lab.

“Xcode 3.2.2 Developer Tools

Xcode 3.2.2 is an update release of developer tools for Mac OS X. This release provides bug fixes in gdb, Interface Builder, Instruments, llvm-gcc, Clang, Shark, and Xcode. It must be installed on Mac OS X 10.6.2 Snow Leopard and higher. Xcode defaults to upgrading an existing installation but may optionally be installed alongside existing Xcode installations. See accompanying release notes for installation instructions, known issues, security advisories.”

Download Name File Size Date Posted
About Xcode 3.2.2 (PDF) 131 KB 30 Mar 2010
Xcode 3.2.2 developer tools (Disk Image) 744.7 MB 30 Mar 2010

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The download will take a while.  Just do the full install and it will replace the old files.

While not a very elegant solution it is a functional one.

I hope this helps!

-Scott

Rough Hewn Trio – Some Live Excerpts

The Rough Hewn Trio –  an instrumental trio consisting of Chris Lavender on Warr guitar, Craig Bunch on drums and myself on guitar are getting back into the rehearsal cycle and gearing up for some shows this spring.  To get a feel for what the shows will be like here are some live excerpts from some improvisations we did this fall.  The live sets – will include a combination of pre-composed and improvised material.

For those of you who are interested – this session is all drums and laptops.  I’m running Pod Farm and Sooperlooper and Chris is using Guitar Rig. (an amp was used to re-amp the guitar in 1C – which had some gnarly digital distortion tho…)

Note:

mp3 playback is sometimes a little glitchy in Safari.  If it doesn’t play in your web browser – you may just have to reload/refresh the playback page.

Enjoy!

-SC

Improv 2b

Improv 2a

Improv 1c

POD HD vs Pod Farm: A Cost Comparison

One thing that occasionally drives me crazy is trying to find out about a piece of gear – finding a googled link – reading through a multi page posting involving specific gear only to get to a final point of, “Oh I don’t have the unit and I’ve never tried it – but I’ve read the specs.”

Having prefaced this – with any luck this post won’t make you crazy.

I have been taking a good look at the POD HD 500.  One thing I like about the laptop rig is being able to set things up quickly – but as a friend of mine once quipped about another unit, “…you can’t check your e-mail on dedicated hardware – but it’s also much less likely to break down on stage.”

Another nice thing about dedicated hardware is the fact that it’s self contained.  There’s something about being able to plug something in and be up and running in no time at all.  Even as compact as my laptop rig is – it would still be faster to run through the HD than setting everything up on my laptop.

The price tag – Part I

The POD HD 500 will run about $500.  For that you get the same ins and outs that you got with the POD X3 – 16 amp and cab models (apparently the modeling is built from the ground up in a completely different way than the previous pods – hence the “HD”), about 100 effects and an onboard looper that can loop audio up to 48 seconds (in 1/2 time mode – 24 in regular speed).

If you’re running POD Farm 2.0 on a laptop consider this for a moment:

A second generation Macbook will run you at least a grand.  You really need a 7200 rpm drive – and that isn’t standard on most computers so you’re looking $50-$100 or more (assuming you’re installing it yourself) and 4 gigs of memory or more (if not already installed – again let’s say $50-100 depending on memory and model) – so let’s just average $150 ($75+75) for memory and drive costs.

You’ll need an audio interface.  If you use line 6 gear – you can get a cheaper rate on Pod farm but it’s usb… Let’s assume for a moment you’re going to go whole hog and go with a high quality audio interface.  An RME Fireface will run you at least a grand – so let’s also assume you’re going to go “budget” and get an Apogee Duet for $499.  If you upgrade to a break out box – it’s a minimum of $95 more for the unbalanced version.

You can get Pod Farm Platinum for $149 on Amazon (and for $184.99 get the Ilok key as well) – This is opposed to the $299 you’ll be charged from Line 6 for Platinum alone.

From a software standpoint I use AU Lab (which comes free on the OSX installer disc) and Sooper Looper (which is shareware – but you should pay Jesse something for the product – it’s one of the best software investments you can make).

If you don’t want to have to click on a mouse for a set – you would need a midi controller.  I like the shortboard mk II (approximately $199 – but it you may want to spend the $7-10 bucks for a 10-15 foot USB cable if running it live).  It’s usb powered, well constructed and works really well (except for the fact that Line 6 currently doesn’t support displaying patch names on the controller – only midi values – this is a big minus for live use – because you have to stare at the screen to see what patch you’re playing.

So for a live laptop rig (from scratch) or The price tag – Part II

Computer:  1000 + 150 (average memory and drive cost) + $599 (Duet + breakout box)+  $184.99 (Pod Farm + Ilok key) + $199 shortboard = $2133!!!!

That $1995 for an Axe-FX ultra is starting to look like a steal (although the Axe-FX midi controller is $799 – which makes the shortboard look better and better all the time)!  Comparatively, an Eleven Rack Mount will run you about $760 or so.

This doesn’t include a laptop bag, external drives (for looping/recording to), IRs  (impulse responses), conditioned power supply, USB hubs, breakout boxes or other expenses.  To put it in perspective however, you probably already have a computer and an audio interface of some kind so many of these other expenses are not critical.

From a cost perspective – there is no comparison between a POD HD and a laptop rig running POD farm.

But here’s my thought on it.

I can’t imagine Line 6 not issuing a POD farm version of the HD models.  The code for the models is already written and they already have a wrapper (Pod Farm).  My guess is that they’ll wait a while for hardware orders to fill up and then release a POD farm version.

I have no idea what the hardware is in the POD HD unit (it runs up to 96k internally) – but I have to think that:

1.  My laptop has more memory, hard drive space and a faster processor than what’s on the HD (or the Axe-FX or the Eleven for that matter)

2.  Related to this – that I can run more than 8 effects if need be on my laptop – which it the limit on the HD

3. The Apogee has to have better A/D/A conversion than the POD HD.

4.  While the built-in looper is a great addition – that it doesn’t hold a candle to Sooperlooper for features or loop time.

Does this mean that I’m dissing the HD series?  Not at all.  As you can see from the economic breakdown above – I think the HD is an amazing deal.

The Pod X3 was already useable – and even not having tried the HD (cough, cough) – I have to think it’s sonically a step forward. Heck if I could clear out some money – I might be willing to pick one up for sheer convenience alone.

But in going the laptop route – I’m making an investment in the future.

I’m putting my money on better software and better plugins and knowing that if the POD HD sounds that much better than the POD X3, that the Pod Farm version may even blow it out of the water.

There’s always cheaper ways to do things.  For a long time I ran a POD 2.0 into a Fender DeVille and always had people asking what I was using to get my tones.  As a general rule, I would suggest to get the best gear you can afford and make the most of it.

One final thought

If you own a car – you will always be sinking money into it – insurance, gas, oil, tires, breaks, maintenance, etc, etc.  It’s expensive – but it beats walking.

When I was at Berklee –  there was a shred guitarist whose pedal board had about 30-40 pedals on it and needed to be carried by two people.   This was before the signal hit the full rack space unit.  All of this gear was for 3 tones – clean, metal rhythm and lead.  Additionally, he had 2-3 Rocktron hush units in the rig.  When he stopped playing there would be a literal sound of locusts trying to break through the speaker before the gate kicked in (here’s an approximation of the sound: wheedley-wheedley-wheedley-wheedley-SCHHHHHKKKKKKK – silence).

A laptop guitar rig is kind of like a car.  If you own a guitar, you will always be sinking money into it (and the gear used with it) as well – but it beats walking with a pedal board with 30 pedals on it to a gig.

Thanks for reading!

-SC

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POD HD Flash Memory Update, POD HD500 In Live Use And More Thoughts About Gear

SOME THOUGHTS ON MODELING, GEAR ACQUISITION AND THE POD HD500

LINE 6 POD FARM 2.5 UPDATE AND POD FARM FREE ANNOUNCED

APOGEE DUET 2 ANNOUNCED

New SooperLooper Update 1.6.16

OCTAVE4PLUS A4 – .007 STRING REVIEW

BKP (BARE KNUCKLE PICKUPS) 8 STRING COLD SWEAT PICKUP

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LAPTOP GUITAR MUST BUY – GATOR VIPER ELECTRIC GIGBAG W. LAPTOP COMPARTMENT REVIEW

HOME FOR THE HOLIDAYS – GATOR VIPER GIG BAG REVIEW

SCHECTER OMEN 8 STRING REVIEW PART 2 – STRING OBSERVATIONS AND SOUND CLIPS

SCHECTER OMEN 8 STRING REVIEW

APOGEE DUET BREAK OUT BOX OVERVIEW

LINE 6 FBV EXPRESS MK II REVIEW

MONO PRODUCER BAG (LAPTOP BAG REVIEW)

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POD HD500 AND POD FARM CONJECTURES

STEINBERGER GEARLESS TUNERS – REVIEW

TOOTHPICKS AND THEIR PROPER PLACE IN GUITAR MAINTENANCE

WHERE TO GET YOUR GUITAR REPAIRED IN LA OR LESSONS FOR THE SELF EMPLOYED MUSICIAN

GUITAR STREET IN HO CHI MINH CITY VIETNAM

RIG AROUND THE ROSIE OR MEDIATIONS AND MEDITATIONS ON GEAR

LINE 6 POD FARM 2.0 OVERVIEW

VARIAX AC700 REVIEW/WORKBENCH OVERVIEW

FNH ULTRASONIC GUITAR REVIEW

GEAR

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Apogee Duet Break Out Box Overview

The Apogee Duet is a pretty remarkable piece of gear – and it terms of A/D/A conversion – it does a great job at it’s price point.  The Duet 1/4″/XLR cables, however,  are a little hit and miss:

You’ll notice that the connecting wires are thin and a little fragile looking.  Also – because of the way that the 1/4″ cables I use pull of the breakout cable – I feel like it’s adding additional tension to the wires.  In short, it made me a little nervous in live use.  Then I found out about the Duet Break Out Box – which mounts all of the cable’s into a single metal box with a rugged high quality cable attached and decided to give it a try.

There are 2 versions of the Duet Breakout Box (both are 100% passive and line level).  I’m using the unbalanced box – as I’m not sending signal over long cables – but the price difference is $99 versus The Breakout Balanced – which will run you $215 or so.

Sonically, I don’t hear a difference between the breakout cable and the breakout box -which is a good thing – the selling point of the unit is it’s ruggedness. The box is solid, well constructed and can definitely handle a live gig.  The enclosed cable is about a foot long  – so you may want to invest in a longer cable eventually – but for my purposes this works fine.

Do you need this unit?  If you’re doing mostly studio or home work you can probably get by with your existing cable fine.  But if you are planning on using the unit live – this is a worthwhile investment.

AU LAB/POD FARM 2.0/LIVE LAPTOP RIG TUTORIAL PART 6 – Dual Rig Distorted Tones

In previous instances – I haven’t had a whole lot of success with running both A and B channels on a dual rig – but I thought I would try to steal a tone idea from Joe Bonamassa, and give it another shot – this time running a dirty and clean tone at the same time and blending the two for a more complex tone.

This post won’t be as in-depth as some of the other AU LAB posts I’ve done as I’ve detailed a lot of the process already.

As a starting point – here’s the DIST 2 rig:

The pedal configurations are very similar to what I set up here:

The wahs and volumes are both assigned to the same pedal so that 1 pedal controls both functions.  Ditto for the distortion and the reverse delays (usually off) which I can kick in for some grand psychedelia.

In the next version of this rig – I would probably set the Mix knob of the delays to the expression pedal so I could dial in the amount of reserve delay I wanted when it was on.

As another option – you could also set the volumes independently – one to the short board volume and one to an expression pedal –which would allow you to have a clean tone and dial in the amount of distortion you wanted a la Jim Thomas of the Mermen.

EQ

One of the biggest problems I’ve had when using dual rigs in the past is a weird boosting of certain EQs.  Particularly on the low E string.  In this case what I’ve done is to cut the bass in the 80 Hz by 6db on the Graphic Eq in the signal chain.    This was an idea I got from a REALLY cool acoustic post that Bob Brozman had on his site detailing his live rig and correlating specific Eq ranges to strings.  It worked pretty well and helped tame the woof on the low E string.  There’s also a 3db boost at 750Hz and a 2db cut around 3k.

Kicking on the distortion on the distorted side take out some of the extreme low-end and compresses the low E string in a pleasing way.

The Tube Screamer settings I’m using are:

Drive 24%

Gain 66%

Tone 13%

Another thing that has helped with this is splitting the Stereo send.  I’ve panned these to 27% on either side.

Here’s the mixer setting:

Another important note – this is running out mono to an amp – so that will further affect the sonic split.  I’m running the rig in stereo because I like the sounds of the effects in stereo better than mono – but ultimately this is going down to a mono signal.

Here are the Silver Marshall Model Settings:

In live use – the Atomic is really bass heavy – so I’ve cut out a lot of the bass here and typically have it at 3-5 depending on how the room sounds.

Gaining Perspective

Another problem that comes up with laptop guitar – or modeling in general is that it’s really easy to overdo it on the gain.  When I got my first distortion pedal – I remember turning all the knobs up 100%.  It took a while to get to where I started experimenting with eq and gain staging to try to get some saturation – but keep the overall definition.  The use is gig specific –  If the sound requires a lot of gain and sludge – then I go for that – but in general – I definitely try to scale it back a bit.  I can always add an overdrive or distortion pedal if I need to increase the amount of gain – .

And the clean settings:

The volume is a constant adjustment issue here. (also note the eq differences from the settings in the AU lab tutorial).  Here – I’m just trying to find some good mix of dirty with a bit of clean for clarity.

Here is a short example of the tone – this uses the clean channel from the fender and the dirty channel from the Marshall.  This was just the setting with the same AU lab settings in the AU lab posts – recorded directly in AU lab.

One thing I realized after I tracked this is that the feedback on the Tube echo is set a little too high.  I usually leave them both around 4 so it gets a little verb/slapback sound.

I have the tube drive on the Fender off for this example but can switch it on for extra gain if I need it.

In the meantime – you can download this tone here.

Hopefully this has been helpful.  I’ll be doing a post on using AU lab as an acoustic pre for live use soon.

Thanks for dropping by!

-SC

Laptop Guitar Setup Or Notes From A Live Show

For the Onibaba show last night, I decided to use only the laptop rig that I’ve been working with and not use the typical Atomic/Pod X3 rig that I use.  The short of it is that from a technical standpoint – it worked without a hitch.  I don’t think that anyone noticed that there weren’t “real amps” there and tonally it fit the bill.  There were, however,  a few little quirks that needed to be sussed out.

1 The room we were playing in had very high ceilings and was really boomy.  Sounded great on acoustic instruments – but I had to be really careful of not getting washed out tone wise.

2 The midi assignments for Sooper Looper stopped working when I used the FBV express board.  The board worked fine – but I’ll probably just return it and get a breakout box instead.  The FBV Express can control about 6 functions – but ultimately I’d like to control about 10-12 functions – so I think it makes more sense to just trigger it manually.

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No one size fits all

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As I’ve mentioned here, there are a number of variances that occur with modeling:

“I’m in the process of working on sounds on the X3 Live for the show – and tweak PA vs. amp sounds.  One thing I’ve noticed with modeling is that there are at least 4 different scenarios for setting up sounds:

1.  Headphone patches – i.e. practicing or recording

2.  Playing through an amp at low volumes

3.  Playing through an amp at high volumes

4.  Playing through a PA.

You might think that there wasn’t a lot of variance – but the differences between these parameters are huge.  I have patches that sound mediocre at low volumes and sound really good when the volume gets goosed a bit.  Headphone patches that work well at home and fall apart live – and vice versa.”

So along this line  I knew I’d have to tweak some patches I’d been using  and make some new ones for the show.  I decided to pull some patches I liked and demo them at low volumes in my apartment and then try to fix anything glaringly wrong at the show.

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Reverse Engineering or Start with the output

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A while ago I mentioned I bought a back up Atomic amp from Guitar Center for $149.  The listing was for an Atomic Reactor 1×12 – but both the 50 watt and the 18 Watt are 1×12 – so what I got in the mail was the 18 watt.  Initially, I was a little disappointed – but given that you can run it on 115V OR 240V – I figured it was a good investment and that in a worse case scenario I could sell it and make my money back.

When I set up my sounds – I set them up on the 18w.  There’s no master volume knob – it just runs at 18 watts – but I could control the output with my duet and set things up at a low volume.

The Atomics in general are very bass heavy so I knew from the get go I’d have to roll a lot of the bass down and tweak other mid and high levels.

AfterI got a tone set up on a lark I decided to try to run it stereo.  I pulled out the 50 watt Atomic and there were some weird grounding issues.  While I was trying to suss that out I decided to A/B the amps – and see if there was a difference.  Suprisingly  the 18 Watt sounded MUCH better than the 50 watt.  The 18 watt does use different tubes (2 EL34’s and 1 12ax7a as opposed to the 6l6GCs and the 12AX7 in the 50 watt) – but I think that just having the amp full bore made a big difference.  The more I cranked the output volume on the Duet – the more the tone sagged in a very pleasing way.  Also the 18 watt is DEAD quiet so that solved the issue of the loud fan on the 50 watt version.  I knew the 18 Watt was loud but I wasn’t sure if it was fully going to be able to hang with drums, bass, amplified trombone and the awesome sonic terror of Vinny Golia – but it did.

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IMPORTANT DUET NOTE: 

When setting output volume on the unit – if you choose “Instrument amp” – you get a flat volume that you are unable to control – by setting it to “Line Level” you can adjust the output with the knob on the Duet.

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I think the Duet output went to ten – I never went higher than 5 – and at one point turned down to 3.  18 Watts was more than enough for the gig.  The drag now is I like the amp enough to sink more money into it and have I have the desire to get the amp re-tolexed.  Maybe with like a fender tweed or something.  In the meantime I used the 18 watter as a low volume template and could then tweak it further in the space as I needed to.

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Organization is key

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One reason to go digital is the rigs themselves they take up so little disk space you could save hundreds of them and have individual configurations for almost any situation.  This is also one reason NOT to go digital as it’s easy to get overwhelmed with options instead of narrowing it down to a few.

A great feature about POD Farm 2  is that you can create and organize folders with drag and drop ease.

For example let’s begin by looking at how I built my live setup:

First – here’s a sample patch:

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Now if you look over to Setlists:

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You’ll see I created a folder marked ATOMIC.

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Tip:

If you want to control changing setlists from a Midi Controller – Just control click on the up or down arrow, in the Setlist window and then press the midi controller feature you want to use to control it

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Within that setlist, I have a series of patches – I name them all Atomic – so I can find them easily if I have to.

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Another Tip:

If you want to control changing Programs (i.e different patches) within a setlist  from a Midi Controller –  Go to the top of the screen – where the patch name is:

Just control click on the up or down arrow to the right of the Patch name, in the and then press the midi controller feature you want to use to control it.

I’ve set it up to be used withthe up and down arrows on the right of the shortboard.  I decided to have one  folder marked Atomic and then just scroll up and down through the folder to get to patches. You could just as easily set up multiple folders and organize patches (and if you have only 4 tones per Setlist – you could just A/B/C/D them with the shortboard and use the up and down arrows to go between setlists – just like the setup on the PODs).

When I used the pod X3 with the docking station in the Atomic – one feature I would use a lot was the dual rig feature with one rig with a speaker sim – and one with none – It gave the sound a lift in a pleasing way.  At the gig I just ran them all through the 4×12 IRs I’ve been using and it sounded fine – I may put the IRs on a bus and mix the two to see how it sounds – but this is the rig I’m using as of this post.

Clarity wise – I felt it had a noticeable advantage over the X3 – but I’ll have to do more experimenting.  In a future post – I’ll detail a Dual distortion tone I’ve been developing and discuss some more specifics with using a laptop as a guitar processor live.
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Thanks for reading!
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-SC

AU Lab/POD Farm 2.0/Live Laptop Rig Tutorial Part 5

Welcome back!  In this post, I’ll be integrating Absynth, a midi controller and an audio player  into the AU LAB Live rig I’ve been building.  If you haven’t read the earlier posts about this (part 1part 2, part 3 or part 4) you may want to read those before continuing on.

In the last post of this series, we’ll be integrating Absynth, a second midi controller and an audio player into the AU LAB Live rig I’ve been building.

Adding Midi Instruments:

If I want to add a midi keyboard to get some Absynth sounds, that’s really easy to do.

First, go under the AU LAB Edit Tab:

And Select Add Audio Unit Instrument:

I’m using the nanoKEY and Absynth.  If you want more info – you can click Show Audio Unit Details:

Then click ok.

If you set the Bus on the channel to Bus 1.  You can now loop the sounds in Sooper Looper as well.

Adding an Audio Player:

If I want to add field recordings, or play along to tracks, that’s really easy to do.

First I need to go under the AU LAB Edit Tab:

Select “Add Audio Unit Generator”:

Under Generator select “AUAudioFilePlayer”

That will open up the AU File Player Track:

Now you add audio files by clicking the “+” after “Audio Files”.

By moving the markers under the transport you can set start and stop points for audio.

You’ll notice that I’ve added another track.  A nice feature of AU lab – is that in/out markers are unique to each audio file – so if I pull up another audio file.

the in/out markers are re-set.  By clicking the loop button I can loop the audio file  as well.

Another advantage of putting Sooper Looper on a bus is that in an instance like this – you can loop audio independently from Sooper Looper if you want.

AU Lab : Transport

Here’s something pretty cool the Window tab in AU Lab – select Show Transport

That will bring up the following window:

The MIDI Clock Source will probably default to Disabled – If you set it to Internal – you can use to tap tempo feature to synch effects or Sooper Looper  by tempo.  Pretty cool feature!

Also in the the Window tab in AU Lab there are some other useful options particularly –  Show CPU Load – which brings up a handy visual meter to let you see how your project is doing with it’s resources:

The rig:

Here is the rig so far, incorporating all of the elements that have been discussed so far.

In part 6 of this series, I’m going to post some mp3s comparing and contrasting the sounds of different IR’s, audio rates, etc. and sow some strategies for using stereo rigs.

Additional Resources: AU LAB

If you go to the help option in the AU LAB menu bar:

You’ll come to an extremely deep help section that covers every possible element of AU LAB that you could imagine including sidechains and midi assignments for control elements in AU lab itself.

Additional Resources: SooperLooper

The  Sooper Looper forum is also extremely helpful with various Sooper Looper issues, and also has a specific SooperLooper AU LAB section.

Additional Resources: POD Farm

Line 6 has a lot of good information on their forum and has also produced some videos that may help with setup or assignment.

The next AU lab post – is going to focus on using AU lab and POD farm as a Dual Rig Distortion Tone.

You can find all of the laptop guitar rig posts on the Blueprints tab on the top of the page.  Once on the blueprints page – just scroll down to the Laptop Guitar Rig section.

Thanks for reading!

AU Lab/POD Farm 2.0/Live Laptop Rig Tutorial Part 4

Welcome back!  In this post, I’ll be integrating SooperLooper into the AU LAB Live rig I’ve been building.  If you haven’t read the earlier posts about this (part 1, part 2 or part 3) you may want to read those before continuing on.

An Important note about sample rates:

From here on out – if you’re going to be incorporating other audio into the session (including looping in SooperLooper) – you’re probably going to have to set the sample rate back to 44.1 (and set the Impulse responses back to 44.1).  If I’m not looping –  I try to set the rate as high as I can, but know that it’s going to have to get bounced down to 44.1 for recording, etc.

SooperLooper:

The next step is to set up Sooper Looper to be able to loop audio.  I’m going to put SooperLooper on a bus, so I can either send audio to it or bypass it as need be.

In AU LAB – – > Sends – Select BUS 1.

A new Bus Strip will open.

Under Effects – scroll down and select Sooper Looper.

When you do this, Sooper Looper will open up in 2 windows:

The first window:

And then the GUI

A Quick Tip:

When using sooperlooper, you need to increase the “main in mon” to hear any output.

You can set up multiple stereo loops in Sooper Looper by selecting them from the SooperLooper menu.

I like to have 4-5 different loops set up.

You could do more (your limits are your system resources- but since I’m on a laptop – I want to be able to see everything (and this takes up some screen space).

Another Quick Tip:

You can set SooperLooper up for midi controls but the key binding options will help you navigate the window pretty easily as well.  They’re found under SooperLooper Preferences.

For example – you need to select an audio loop in order to record to it.  If you look at the bindings above you’ll see that select_loop_1 is currently set to “1”.

So if you’re on the active SooperLooper window and hit 1 – you’ll arm track 1. (Note the new line to the far left of SooperLooper that shows which track is armed for recording)

Make sure to save your AU Lab session.

Setting up MIDI control in SooperLooper:

In the first SooperLooper window:

Click on the arrow next to essej.net: Sooper.

Select Midi Effect Editor

Set the MIDI Source to the controller you want to use and set the Midi Channel to the channel you want to use.

Note:

If you don’t see the controller then go to Audio-Midi Setup application (or you could find it in the Application – –  > Utilities folder) and click on the MIDI tab.

To Set up specific commands in Sooper Looper, you’ll need to go to Midi Bindings under SooperLooper Prefereces:

MIDI Binding Steps in SooperLooper:

Click “Add New”.

Select a command under “Command/Control”.

Click “Learn”.

Press the midi control you want to use to control the function.

Click “Modify”.

When you get all the functions learned  – click Save.

Also make sure you save bother you SooperLooper AND your AU LAB session.  All the midi functions should be there when you reopen it – but if they aren’t and you’ve saved them in Sooper Looper – you can just “Load” them back in.

AU Lab : Transport

Here’s something pretty cool – the Window tab in AU Lab – select Show Transport

That will bring up the following window:

The MIDI Clock Source will probably default to Disabled – If you set it to Internal – you can use to tap tempo feature to synch effects or Sooper Looper  by tempo.  Pretty cool feature!

(Also in the the Window tab in AU Lab there are some other useful options particularly –  Show CPU Load – which brings up a handy visual meter to let you see how your project is doing with it’s resources.)

Additional Resources: SooperLooper

SooperLooper is an incredibly deep plug in.  It would be easy to devote a 5 part article to just the feature set and use of it – The  Sooper Looper forum is also extremely helpful with various Sooper Looper issues, and also has a specific SooperLooper AU LAB section.

Next time – I complete the rig (for now)

You can find all of the laptop guitar rig posts on the Blueprints tab on the top of the page.  Once on the blueprints page – just scroll down to the Laptop Guitar Rig section.

Thanks for reading!