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OVERLOUD (site web)

     
Overloud is an Italian company founded by Thomas Serafini, creator of the excellent free amp sim suite Simulanalog.

Overloud sells amp sims, as well as effects plugins (reverbs, keyboard effects...).

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OVERLOUD TH3

TH3 emulates 37 différent amplifiers, 38 cabs and 18 microphones, as well as loads of effects (overdrive, distortion, fuzz, chorus, delay, reverb, wah, etc.).

Overloud TH3

OVERLOUD TH3 DEMOS

ACDC - DEPECHE MODE - LED ZEPPELIN - NIAGARA - PINK FLOYD - THE WHITE STRIPES

All demos use impulses integrated within TH3 (no external impulse loader or impulses)

"Back in black" by ACDC

- Download this preset for Overloud TH3 -
- Preset screenshot -


Original tune (mp3 file)


Guitar: SR Les Paul (mp3 file)


Guitar: Fender Stratocaster (mp3 file)


Guitar: Fender Telecaster (mp3 file)


"Personal Jesus" by Depeche Mode

- Download this preset for Overloud TH3 -
- Preset screenshot -


Original tune (mp3 file)


Guitar: SR Les Paul (mp3 file)


Guitar: Fender Stratocaster (mp3 file)


Guitar: Fender Telecaster (mp3 file)


"Stairway to Heaven" by Led Zeppelin

- Download this preset for Overloud TH3 -
- Preset screenshot -


Original solo (mp3 file)


Guitar: SR Les Paul (mp3 file)


Guitar: Fender Stratocaster (mp3 file)


Guitar: Fender Telecaster (mp3 file)


"J'ai vu" by Niagara

- Download this preset for Overloud TH3 -
- Preset screenshot -


Original tune (mp3 file)


Guitar: SR Les Paul (mp3 file)


Guitar: Fender Stratocaster (mp3 file)


Guitar: Fender Telecaster (mp3 file)


"Time" by Pink Floyd

- Download this preset for Overloud TH3 -
- Preset screenshot -
Please note that the delay is activated only at the beginning of the solo, then it is deactivated, in order to reproduce the effect from the original tune.


Original solo (mp3 file)


Guitar: SR Les Paul (mp3 file)


Guitar: Fender Stratocaster (mp3 file)


Guitar: Fender Telecaster (mp3 file)


"Seven nation army" by The White Stripes

- Download this preset for Overloud TH3 -
- Preset screenshot -


Original tune (mp3 file)


Guitar: SR Les Paul (mp3 file)


Guitar: Fender Stratocaster (mp3 file)


Guitar: Fender Telecaster (mp3 file)


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DEMOS SETTINGS

Miscellaneous

Indications - Microphone positioning

Guitar amplifier simulations

ACDC, Chic, Depeche Mode, Led Zeppelin, Metallica, Niagara, Nirvana, Oasis, Pink Floyd, Simon's Blues, Simon's Metal, The Animals, The Doobie Brothers, The White Stripes

Indications

All guitar parts were played by Simon Chenu (guitar player, pianist, drummer, singer, guitar teacher) with three different guitars:
* Les Paul-shaped guitar, the brand is SR Guitars, equipped with 3 pickups: a modern Humbucker neck pickup, a vintage P90-like middle pickup, a vintage Humbucker bridge pickup.
* Fender Stratocaster American Deluxe with stock pickups.
* Fender Telecaster American Deluxe with 2 Humbucker custom pickups : The neck pickup is a Lollar Regal, the bridge pickup is a Fender Wide Range. Simon used the Lollar for demos with distorsion, and the Fender for clear demos.

For each simulator tested:
* Each demo was recorded with all of the three guitars described above,
* Each demo includes two guitar tracks, recorded separately (no copy and paste), and panned right and left in the stereo field.
* With each demo, two different impulse responses (different microphones) were used with each guitar.
* No distorsion pedal was used, in order to show whether or not the simulations can produce the distorsion needed in some musical genres.

The settings of each demo are identical for all three guitars. Some demos will sound better with one guitar than it will on the other two. For instance, in Nirvana's demos, the sound of the Mercuriall demos recorded with a Telecaster is closer to the original sound than what I got with a Les Paul or a Stratocaster, because I made the settings for Telecaster first.

Ideally, each amp sim tested should use different IRs, in order to find the microphone and the positionning that fits the amp best, as you would do when recording real amps with real microphones. Unfortunately, this would take me a considerable amount of time to do, and I cannot afford to do that.

All the IRs I used for these demos are from Redwirez. No EQ was applied, I just added a slight compression on some demos, and a bit of reverb so that it doesn't sound too dry.

These tests help to demonstrate how important the choice of an IR is. From my experience, I would estimate that the sound you get is: 30% from the guitar you use, 30% from the amplifier head, and 40% from the IR. Of course, these values will vary according to the pickup settings on your guitar, the settings of the amplifier, and the use of either a clean or a highly distorted sound will greatly influence the relative importance of these elements.

Microphone positioning

Microphone positioning    Microphone positioning
(pictures: copyright Redwirez)

The closest the microphone from the center of the speaker, the less proximity effect you get, and so you get less lows.
The closest the microphone from the cab, the more precision you get. By moving the microphone farther, the sound becomes less "harsh".

"Back in black" by ACDC

A good old-school Hard Rock sound from the early 80s for this famous riff by ACDC.

Guitar on the left:
One IR of Marshall 1960A cab (loudspeaker: G12M) through a microphone Neumann U67 in Cap Edge position, at a distance of 2 inches (5 cm). Stereo panning: 100% left.
One IR of Marshall 1960A cab (loudspeaker: G12M) through a microphone Neumann U87 in Cap Edge position, at a distance of 4 inches (10 cm). Stereo panning: 100% left.

Guitar on the right:
One IR of Marshall 1960B cab (loudspeaker: V30) through a microphone Shure SM57 in Cap Edge position, at a distance of 1 inch (2.5 cm). Stereo panning: 100% right.
One IR of Marshall 1960B cab (loudspeaker: V30) through a microphone Royer R-121 in Cap position, at a distance of 3 inches (7.6 cm). Stereo panning: 100% right.

IRs from Redwirez.

"Le Freak" by Chic

From what I've read, Nile Rogers, Chic's guitar player, doesn't use an amplifier. He plugs his guitar (a stratocaster nicknamed "The Hit Maker") directly into the studio's console preamp. As the objective here is to test amp simulations, I obviously won't do the same. In order to get this clear high sound, I used the following cab impulses:

Guitar on the left:
One IR of Fender Dual Showman cab (loudspeaker: JBL D130) through a microphone AKG C414B-ULS in Cap Edge position, at a distance of 4 inches (10 cm). Stereo panning: 100% left.
One IR of Fender Dual Showman cab (loudspeaker: JBL D130) through a microphone Neumann U47 in Cap position, at a distance of 2 inches (5 cm). Stereo panning: 50% left.

Guitar on the right:
One IR of Marshall '68 Basketweave cab (loudspeaker: Celestion G12H30) through a microphone AKG C414B-ULS in Cap position, at a distance of 4 inches (10 cm). Stereo panning: 100% right.
One IR of Marshall '68 Basketweave cab (loudspeaker: Celestion G12H30) through a microphone Neumann U47 in Cap Edge position, at a distance of 4 inches (10 cm). Stereo panning: 50% right.

IRs from Redwirez.

"Personal Jesus" by Depeche Mode

This riff was originally played on a Gretsch guitar, through a Rivera Venus 5 amp head and a Rivera 2x12 cab equipped with Celestion G12T-75 loudspeakers. I don't know how the original studio recording was made, but live, the sound is transmitted by a Shure SM57 microphone, and a Shure KSM32 microphone, both placed against the cab cloth. I don't have any KSM32 impulse, but from the actual microphone response diagram, it seems that the closest response curve is that of the Earthworks TC30 microphone, for which I have impulses from Redwirez. Also, I don't have an impulse from the Rivera cab originally used by Depeche Mode, but I do have Marshall and Bogner cabs impulses, both equipped with G12T-75 loudspeakers. I used the following cab impulses:

Guitar on the left:
One IR of Bogner Uberkab cab (loudspeaker: Celestion G12T-75) through a microphone Shure SM57 in Cap position against the cloth. Stereo panning: 100% left.
One IR of Bogner Uberkab cab (loudspeaker: Celestion G12T-75) through a microphone Earthworks TC30 in Cap position against the cloth. Stereo panning: 100% left.

Guitar on the right:
One IR of Marshall 1960B cab (loudspeaker: Celestion G12T-75) through a microphone Shure SM57 in Cap position against the cloth. Stereo panning: 100% right.
One IR of Marshall 1960B cab (loudspeaker: Celestion G12T-75) through a microphone Earthworks TC30 in Cap position against the cloth. Stereo panning: 100% right.

IRs from Redwirez.

"Stairway to Heaven" solo by Led Zeppelin

Undoubtedly one of the most famous solos ever, a true standard that I couldn't ignore here. It was played by Jimmy Page with a Fender Telecaster and a Supro amplifier, from what I could find.

Guitar on the left:
One IR of Supro Thunderbolt cab (loudspeaker: Jensen 15") through a microphone Sennheiser MD409 in Cone position, at a distance of 2 inches (5 cm). Stereo panning: 10% left.

Guitar on the right:
One IR of Supro Thunderbolt cab (loudspeaker: Jensen 15") through a microphone Neumann U87 in Cone position against the cloth. Stereo panning: 10% right.

IRs from Redwirez.

"Enter sandman" by Metallica

Another Metal sample from a well-known song by Metallica. Here, I leave the lows in their central position, I lower the mids quite a bit and raise the highs. The saturation is also pretty heavy, depending on the amp sim tested.

Guitar on the left:
One IR of Mesa Rectifier cab (loudspeaker: V30) through a microphone Sennheiser MD421N in Cap position, at a distance of 2 inches (5 cm). Stereo panning: 100% left.
One IR of Mesa Rectifier cab (loudspeaker: V30) through a microphone Beyerdynamic M160 in Cap position, at a distance of 1 inch (2.5 cm). Stereo panning: 50% left.

Guitar on the right:
One IR of Roland Jazz Chorus 120 cab (loudspeaker: Roland 12) through a microphone Royer R-121 in Cap Edge position, at a distance of 4 inches (10 cm). Stereo panning: 100% right.
One IR of Roland Jazz Chorus 120 cab (loudspeaker: Roland 12) through a microphone Shure SM57 in Cap position against the cloth. Stereo panning: 50% right.

IRs from Redwirez.

"J'ai vu" by Niagara

Great riff in E minor for this Blues Rock song by Daniel Chenevez, guitar player from the 1984-1993 French band Niagara. The original song is played on Marshall amps with a LesPaul guitar, paired with a Stratocaster, but I don't know what amps, stomp boxes or settings were used. To try to get close to the original sound, I used the following cab IRs:

Guitar on the left:
One IR of Marshall 1960A cab (loudspeaker: G12M) through a microphone Shure SM57 in Cap position against the cloth. Stereo panning: 100% left.
One IR of Marshall 1960A cab (loudspeaker: G12M) through a microphone Beyerdynamic M160 in Cap Edge position, at a distance of 0.5 inches (1.3 cm). Stereo panning: 100% left.

Guitar on the right:
One IR of Marshall 1960B cab (loudspeaker: JBL K120) through a microphone Shure SM7 in Cap position, at a distance of 2 inches (5 cm). Stereo panning: 100% right.
One IR of Marshall 1960B cab (loudspeaker: JBL K120) through a microphone Neumann M8 in Cap position, at a distance of 6 inches (15 cm). Stereo panning: 100% right.

IRs from Redwirez.

"Smells like teen spirit" by Nirvana

This famous song starts with a crunch guitar that turns into a heavy saturated sound. The original piece was played by Kurt Cobain on a Fender Mustang left-handed guitar. The information about the amp and cab used for the recording are contradictory but apparently, he often used Marshall 1960A cabs. These are the Impulse Responses that I used:

Left guitar:
One IR of Marshall 1960A cab (loudspeaker: G12M) through a microphone Shure SM57 in Cap position against the cloth. Stereo panning: 30% left.
One IR of Marshall 1960A cab (loudspeaker: G12M) through a microphone Beyerdynamic M160 in Cap Edge Off Axis position, at a distance of 1 inch (2.5 cm). Stereo panning: 90% left.

Right guitar:
One IR of Marshall 1960A cab (loudspeaker: G12M) through a microphone Royer R121 in Cap Edge position, at a distance of 2 inches (5 cm). Stereo panning: 30% right.
One IR of Marshall 1960A cab (loudspeaker: G12M) through a microphone AKG C414 in Cap position, at a distance of 2 inches (5 cm). Stereo panning: 90% right.

IRs from Redwirez.

"Wonderwall" by Oasis

One of the most famous songs from Oasis, and probably one of the most covered songs around campfires. The original version is played with an acoustic guitar, so having it played here with an electric guitar might sound a bit strange, but this shows the ability of amp sims to offer a clean, and if possible a warm sound.

Left guitar:
One IR of Marshall 1960B cab (loudspeaker: V30) through a microphone Shure SM57 in Cap position, at a distance of 4 inches (10 cm). Stereo panning: 100% left.
One IR of Marshall 1960B cab (loudspeaker: V30) through a microphone AKG C414B-ULS in Cap position, at a distance of 6 inches (15 cm). Stereo panning: 100% left.

Right guitar:
One IR of Vox AC30 cab (loudspeaker: Silvers) through a microphone Electrovoice RE20 in Cap position, at a distance of 4 inches (10 cm). Stereo panning: 100% right.
One IR of Vox AC30 cab (loudspeaker: Silvers) through a microphone Neumann U47 in Cap position, at a distance of 2 inches (5 cm). Stereo panning: 100% right.

IRs from Redwirez.

"Time" solo by Pink Floyd

The purpose here is to reproduce David Gilmour's great solo and see what simulators are capable of when you have to put your guitar sound up front. The original song uses the distorsion from a fuzz pedal (FuzzFace) but in these demos, I don't use any pedal. I used the following cab Impulse Responses:

One IR of Hiwatt SE4123 cab (loudspeaker: Fane) through a microphone AKG C414B-ULS in Cap position, at a distance of 0.5 inches (1.3 cm). Stereo panning: dead center.
One IR of Hiwatt SE4123 cab (loudspeaker: Fane) through a microphone Royer R-121 in Cap position, at a distance of 0.5 inches (1.3 cm). Stereo panning: dead center.

IRs from Redwirez.

Simon's Blues

Simon Chenu created this short Blues demo especially for the Grebz website. The demo helps judging the ability of amp sims to generate a good old Blues sound. Please note that I added a spring reverb simulator (SpringAge from Overloud) to stick to the ambiance.

Guitar on the left:
One IR of Fender Deluxe Reverb cab (loudspeaker: Oxford 12K5-6) through a microphone Neumann U87 in Cap Edge position against the cloth. Stereo panning: 40% left.
One IR of Fender Deluxe Reverb cab (loudspeaker: Oxford 12K5-6) through a microphone Shure SM57 in Cap Edge Off Axis position against the cloth. Stereo panning: 20% left.

Guitar on the right:
One IR of Vox AC30 Blues cab (loudspeaker: Blues) through a microphone M8 in position Cap Edge position, at a distance of 0.5 inches (1.3 cm). Stereo panning: 40% right.
One IR of Vox AC30 Blues cab (loudspeaker: Blues) through a microphone Audix i5 in position Cap Edge Off Axis, at a distance of 2 inches (5 cm). Stereo panning: 20% right.

IRs from Redwirez.

Simon's Metal

Simon Chenu created this short Metal demo especially for the Grebz website. The demo helps judging the ability of amp sims to generate a Modern Rock sound.

Guitar on the left:
One IR of Engl Pro 4x12 cab (loudspeaker: V30) through a microphone Shure SM57 in Cap position, at a distance of 1 inch (2.5 cm). Stereo panning: 100% left.
One IR of Engl Pro 4x12 cab (loudspeaker: V30) through a microphone AKG C414B-ULS in Cap position, at a distance of 1 inch (2.5 cm). Stereo panning: 50% left.

Guitar on the right:
One IR of Marshall 1960B cab (loudspeaker: V30) through a microphone Shure SM57 in Cap Edge Off Axis position, at a distance of 1 inch (2,5 cm). Stereo panning: 100% right.
One IR of Marshall 1960B cab (loudspeaker: V30) through a microphone Sennheiser MD421N in Cap Edge position, at a distance of 3 inches (7,5 cm). Stereo panning: 50% right.

IRs from Redwirez.

"House of the rising sun" by The Animals

This very famous arpeggio was recorded in 1964 by Hilton Valentine, guitarist of The Animals, with a Grtesch Tenessean guitar and a 30-watt Selmer Twin Selectortone amplifier. I don't have any Impulse Responses from this amp, so I picked other cabinets that are good for clean sounds: the Fender Deluxe Reverb and the Vox AC30, which became the amplifier of choice for The Animals after the Selmer.

Guitar on the left:
One IR of Fender Deluxe Reverb cab (loudspeaker: Oxford 12K56) through a microphone Shure SM57 in Cap position against the cloth. Stereo panning: 100% left.
One IR of Fender Deluxe Reverb cab (loudspeaker: Oxford 12K56) through a microphone Neumann U47 in Cap position against the cloth. Stereo panning: 100% left.

Guitar on the right:
One IR of Vox AC30 Blues cab (loudspeaker: Blues) through a microphone Neumann U87 in Cap position against the cloth. Stereo panning: 100% right.
One IR of Vox AC30 Blues cab (loudspeaker: Blues) through a microphone Shure SM57 in Cap position against the cloth. Stereo panning: 100% right.

IRs from Redwirez.

"Long Train Running" by The Doobie Brothers

This demo allows to see how well amp sims can produce crystal-clear sounds.

Guitar on the left:
One IR of Fender Deluxe Reverb cab (loudspeaker: Oxford 12K56) through a microphone Shure SM57 in Cap position against the cloth. Stereo panning: 100% left.
One IR of Fender Deluxe Reverb cab (loudspeaker: Oxford 12K56) through a microphone AKG C414B-ULS in Cap position against the cloth. Stereo panning: 50% left.

Guitar on the right:
One IR of Mesa Rectifier cab (loudspeaker: V30) through a microphone Shure SM57 in Cap position against the cloth. Stereo panning: 100% right.
One IR of Mesa Rectifier cab (loudspeaker: V30) through a microphone AKG C414B-ULS in Cap position, at a distance of 4 inches (10 cm). Stereo panning: 50% right.

IRs from Redwirez.

"Seven Nation Army" by The White Stripes

The purpose here is to get a vintage, raw sound. The impulses I chose are made after cabs equipped with Jensen loudspeakers, that Jack White seems to be very fond of. The original guitar sound is difficult to reproduce with amp sims alone, as Jack White used a Digitech Whammy stomp box, set down an octave, whereas I only use the amp in the demos.

Guitar on the left:
One IR of Fender Twin cab (loudspeaker: Jensen C12N) through a microphone Beyerdynamic M160 in Cap Edge position against the cloth. Stereo panning: 75% left.
One IR of Fender Twin cab (loudspeaker: Jensen C12N) through a microphone Neumann KM84 in Cap Edge position against the cloth. Stereo panning: 25% left.

Guitar on the right:
One IR of Fender Tweed Bassman cab (loudspeaker: Jensen P10Q) through a microphone Sennheiser MD441 in Cap Edge Off Axis position, at a distance of 2 inches (5 cm). Stereo panning: 75% right.
One IR of Fender Tweed Bassman cab (loudspeaker: Jensen P10Q) through a microphone Earthworks TC30 in Cone position against the cloth. Stereo panning: 25% right.

IRs from Redwirez.

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MESSAGES

(leave a message)

Messages page # 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35



Kain
le 04/12/2016 à 05h00

Hello ^^

Jette une oreille aux productions de Positive Grid. C'est payant, certes (mais souvent en promo), mais surtout... ça vaut le détour !

* * * * * * * * * * * * * * * *

<em>
Merci Kain, en effet les avis sur les simulations Bias de Positive Grid sont en général élogieux, mais je ne les ai jamais essayées, et je ne parle que des choses j'ai testées moi-même.
Pour ceux qui seraient curieux, les tests ne manquent pas sur le Net, n'hésitez pas à aller vous rendre compte par vous-mêmes !

Grebz</em>



CamilleDeby
le 06/11/2016 à 16h43

Salut !
J'ai un problème qui vous semblera peut être totalement idiot si vous êtes connaisseur mais j'ai installé la version 5 de Traktion et j'aimerais y ajouter des plug-ins mais je ne trouve pas le dossier "vst". Est-ce à moi de le créer ? Merci 1000 fois !

* * * * * * * * * * * * * * * *
<em>
Bonjour Camille,

Merci de consulter mon site !

Je ne connais pas Traktion malheureusement, mais j&rsquo;ai consult&eacute; le manuel de Traktion 4 sur Internet (je n&rsquo;ai pas trouv&eacute; celui de la version 5, mais je ne pense pas que la gestion des VST ait chang&eacute; d&rsquo;une version &agrave; l&rsquo;autre), et voici ce que j&rsquo;y ai trouv&eacute; :
Les param&egrave;tres concernant les plug-ins tiers (ceux qui ne sont pas fournis avec le logiciel) peuvent &ecirc;tre g&eacute;r&eacute;s depuis le groupe Plug-Ins de la page des param&egrave;tres (&laquo; settings &raquo; en anglais, si le logiciel est en anglais).
On y voit la liste de tous les plugins install&eacute;s et des informations les concernant.
Sous la liste se trouve un bouton &laquo; Scanning and Sorting&hellip; &raquo; (recherche et tri, le manuel que j&rsquo;ai trouv&eacute; est en anglais) qui permet de dire &agrave; Traktion de rechercher de nouveaux plug-ins ou des plug-ins mis &agrave; jour. En cliquant sur ce bouton, on a un menu avec diff&eacute;rentes options :
- Clear list : cette option supprime tous les plug-ins de la liste. Ils ne sont pas d&eacute;sinstall&eacute;s, mais Traktion les ignore si cette option est s&eacute;lectionn&eacute;e.
- Remove selected plug-ins from list : idem que ci-dessus, mais l&rsquo;option ne supprime que les plug-ins s&eacute;lectionn&eacute;s dans la liste.
- Show folder containing selected plug-ins : cela permet de savoir dans quel dossier sont install&eacute;s les plug-ins de la liste
- Remove any plug-ins whose files no longer exist : permet &agrave; Traktion de d&eacute;tecter et supprimer de la liste les plug-ins qui ont &eacute;t&eacute; d&eacute;sinstall&eacute;s, ou dont le dossier d&rsquo;installation a &eacute;t&eacute; supprim&eacute;
- Sort alphabetically / by category / by manufacturer : permet de trier les plug-ins par ordre alphab&eacute;tique / par cat&eacute;gorie / par fabricant
- Scan for new or updated Audio Unit plug-ins : uniquement pour Mac. Demande &agrave; Traktion de rechercher les plug-ins Audio Unit install&eacute;s pour les ajouter &agrave; la liste.
- Scan for new or updated VST plug-ins : S&eacute;lectionner cette option pour afficher une bo&icirc;te de dialogue dans laquelle vous pouvez ajouter des dossiers de recherche VST. Normalement, il suffit de cliquer sur le bouton &laquo; Scan &raquo; pour rechercher des plugins, mais cette option permet de sp&eacute;cifier des dossiers personnalis&eacute;s dans lesquels vous avez mis des plugins VST.

Donc, d&rsquo;apr&egrave;s cette derni&egrave;re option, cela veut dire que tu peux cr&eacute;er tes propres dossiers VST &agrave; l&rsquo;endroit de ton choix sur ton disque dur (ou l&rsquo;un de tes disques durs si tu en as plusieurs), et utiliser cette option pour indiquer &agrave; Traktion l&rsquo;emplacement de ces dossiers.

En-dessous du bouton &laquo; Scanning and Sorting&hellip; &raquo;, tu as &eacute;galement un bouton &laquo; Always check for new plug-ins at start-up &raquo;, qui indique &agrave; Traktion de toujours chercher si de nouveaux plug-ins ont &eacute;t&eacute; install&eacute;s depuis la derni&egrave;re utilisation de Traktion lorsque tu lances le logiciel. Si cette option n&rsquo;est pas activ&eacute;e, il faudra faire un scan manuel lorsque tu installes un nouveau plug-in.


Voil&agrave;, j&rsquo;esp&egrave;re que &ccedil;a r&eacute;pond &agrave; ta question. Je ne peux pas t&rsquo;en dire plus, &eacute;tant donn&eacute; que je n&rsquo;ai jamais utilis&eacute; Traktion, mais si tu ne trouves pas le dossier VST de base de Traktion, tu peux effectivement cr&eacute;er ton dossier perso et indiquer ensuite &agrave; Traktion o&ugrave; il se trouve gr&acirc;ce &agrave; l&rsquo;option &laquo; Scan for new or updated VST plug-ins &raquo;.

Grebz
</em>



Thetit
le 19/09/2016 à 17h04

Salut, j&#039;ai besoin de conseils car je me mets &agrave; la MAO. J&#039;ai une carte son Presonus fp10 et cubase sx sous Windows Vista 32 bits.
J&#039;ai t&eacute;l&eacute;charg&eacute; les simulateurs d&#039;ampli guitare et basse pour pouvoir composer. J&#039;ai install&eacute; les dll dans le dossier vst dans programfiles/steinberg/cubase/vst (un truc comme &ccedil;a ;) ). Quand je d&eacute;marre cubase je vois bien les simulateurs et quand j&#039;ajoute un effet, ils apparaissent bien... mais je n&#039;ai pas le son qui va avec, en fait j&#039;entends toujours la guitare sec sans l&rsquo;&eacute;mulation (mais le signal est bien satur&eacute; pour un ampli hi gain par exemple mais niveau son, nada). J&#039;ai essay&eacute; de chercher sur le net mais je ne trouve pas de solutions. J&#039;imagine que &ccedil;a doit &ecirc;tre une histoire de config/param&egrave;tres mais franchement j&#039;ai cherch&eacute; presque partout mais rien n&#039;y fait :( Je suis perdu. Peut-&ecirc;tre auras-tu une id&eacute;e.
Merci &agrave; toi et super ton site !!!



John
le 16/05/2016 à 22h17

Have you been able to emulate the sound of the Shadows, is there a preset for it?

* * * * * * * * * * * * * * * *

<em>Hey John,

I haven't tried, actually. From the videos I've found on YouTube, I can see they're using Vox amplifiers (unless it's just a background for the TV show they were playing in).
What song or sort of sound in particular are you thinking about?

Grebz</em>



Molotov
le 10/05/2016 à 07h25

How can I load an FX preset in Emissary?

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