Want to see you guys do an appropriate blind test real vs. virtual hehe

Chances are high that noone would pass it and noone would care whether the amp is real or not either muah muah

Haha. You replied to a 13 year old thread man. back then software was a bit more obvious. Amplitube sounded lots worse than it does now. Distortion was tricky to get right.

Guitar rig however still sounds like crap... ?

https://youtu.be/BBOPK80kcdA?t=246

absolutely iconic scene there, more than 13 years ago

Anyone who has played electric guitar for a while can easily tell a real amp from a sim. however, it's not that easy to tell from a poorly recorded electric guitar track which one is a real amp and which one is a sim.

but modern electric guitar tones do not sound like 40 year old bryan adams guitar tones.

https://www.guitarworld.com/features...albums-of-2022

Amplitube 4 with the Marshalls and certain speakers was semi usable and some days actually fun.Then I got my real 100w 2203 serviced as some complete ????? from Detroit poured a NSW Schooner 425ml of beer into the top vent after I graciously let him use it from Nov.to nearly 20th December 1991.

We were headlining the Last gig,and all that was needed was a towell and a HT fuse,to have it running fine again on the night.I remember feeling very lucky that the coldish beer, did not shatter the glass of any of the Tubes.

I so wish I'd left it alone,and did NOT get it serviced in 2007.

Bad Idea,both lending this goon my amp all through from the beginning of November until this show of the tour at this pivotal FINAL gig in 1991.

Then in 2007 Very sadly my amp Dr destroyed the super Brown Sound, and also gone was the front pickup Jimi with a Fuzzface sound.It had never sounded so loud and wrong.

It apparently has the same factory tune up that was done to Jimmy Pages 4 input 1959 Superlead Marshall Heads to became 180watts for The Firm tour of Europe,Great Britain and the US.

The 2203 Master Volume 100watt Heads have exactly the same transformers,even the layout is the same as the older 4 input SPL 1959 100 watt heads.

However for ME, after this service, way later in 2007; the Amp became almost completely unusable-(I realise now fairly often, those better IMO primative 100w amps, are often only running at only 60 watts depending) or at least mine often was E.G. Master volume anywhere from 2 to 4 it used to have mad gain,so that was usually set with the preferable to me Passive Controls that basically JUST CUT,the Pre Amp control was set around 5 to 8 (depending on venue and the usual biasing) Now IT HAS with way less than 1/2 the gain of a full decade of use before- from new in 1984 to 1994/5.

So back to topic- SORRY I'm still in shock about my old dependable Amp becoming this almost unusable monster. Amplitude 4 is really pretty good, mostly for Clean sounds,some dirty are really ok with me,as guitar with me, should be your fingers really.

With the ridiculously loud Marshall,it also now has Oriental 25w Greenbacks (they really sound very similar- but there is that nagging feeling they're no longer the Ipswich Great Britain manufactured Speakers - a bit of imagination possibly comes into play,maybe especially with guitarists I'm not sure- as everyday really is a different day) so as long as I doubled the amount of clean gain,unfortunately up to a quite ridiculous 30db instead of when a full 15db almost used be too much before THE SERVICE.

It now DEMANDED a mandatory NS-2 then my poor old real Marshall JCM800 2203 from 1984 new was semi,semi tolerable.

I Do Miss my old Marsha quite a Lot.

For me the only way to get a usable sound is to accurately record through it.
And it took me until last year when i got a RME inferface and a m2 mac that i was able to actually record with it with low enough latency. i respond to the audio i hear when i play. Up until that point real cabs and amps always won. Now i’m not sure anymore.

In Amplitube 4, try adjusting the mic positions. I found that it sounded pretty buzzy and bright (no matter which speakers were being used), but adjusting the mics completely fixed it. I prefer the sound of the 12" speakers, both in Amplitube 4 and when micing actual cabs.

I have and really like Line 6 Helix Native. At least for my style, Tele.

It is a REAL issue with us Electric Guitar Players.My Komplete 6 USB Audio Interface gets exactly what Vin aka TAFKAT gets when he rated that unit about right on 8.7ms RTL.

Anymore RT latency and it's like it was supporting,or opening for much bigger bands,and my 1/2 stack amp set up, was 40 plus feet away.I just Do the Best I can.

I spent Hours yesterday working out how I could set up an ancient RME 9632 or far more wisely an RME AIO Pro in an external Thunderbolt Chassis,but it's all just crazy money in AU.

I even looked into trying to get the poor man's original Babyface The ALVA Nano,but even That was expensive,and semi dodgy websites etc.

Nothing has really changed RME are still brilliant,as THEY write their own Drivers,I just laugh with people still wanting well over $1,500 for and then ponder as a 23 year old interface the FF800 is still very good ,but Win 11 drivers though,that is somewhat troubling,though I plan on running my DAW on a dual boot of Windows 11 Professional/Windows 7 Pro for the DAW and FF800 drivers are not impossible with that OS.

I imagine as FireWire interfaces were really seemingly more solid for a long time,it seemed a very stable protocol,until RME proved by writing proper drivers USB 2.0 was actually good enough,one must still invest in the correct device especially a Windows Laptop.

It is possible,and I'm glad I spent so much time learning a LOT from everyone at Gear Space over the years.

Thanks for sharing all this man, really lines up with my own sentiments and experience vis a vis RME interfaces.

I don't plan to upgrade to Win11 on my DAW for a long time.