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How to Make Amp Sims Sound More“Analog”
This Simple Technique Can Make Amp Sims Sound
Warmer and More Organic
by Craig Anderton
All amp sims that I've used exhibit, to one degree or another, what I call "the annoyingfrequency." For some reason this seems to be inherent in modeling, and adds a sort of
"fizzy," whistling sound that I find objectionable. It may be the result of pickup characteristics,
musical style, playing technique, etc. adding up in the wrong way and therefore emphasizing
a resonance or it may be something else...but in any event, it detracts from the potential
richness of the amp sound.
This article includes audio examples from Avid’s Eleven Rack and Native
Instruments’ Guitar Rig 4, but I’m not picking on them – almost every amp simprogram I’ve used has at least one or two amps that exhibit this characteristic.
It also seems like an unpredictable problem; one amp might have this “fizz” only
when using a particular virtual mic or cabinet, but the same mic or cabinet on a
different amp might sound fine.
Normally, if you found this sound, you'd probably just say "I don't like that" and try a different
cabinet, amp, or mic (or change the amp settings). But, you don't have to if you know the
secret of fizz removal. All you need is a stage or two of parametric (not quasi-parametric)
EQ, a good set of ears, and a little patience.
BUT FIRST...
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Before getting into fizz removal, you might try a couple other techniques.
Physical amps don’t have a lot of energy above 5kHz because of the physics of
cabinets and speakers, but amp sims don’t have physical limitations. So eEven
if the sim is designed to reduce highs, you’ll often find high-frequency artifacts,
particularly if you run the sim at lower sample rates (e.g., 44.1kHz). One way to
obtain a more pleasing distorted amp sim sound is simply to run the sim at an88.2kHz or 96kHz sample rate.
Another option is removing unneeded high frequencies. Many EQs offer a
lowpass filter response that attenuates levels above a certain frequency. Set this
for around 5-10kHz, with as steep a rolloff as possible (specified in dB/octave;
12dB/octave is good, 24dB/octave is better). Vary the frequency until any high-
frequency “buzziness” goes away.
Similarly, it’s a good idea to trim the very lowest bass frequencies. Physical
cabinets—particularly open-back cabinets—have a limited low frequency
response; besides, recording engineers often roll off the bass a bit to give a
“tighter” sound. A quality parametric EQ will probably have a highpass filter
function. As a guitar’s lowest string is just below 100Hz, set the frequency for a
sharp low-frequency rolloff around 70Hz or so to minimize any “mud.”
FIZZ/ANNOYING FREQUENCY REMOVAL
Although amp sims can do remarkably faithful amp emulations, with real amps
the recording process often “smoothes out” undesirable resonances and fizz due
to miking, mic position, the sound traveling through air, etc. When going direct,
though, any “annoying frequencies” tend to be emphasized.
The following audio example is from Avid’s Eleven Rack; the combination of the
Digidesign Custom Modern amp, 2x12 Black Duo Cab, and on-axis Dyn 421 mic
creates a somewhat “fizzy” sound. Listen carefully, and you'll hear a high, sort of
"whistling" quality that doesn't sound at all organic or warm, but "digital."
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• FizzySound.mp3
The audio example is the original amp sim sound. Let’s find that fizzy quality,
and get rid of it.
1. Turn down your monitors because there may be some really loud levels as you search for
the annoying frequency (or frequencies).
2. Enable a parametric equalizer stage. Set a sharp Q (resonance), and boost the gain to at
least 12dB.
3. Sweep the parametric frequency as you play. There will likely be a frequencywhere the sound gets extremely loud and distorted—more so than any other
frequencies. Zero in on this frequency.
• FindFizzyFreq.mp3
In this audio example, I've created a sharp, narrow peak to localize where the whistle
is. You'll hear the peak sweep across the spectrum, and while the sharp peak is sort of
unpleasant in itself, toward the end you'll note that it's settled on that whistling sound we
heard in the first example. In this case, after sweeping the parametric stage, the annoying
whistle is centered around 7.9kHz.
4. Now use the parametric gain control to cut gain, thus reducing the annoying
frequency – check out the next audio example.
• RemoveFizz.mp3
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You'll hear the whistle for the first couple seconds, then hear it disappear magically as the
peak turns into a notch (check out the filter response in the following screen shot). Note how
the amp now sounds richer, warmer, more organic, and just plain more freakin' wonderful
A little past the halfway point through the clip, I switched the filter out of the circuit so theresponse was flat (no peak or dip). You'll definitely hear the whistle come back.
Here's what was used to remove the fizz (click to enlarge). This single parametric notch
makes a huge difference in terms of improving the sound quality.
DUAL NOTCH TECHNIQUES AND EXAMPLES
Sometimes finding and removing a second fizz frequency can improve the sound
even more; let’s investigate.
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• No notches.mp3
This audio example plays back the original sound from Guitar Rig 4’s AC30
emulation. It sounds okay, but there’s a certain harshness in the high end. Let’s
find the fizzy frequencies and remove them, using the same procedure we used
with the Eleven Rack.
• FindFreq9645Hz.mp3
After sweeping the parametric stage, I found an annoying whistle centered at 9,645Hz. Now
listen to the next audio example.
• Notch at 9645Hz.mp3
The notch takes out the whistle at 9,645Hz. Note how the high end sounds a lot
smoother. But we’re not done yet; let’s see if we can find any other annoying
frequencies.
• FindFreq5046Hz.mp3
This audio example shows that there's another peak frequency; this time it's centered at
5,046Hz.
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Removing this additional frequency doesn’t make as dramatic a difference as
removing the 9,645kHz range, but it still improves the overall sound...check out
the next audio example.
• Additional Notch at 5046Hz.mp3
This example plays back the original file with both notches added, followed by
the original file without any notches (flat response). Note how the second part
sounds much more “digital,” and lacks the “warmth” of the first half...and alsonote that it's not a subtle difference!
The above image (click to enlarge) shows the parametric EQ notches that were applied to
the signal, using the Sonitus EQ in Cakewalk's Sonar DAW.
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MUCH BETTER!
Impressive, eh? This is the key to getting good amp sim sounds. Further refinements on this
technique are:
• Experiment with the notch bandwidth. You want the narrowest notch possible that nonetheless gets
rid of the whistle, otherwise you'll diminish the highs...although that may be what you want. As I said,
experiment!
• Some amp sims exhibit multiple annoying frequencies. On occasion, sometimes three notches is
perfect. Generally, the more notches you need to use, the more narrow you need them to be.
When you’re done, between the high/low frequency trims and the midrange
notches, your amp sim should sound smoother, creamier, and more realistic.
Enjoy your new tone!
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