StealthPedal Clips!

May 26, 2009

Will has these to upload whenever he gets a chance, but as always they’ll be mirrored here on my blog. These were all made using the StealthPedal both as an audio interface for my guitar, and for its expression capabilities.

1. Amplitube X-Gear, only Amplitube Metal gear (comes with the Standard and Deluxe bundle for a limited time!) Metal WahWah (Vox Wah 847 model) into PROdrive (RAT model) into Recto Clean model

2. Amplitube X-Gear – Ampeg SVX Compressor pedal, AT Fender ’63 Reverb pedal & AT Metal Flanger (mix on each controlled with Stealth Pedal) into AT Fender Vibroverb Custom

3. Guitar Rig 3 Tremolo (full intensity, rate controlled by StealthPedal) into Phase 90 model into Ultrasonic amp

4. PodFarm ChromeCustom Wah (controlled with StealthPedal) into Screamer (TS model) into JCM900 model into Tape Echo

As you can see, it works for any software you’ve got, making it pretty much the hottest thing in audio interfaces at the moment. I’ve heard that they’ll be shipping production units out this week, hopefully, so get it while it’s hot – “for a limited time,” and probably not all that long going by past experience, Amplitube Metal will be included with both the Standard and Deluxe packages. It’s a criminally underrated Amplitube family plugin, and it’s very cool of them to hook you up with it with Stealth.

It’ll be interesting to see if anyone has anything up their sleeve to try to answer this challenge from IKMM.

TH1 1.1 Clips

May 16, 2009

The DI and controller for all of these is the IK Multimedia StealthPedal. Part of reviewing the StealthPedal involved me actually testing it with a bunch of non-Amplitube software, so I figured I’d tie this in to demonstrate that it sounds good and controls anything you want it to, and quite effectively at that.

1. Bassman model, clean, with 9-0 Phaser and Plate reverb (controlling the phaser’s mix with StealthPedal)

2. RAT pedal (a real standout) into a Marshall/Fender hybrid amp (SLR slider) with some D-Delay and Plate Reverb

3. High-gain Overloud Custom/SLO hybrid (SLR slider)

4. Mu-Comp compressor into AC30 model with the Varifire turned up to give it more sizzle, Hall reverb

5. Rock Wah (activated and controlled with StealthPedal) into Diode250 overdrive into JCM900 model, cranked, with some Dimension Chorus, Tape Delay, and Hall reverb

Hope y’all dig it. I recommend reading my TH1 1.1 review, linked two posts back, if any of the terminology above is unfamiliar (e.g. “what the heck is a varifire?”)

FrugalGuitarist exclusive – IK Multimedia Stealthpedal!

May 16, 2009

IK Multimedia, the company responsible for the Amplitube family of amp modeling and effects products and many virtual studio tools, is not new to audio interfaces for instruments. They have released the impressive StompIO unit in the past, a fully-featured DI and control combination which integrates seamlessly with their X-Gear combined powered-by-Amplitube operating environment, as well as StealthPlug, an affordable entryway for guitarists seeking a simple, effective guitar to USB converter. Coming at a price point between those two offerings, StealthPedal, their newest interface, is sure to turn some heads for its remarkable features that are currently unmatched in the industry…

Read the full review at FrugalGuitarist!

Comprehensive TH1 review posted on

May 11, 2009

Here’s the introduction:

Almateq Overloud TH1 1.1 is a very interesting entry into what has become a very crowded field of guitar amplifier modeling and multi-effects software. Among the considerations that the modern musician or audio engineer has when selecting a modeling software is whether the software is flexible enough to meet their needs; whether the effects are useful or simply for show; whether the program is both stable and gentle enough on the processor to be used across multiple tracks in a session; whether they have sufficient control over the software to use it live; whether the user interface is intuitive and workable; and just as importantly, whether the company can be counted on to listen to its users and respond to their needs moving forward. For a program to make waves rather than just a ripple, those factors and more have to be well in order. The leading modeling software companies have learned how to achieve the above goals through years of experience; it would be remarkable if Overloud TH1, a new product, could take a legitimate seat among the elders. However, after spending some time with TH1 1.1, in my judgment it is indeed a worthy competitor.

Read on at!

Barber Tone Press review

May 1, 2009

Alright, I liked my Dirty Bomb and I needed a compressor. It just so happens that some years back David Barber made a compressor that a lot of folks like, to the point that he describes it as his most successful pedal, so I decided I’d check it out.

While I have not experienced some that I have heard great things about (notable never-trieds: Keely comp, Dyna-Comp script reissue, especially Diamond Compressor, Wampler’s compressor), of the compressors I have used (many more common units) The Barber Tone Press is hands down the best. Comparing it to my BBE Orange Squash is unflattering to the Orange Squash, despite my appreciation for its round, mellow compression. Specifically, while my Dyna-Comp is easily the worst offender for the “pop” at the start of notes, now I can notice that the Orange Squash has a slight bit of that going on as well, because the Barber Tone Press has none at all. Parallel compression is a really useful trick in the studio, now it’s a really useful trick all the time. It honestly seems that there are no downsides to this compressor, it can be either very colorful and effect-y up there with the Dyna-comp, or it can be totally transparent, and anywhere between. The internal “Color” trim pot is really interesting, too, it has an effect on the high end and seems to have something to do with the comp’s general response. I adjusted it through its range of motion when I first plugged it in, and there are definitely a lot of flavors in this unit – I imagine a lot of vintage compressor tones could be had with counter-clockwise Color settings and the blend control adjusted for just the compressed signal. I don’t know that I might not even get some use out of some really subtle compression effects while using it as a boost; as advertised it is a very good clean boost when you dial the compression out, and adding a little compression to the otherwise clean boost could make this a great tool for solos. I haven’t tried that but it’s on the list of things to do.

Here’s a little demo of the Tone Press. There’s a lot that this comp can do, but this is how it sounds with one of my strats. Volume set at 2 o’clock for unity gain on transients; blend at 50/50; sustain at 2 o’clock. Internal “color” control set fully clockwise (which is how it ships, I adjusted it and then put it back there because I like it, it’s more transparent and snappy this way).

Start on the neck pickup, I switch to the bridge somewhere in there. First I play something without it, then you’ll hear a tiny click which is the unit switching on, then I play something with it. There’s only one pair of sounds in there that it isn’t totally obvious when the compressor is on, I may have forgot to turn it off when I started playing at the 12th fret and then had to re-start the clean->comp->clean->comp pattern afterward. Anyway, if it sounds fuller, sustains better, the comp’s on; if it sounds thinner and sustains less well, the comp’s off. Pay attention to the fact that transients are not impacted despite the notable presence of the beneficial effects of a well-designed compressor. That’s sort of the “point” of the Tone Press, as I understand it, though of course you can set the Blend however you would like and if what really does it for you is that poppin’ fresh pop on every note, it’s possible – set the compression to taste, blend all the way to the compression side with the Color knob more counter-clockwise and it will get you the vintage Ross/Dyna-Comp sounds you’re after. Personally I really prefer it with the blend set 50/50 or even higher on the clean side of things, because I am not a big fan of the pop. After trying a lot of compressors it’s very neat to have one which appears to have no detrimental effects, only positive ones.

Signal path:

Barber Tone Press -> Boss Dimension C -> Fender Twin. Delay and reverb are post.

I’m graduating on May 9th! My last paper is due Tuesday! No updates ’til Tuesday :)

May 1, 2009

Thanks everyone for keeping the traffic up even though it’s been quiet lately. I am incredibly excited to be on the cusp of graduating.

My wife accepted a job offer in a small town in Arkansas that has great class sizes, good per-student spending, and a smart board in every class room; it should be a great first teaching position for her. She’s so good at what she does 🙂

A time of much change for us, that’s for sure, but one thing that won’t be changing is the blog; I’ll keep this going through everything, and the much-promised pedal post is coming soon. Although I’m going to have to ADD to the 48 number, since I finally got in a review copy of Line6’s PodFarm software. Took a while, but it showed up on my doorstep yesterday! Can’t wait to try it out and start posting comparisons which include it here on the blog.

I’ll be reviewing Almateq Overloud’s TH1 1.1 for FrugalGuitarist next week,  so if you’ve been curious about that newcomer hopefully it’ll be helpful. It’ll be a fairly in-depth review.