What amp settings should I use?

“These go to eleven…”

Try setting the amp you are modelling to the settings you like. You still have options to tweak the EQ before or after the model, even within the AIDA-X plugin.

However, I would recommend not going to extremes with high-gain amps. The highest gain settings start to introduce a lot of noise. I’ve modelled pretty heavy amps, and I always dialled them in on the settings I needed, which involved very high gain.

Some amps can get very noisy, and dialling back just a little can make a difference in the quality of the model. 

Do I include the boosters/speaker cabinet/cab sim in the chain?

Deliberately including speakers in the chain

You could experiment with including the speaker (sim) and even your booster pedal in the chain. If you can get the model to sound right, it can help you simplify your workflow. The developers noticed that it takes the heaviest training model and yet again it is no guarantee for a good sound.

With a bit of luck though, you might end up with one model that includes several components in one model; You’ll need less setup time figuring out the settings.

Live artists should keep their flexibility in mind when going for “cab included” models. A possible scenario could be a situation where you need to switch from “straight into the mixer” to playing over a real cabinet or vice versa.

Stay flexible!

Stay flexible by adding a cabinet simulation, tied to a button on your MOD device so you can always turn that on or off in situations like described above. In that setup, a “cab less” amp model is optimal. You can also create separate pedalboards. That takes more effort to set up but gives you more options to tweak separate sounds when going for “cab included” models.

Bad practice: two cabinets or no cabinets at all

Two stacked cabinets Mushy sound
No cabinets = Harsh sound!

When the speaker (sim) sound is a part of your chain on a pedalboard to go straight into a mixer, it will sound mushy going through a real cabinet. The double cabinet sound isn’t desirable, and I speak from rehearsal room experience when I say you probably won’t like it. 

The other way around is no fun either. When your pedalboard relies on a real-life, external cabinet and for some reason it is unavailable and you need to go straight into a PA, you won’t enjoy your tone either.

Small venues often only amplify vocals and rely on the amplifiers of the artists’ instruments, so always make sure you build in enough flexibility in your live rigs.

Use a suitable input.wav file

Match file size, WAV format and rates

Make sure your input.wav and target.wav files are the exact same size, both in WAV format and have the same rate.

The modelling will only work if both your files are at 48000hz (=48Khz) in WAV format. The whole process is designed to work on this sample rate and aligns all the way down to sample level.

You will notice that many DAW’s have different standard settings like 44100hz so keep in mind to check your export/render settings.

Creating your own input.wav file

I took the liberty of adding my own section of long chords and fast chord chugging to the file. It makes the file longer but I noticed it offered a slightly better result on some of the high gain simulations. I have yet to prove its result but since some of my models will be used in a band that plays in “drop C# tuning”, it won’t hurt adding a section of that to my file.

Making the WAV files longer makes them larger in size, which quickly has an impact on the upload time when going through the training process.

Try to match db peaks and aim for a -6db peak

It could be changed by the time you are reading this but at the time of writing this article, the advice stands: Try to have a maximum peak of -6db in your target.wav file when you render. Having both input and target file on peaks of -6db *could* help the accuracy of the model. I’ve heard the team considered to handle this automatically during the modelling process at some later time.

This recommendation is made because the pregain can be adjusted up to +6db. This is not that crucial because the out gain can be adjusted in the json file produced by the training but it is of course a more clean practice to avoid that. 

Check the peak db when you create your render to know this peak. Most DAW’s show this value in the render window. Doing this, you mitigate some of the risk of your model being abnormally loud or silent.

Different training models; from “very light” to “heavy”

Don’t be mistaken, a “Light” training model doesn’t mean “low quality”

If you consider the lower CPU usage of this kind of model and its impact on your pedalboards for live use, you might be surprised with the result of the lighter settings. I’ve been using the Standard models so far and if you are using the model on a high end computer as part of your effects chain in a DAW, you can easily switch to the Heavy models if you want to. Then again, can you hear the difference between Standard and Heavy on your modelled amp?

What kind of models to deliver? Different qualities? Different gain settings?

The default setting, “Standard”, is the best options if you want to create just one model.

My idea is that the Community has more use of having different settings, all created on “Standard” quality than having just one setting in 4 qualities.

This is probably the most efficient idea if you want to deliver a different range of settings, like a low gain, medium and high gain setting. An amp specific mode or setting is always a useful one to include as well. (some amps have specific modes, channels and boosts). In that case, it might become a tedious job if you want to include different “quality” levels for each setting.

When you are modelling just one setting on the amp, the best Community service would be to deliver the whole set of qualities, from Lightest to Heavy.
When going for two models; I’d go for Standard and Lightest or Heavy and Light (both having a setting between them.)

What does “validation patience limit reached” mean?

When training a model, the process can stop before it has reached the chosen amount of iterations. You’ll get the message “validation patience limit reached”. This message means that the model is not getting any better and instead of running until the end it stops; it isn’t learning anything new anymore.Basically saving you the time with the same result of doing all the iterations you selected.

Using your MOD Audio device for re-amping a pre-amp/pedal

!! MAJOR WARNING !!
* NEVER use the speaker output of an amp to go into your MOD device. It is literally powered up to physically drive speakers.
* If you want to model an amp, you might prefer to limit yourself to the PRE-AMP SECTION.
The output of the pre-amp section can be tapped from the “FX send” (or similar) output. This has low power and it’s suitable for sensitive electronic gear (since you use that one as effects loop of an amp).
* If you insist on modellign the POWER AMP section of your amp as well, you mus use specific gear like a loadboax, physical speaker sim with low powered output etc.
* This guide is aimed at people modelling only the PRE-AMP section or pedals.

I often use my MOD Dwarf as a tool to both play and record files to create the target.wav file. 

I let 1 signal go round in an unaltered fashion and the other goes through the device I want to model.

The main reason for this is corresponding latency alignment and file size. This means I re-record the original input.wav again, next to the target when I press record.

Both dry and wet files go through the same amount of conversions; first 1 step of digital-to-analog and then 1 step of analog-to-digital. The conversion introduces a bit of latency. This way my input and target will always have the same size and there will be no latency shift on one of both tracks. 

The process is simple

> I press play on the file player
> I check the levels on the little displays of the gain plugins right after input 1 and 2. 
> I adjust the outgoing level on the device I’m modelling to match the level with the dry signal somewhat, making sure it isn’t clipping and showing somewhat the same behaviour has the input, level wise

> I make the recording by stopping the file player, pressing record and starting the audio player again. 

> Stop recording when the file is done. Don’t worry if the file already started over again, since your recording includes both dry and wet track, you will always have the same file length.

Creating a pedalboard for re-amping

Plugins to use in this process

After you upload the input file to your MOD Device, you can use it in the File Player.

I use one of Brummer’s file recorders to record the target.wav AND an unaltered input.wav. This plugin can be found in the pedal library for you to download via your Mod device’s interface. You can use either the 4-input recorder or the regular stereo recorder and let the dry (original) signal some in on L and the wet (amped) on R and split them later in your DAW. I find Audacity the easiest tool to split a stereo track to two mono tracks afterwards.

The TinyGain plugins are easy to use and feature a little display that helps in having an indication of the levels

ESR Values: What is the accuracy of your model?

ESR= Error to Signal Ratio.

The ESR is a value that expresses the accuracy of your model. It is a number ranging between 0 and 1. The closer the number gets to 0, the higher the accuracy of the model. 

ESR quality guide

High ESR? Check for misalignment issues

The current version of the training algoritm automatically detects the two short peaks in the beginning of the input.wav file so misalignment should not be an occuring issue. If you keep getting very high ESR values (0.7 and higher), try the procedure below to manually align input.wav and target.wav files

Several Community users noticed that misalignment issues can occur when creating the target.wav. This can have several causes and usually latency is the cause of the issue. Latency can occur if you have digital-to-analog and analog-to-digital conversion, latency on effects chained in your DAW etc.

You can check this by importing both your input.wav and target.wav in your DAW. Zoom in as far as you can and you will end up looking at your signal on sample level. It will look like this:

(screenshot by Community user Itskais, member of the MOD Audio team)

The screenshot already zoomed in on the absolute beginning of the input.wav file. Above, you see the input.wav and below the target.wav. 

Do you see the 2 short peaks? Those 2 pops are especially created to help the algorithm align the signals. It works like a clapper used in movie production, to align image and sound tracks.

User Spunktsch, part of the MOD crew, sometimes adds a standard “click” sound in Reaper. Look how the clean sine wave, consisting of samples of various heights, is being changed into a square shaped sound in the target.wav. 

(screenshot by Spunktsch)

If you look carefully, you’ll notice the green line denoting the start of the cycle. If you notice that your files. 

User Jandalf on the Forum came with this handy idea to align waves: he could fix it by aligning a zero crossing on both signals. Meaning: he looked for a spot  where the input signal switched from negative to positive signal values. Then he took the target signal and shifted it forward until the zero crossing of it was at the same sample as the one on the input signal.

An example of bad alignment

Zoom out a bit again. This screenshot shows a clear misalignment. In the target.wav, the first “pop” still needs to happen when the first one occurred. Try adjust the position of your target track to the waves align.

Identifying the wave shape for precise alignment

Mind you, identifying the start and end of a wave isn’t all that easy. Take a look at the screenshot by Itskais again. This is the result of a successful re-amp process and considered a valid match. Although the target wave seems to start earlier (going down a bit), most of the stronger bit above the line matches up…but not completely. 

Introduction of harmonics in the distortion, behaviour of he amps, etc and other aspects of the process can make it harder to identify alignment but notice the sheer difference between the screenshot below, where you’re talking about samples while in the example above, you are talking in terms of time

About the author

Lieven De Vleeschouwer is a Belgian singer and guitarist.
He sings and plays guitar in the Heavy/Thrash metal band Point Fifty and does solo gigs as the Devil’s Advocate. You might have met him in his role as JustinGuitar Official Guide, Approved Teacher and Community Admin

Find him on the MOD Audio Forum as LievenDV

Epilogue

“Imagine having an algorithm learning how an amplifier or pedal works based on comparing a dry and a processed sound… You could sound like every amp”

LievenDV, August 1999

Fast forward almost a quarter of a century to a time where the terms “AI”, “Neural Networks” and “Machine Learning” become trivial though we don’t always understand how it works.  Is that an issue? Not at all, since the bright people of AIDA and MOD Audio have made the technology accessible for mere mortals and guitar gods amongst us. 

I’ve heard (of)modelling before and some brands made their name by selling pretty accurate models and an expensive way to model gear yourself. The concept isn’t new but it has been a while since a disruptive player emerged on that market. 

When NAM caught traction, you no longer needed expensive hardware but you still rely on the processor power and DAW software on your computer. Modelling became accessible and very affordable.

The next breakthrough came from AIDA dsp and MOD Audio, offering open source technology on relatively cheap and mostly a very portable and gig worthy device, the size of a big guitar pedal… and here we are, living the dream I had in 1999!

The post Modeling amps and pedals for the AIDA-X: Best practices appeared first on MOD Audio website.

Neural modeling in the context of guitar equipment refers to the use of artificial neural networks to create digital versions of analog amplifiers and effect pedals. By training a neural network on the responses of various amplifier circuits and effect pedal designs to different input signals, it is possible to create a model that accurately simulates the behavior of the original hardware.

This technique can be applied to a wide range of guitar amplifiers and effect pedals, including distortion pedals, overdrive pedals, and fuzz pedals, among others. The resulting digital models can be used in digital audio workstations (DAWs), as standalone software plugins or within your MOD Dwarf to create authentic guitar tones that replicate the sound and tone of the original hardware.

Neural modeling has become increasingly popular in the music industry, as it allows for the creation of high-quality digital versions of classic guitar AMPs that can be used in recordings or live performances. It also provides greater flexibility and control over the sound of the guitar, as digital amplifiers and effect pedals can be easily adjusted and modified to suit the musician’s preferences.

What does it sound like?

Available products with the technology

This technology is getting increasingly popular and used within the music and guitar tech industry. Here are some products that make use of Neural Modeling and AI:

AIDA-X

A new emerging open-source plugin that you can use embedded in your MOD Dwarf, as VST in your DAW, or standalone as a desktop version.
AIDA-X is normalizing the use AI in the world of guitar amps through tools that allow users to train their own models.

NAM

Neural amp modeler is an open source project that’s a plugin that runs AI models. NAM is also normalizing the use AI in the world of guitar amps through tools that allow users to train their own models.

ToneX

Neural DSP

Try it now!

Check our AIDA-X announcement page OR try the plugin online here!

Also, here’s a video showing how to use AIDA-X on your MOD Dwarf:

Want to make your own models?
Want to deploy your gear into the MOD Dwarf?

Here’s our comprehensive Neural Modeling Guide: where you can learn how to capture your gear (Amps, pedals…) and train AI Models to simulate it!

Want to learn more?

Check our forum where everyone shares their trained models and training tips at:
forum.mod.audio/c/neural

The post Neural Modeling Overview appeared first on MOD Audio website.

Capturing the sound of a guitar amplifier is crucial for creating an AI model that simulates its effect accurately.

In this post, we will discuss the process of capturing the sound of a guitar amplifier for generating both single amp head and combo models.

We will share examples of captures of two classic amps, wiring diagrams, pictures, and an input.wav file with various input signals for training the AI model.

The end result:

Capturing the output of the amplifier head and the output of the cabinet allows us to create two AI models that simulate guitar amplifiers: one model for the amplifier head alone and another for the amplifier-cabinet combination.

To train these models, we need two sets of audio files. The first set contains the capture signal (i.e., the dry guitar sound) and the corresponding sound after passing through the amplifier head, while the second set contains the sound after passing through both the amplifier and the cabinet.

These audio files serve as input and target files for training the AI models and helping them learn to generate realistic amplifier sounds (jump to 2:58 for guitar samples).

The input.wav file:

The input.wav file is a critical component of training an AI model to simulate a guitar amplifier. It serves as the “dry signal” that we feed into the model along with the target.wav, allowing it to learn the characteristics of the amplifier we want to simulate.

The input file is a crucial part of the guitar amplifier capture process. It’s the file that’s used as the input signal when capturing the sound of an amplifier. In general terms, the more diverse the input file is, the more of the amplifier dynamics it allows to capture.

The input file we’re sharing covers a wide range of signals, including not only dry electric guitar audio, but also other audio signals, to capture as much of the dynamics of the amplifier as possible.
The first part of the file is inspired from the input.wav file of the NAM project.

Gear requirements:

• Guitar AMP: The amp that you would like to capture the sound form.
• Computer: That will send the capture signal, and record the reamped signals.
• Audio interface: To connect your computer to audio sources.
• Reamp Box: To match impedence between the sound interface and the input of the AMP. Alternatively (not recommended), you can use guitar pedals that have buffers. This option has disadvantages. This video, for example, shows how to use a Boss pedal instead of a reamp box.
• DI : This will allow to extract the signal out of the poweramp before the cabinet.
• MIC (optional for combo models): To record the output sound of the cabinet.
• Cables: To connect the different elements of the setup. Please make sure to choose the right type of cables depending the devices that you use.
  Here’s an example list:
  – 2x Speaker cable: AMP to DI and DI to Cabinet
  – XLR or Jack cable (may change depending on your DI): DI to Audio Interface input1
  – TRS-XLR cable (may change depending on your Reamp Box): Audio interace output to ReampBox
  – TS Jack cable: Reamp Box to AMP input
  – XLR cable: Mic to Audio Interface

Setup Diagram:

For this reamping setup, you’ll need to insert a DI (direct input) box between your amp and cabinet. The DI box will capture the signal of your amp, which you can then connect to one input of your audio interface. To capture the sound of your cabinet, you can also use a second input of your audio interface to mic the sound coming from your speaker cabinet at the same time.

To complete the setup, you’ll need to connect the output of your audio interface to the input of your amp through a reamping box, which ensures that the impedance of your signal is properly matched.

Once everything is connected, you can connect your audio interface to your computer via USB. Then, you can play the raw capture signal (input.wav) and record the outputs of your amp and cabinet simultaneously.

Safety Measures!

Make sure that the Cabinet is connected to the Amp-head through the DI. This is important because the cabinet is what accepts the huge energy load of the power-amp. Otherwise your Amp-head is prone to damage.

Wiring

Practical Example 1: Orange Rockverb 50 MK II

Practical Example 2: Fender Blues Delux Re-issue PR246

Setup is ready! (steps on computer)

Once everything properly set up:

• Play input.wav through the AMP (via Audio interface -> Reamp box), and;
• Simultaneously, record the output of the AMP-head and cabinet (via Input 1 and Input 2 of the Audio interface)
• Save the recorded file(s) on your computer.

These steps are also highly recommended after recording:

• Align: Make sure that the recorded tracks are aligned with the input.wav (it should already be the case since you’re recording while playing input.wav at the same time)
• Trim the recorded track(s) so that it’s the same length as the input.wav
• Normalize the recorded tracks

The post Guide: Capturing a Guitar Amplifier appeared first on MOD Audio website.

Welcome to the AIDA-X model training guide.

Here’s what you need to know and do to create custom models for the AIDA-X plugin. We aim to create an AI model that can simulate the effect of a guitar amplifier or pedal using neural networks.

The creation of models for AIDA-X consists of three steps:

1. Data Capture

To train an AI model that simulates the effect of a guitar amplifier or pedal, we need two files: input.wav and target.wav.

We need this data to train the AI model to learn the mapping between the input signal and its corresponding output signal with the effect applied. By feeding in pairs of input and target audio files during training, the AI model can learn to output a simulated effect sound that is similar to the target effect sound for any given input signal.

So:
The input.wav file contains the signal that we want to simulate the effect on, which can include a dry electric guitar sound.
The target.wav file contains the corresponding output signal of the amplifier or pedal device that we want to simulate.

Example, target file is the output of an Orange MK II Amp:
(Note that these are just example sounds, not the actual capturing file!)

Depending on which part of the guitar signal chain you want to make a model of (Distortion pedal, Amplifier, just Amp-Head, a VST effect plugin…), there are different setup options that will allow you to capture the training data for it (aka the target.wav file).

There are general guidelines and specific instructions that can help you fullfill this step correctly.
Here’s a blog post TUTORIAL that deals with capturing the data for guitar Amplifiers.

Also, tune-in to our forum for discussions about data captures!

2. Train the model

Once you have reamped the gear you want to clone, use this “trainer” colab notebook to turn the data that you captured into a model file that you can directly use inside the AIDA-X plugin. You will need a Google account to use the colab notebook.

Here’s a step-by-step video demonstrating how to train your model:

3. Export your model file

Once you have your model file downloaded from the notebook, you can load it with the AIDA-X plugin on any platform (LV2, VST2/3, CLAP, Desktop standalone).

Here’s a tutorial on how to use AIDA-X with the MOD Dwarf!

Further Documentation

Modeling amps and pedals for the AIDA-X: Best practices

Modeling amps and pedals for the AIDA-X: Best practices

Getting better result when modeling amps or AIDA-X…

Neural Modeling Overview

Neural Modeling Overview

What’s Neural Modeling? Neural modeling in the context of guitar equipment refers to the use of artificial neural networks to create…

Guide: Capturing a Guitar Amplifier

Guide: Capturing a Guitar Amplifier

This post is an extension of the Neural Modeling Guide. For more info on the whole process, please visit the…

Lastly

Let me direct your attention towards this forum page, where you can find users and community members sharing their custom trained models and their sounds, as well as tips on how they trained their models and set-ups they used.

Subscribe to our newsletter

The post Guide: AIDA-X Training with Colab appeared first on MOD Audio website.

In 1989, the American sound engineer Andrew Bartta created the company Tech 21, creating the now very well known Sansamp pedal in the early 90’s, which introduced a new concept of amplifier modeling, analogically simulating the main equalization characteristics of 3 well-known brands of amplifiers, Fender, Marshall and Mesa-Boogie. With Sansamp, it was now possible to record online, directly with the instrument plugged into a soundboard or directly into the recorder, or to play live by plugging the guitar or bass directly into the PA system, giving for the first time the instrumentalist the opportunity to literally have at hand several amplifier options, very similar to the same models, if they were on stage or in the studio, microphoned. Since then, the music market has seen a veritable flood of products that simulate everything and everyone, and in the vast majority of cases end up delivering nothing of the sort. Again, this is not a post about simulators, but I want you to understand some of the basics when it comes to “simulation,” especially given the innovative features that the MOD platform currently offers musicians.

First of all, simulation is really nothing more than an attempt to recreate a certain specific tone/sound produced by (usually, tube) amplifiers that have become world-renowned over the past decades. Today, the simulation process, thanks to the incredible digital technology that permeates the most accessible equipment, allows you not only to have a simulation of a certain amplifier, but of types of speaker, different types and sizes of cabinets, microphone position (and mic type as well), room characteristics, among several other options. But, basically, the simulation of a certain type of amplifier tries to recreate a sound alternative based on, guess what? There it is again… Equalization. Yes, what characterizes the sound of an amplifier X or Y is the final sound result, which can have an attempt to reproduce using equalization parameters in the sound of your guitar, even if it is with other equipment that is very different from the simulated original. In other words, it is not enough just to choose the presets “Fender Bassman” or “Marshall Plexi” to think that you will have the sound ready and equal to the original (a sound like what, really? In electric musical instruments there are so many parameters of adjustment in sound production that, even if you physically get the same equipment, you will hardly be able to fully reproduce a certain timbre in a 100% identical way…). Some important considerations here:

-first, try before you simulate something, listen to some record or watch some video (in these times of YouTube and Instagram, there is no excuse…) where you see/hear the desired amp in the simulation. What characterizes the sound of a Fender Bassman? I wonder why Metallica used Mesa-Booggie amps on their heaviest and most classic albums? That Angus Young sound comes from Marshall heads plugged into 4×12 cabinets, what characterizes this sound so much? What about the sound of Brian May’s Vox amps? What is used by Andy Summers to have that clean, modulating sound in Police’s songs? 

-ok, second part: just because someone is using one of the amplifiers mentioned above, for example, doesn’t mean that they will have the exact same sound as A or B, who use the same models. Well, it’s not enough to just put the preset and think the sound is ready, you have to dig and tweak and fix it! The sound of each one of these artists above is the result not only of the choice of amplifiers, but of the guitars, strings, picks, the position of the amplifiers and the microphones, effects, and, mainly, the personality of each one of these musicians.

I repeat, musical personality. What is musical personality? Just to help you understand in the clearest possible way, I went to the good old paper dictionary, and look how it defines “personality”: essential and unique character of a person. It is exactly this character, this way of doing something, and in the most specific case, doing it while playing an instrument, that makes you recognize B.B. King or Jeff Beck or Steve Morse or John Scofield, Billie Eillish, U2, Hendrix, Queen, Moby or yourself,  in a few seconds of music, that makes you know how to distinguish the countless sounds that make up this sea of digital information in the Spotify era. Personality is everything. It is you, exposed, 100% face to face. No masks. And that is exactly what is most needed nowadays, as incredible as it may seem. After all, how can it be in an age with so many options and this endless variety of types of information, how can it be that we have so many people simply imitating the sound that few have created? 

The answer to this question is long, tortuous, and beyond the scope of our humble blog post. But it is something you should think about, always. After all, why have so many options for simulators if most new guitar players have never listened to the originals? What exactly are they simulating? Just the names of the amps? Just because it is written that this preset simulates a Marshall does it sound like a Marshall? Does it?

I will leave here an example on the MOD platform, where you can play your instrument through different types of amplifiers and speakers. What are the basic differences between the Dyna 2×12, Freeman 4×12, Match Chief or Peav 4×10 options? use YOUR EARS, try to describe the sound nuances when playing, with the same instrument, these variations. Be creative!

Examlple #1:

Amp Simulator POST #3 – Blog – AM

Try Now

You play what you are

Yes, it sounds like a self-help philosophy, but it is the absolute truth. There is no way to be different. You will never play like someone else, even in a “perfect” cover band. Of course you can emulate and simulate, consciously, because this is also part of the job of a professional musician. If I want, I can create specific sounds and tones that are known and used by other musicians and artists, because sometimes it is necessary for a recording or performance. But in these cases, consciously I am replicating, reproducing something that I know is not mine, but that I have the necessary references to create such voices needed for a certain work or gig. And I don’t want to spend the rest of my life doing that. At some point you will want, you will feel the need to create your own sound, your own timbre, your own unique voice. 

The tone that you like and want to be able to reproduce is the product not only of a series of different pieces of equipment that cost a few thousand dollars, but also the result of study, phrasing, the way of playing, the way a certain musician thinks and listens to his music, his personality as a human being, his way of being. Some play in a more timid and restrained way, others have a powerful and giant sound. There are those who have more screaming tones, while many others prefer a more intimate and discreet sound. All this belongs to the mysterious circle of attitudes that make up a person. You will not have a different timbre from your personality. There is no way, because it will not sound genuine, true. The truth is that only a small part of the sound produced by any musician comes from the equipment. This is the truth that the industry tries at all costs to hide, because it is necessary to sell more and more new equipment. Of course new equipment is always welcome, but you don’t need to change everything you have to have a guitar sound with personality and originality. So use what you have now and gradually add new tools to your sound arsenal.

Next month I will bring specific examples of features about different types of digital amplifier and effects simulation. Stay tuned!

André Martins

Guitar player, composer, Ph.D. in Music and Improvisation, Brazil

www.andremartins.online

The post After all, what is digital simulation, in the real world? appeared first on MOD Audio website.

Virtual FX pedals

Ok, let’s move on… within the MOD ecosystem, we have access to dozens and dozens of different virtual effects pedals, with various types of applications for just about any kind of music you want to create. The time has come to start putting them in between your guitar or any other electric instrument you play, and your amp. Just take it easy! Ideally, you should be able to explore each pedal/effect separately to try to understand exactly what each one does and doesn’t do to the original sound of your instrument.  If you’ve ever had experience with physical pedals or a multi-effects unit of some kind, then you will find our approach here will be very similar and will help you improve the creation of tones and effects in your music.

Most probably you have already had some kind of distortion or overdrive pedal as your first dedicated effect. Before explaining what each effect is, I want to propose some small exercises, which I will demonstrate below, to provide some clarity in the search for your sound and your tones.

Let’s start by taking a simple digital overdrive or distortion pedal within the MOD ecosystem and insert it between your instrument and your amplifier. All the pedalboards I’ll show you here are available online, at MOD’s website. Just click on the associated link here, with your MOD connected via USB to your computer and they will load automatically on your device. 

The first thing you will want to do is balance the volumes of the instrument with the effect on and off. Play a chord with the pedal turned off and set a measurement for the volume of your instrument. Now turn the pedal on and play the same chord and/or phrase. Is it louder or quieter? Try to make it as close as possible. The second step is to work with the equalization controls on the pedal. Since you have already set the tones on your guitar or other instrument and the equalization controls on your amplifier, try to preserve as much as possible the equalization between bass, mid and treble that already existed before the digital pedal was connected and turned on. Adjust the tone controls on the pedal, slowly, trying to listen to the nuances it causes in the final tone. Some digital pedal controls are more sensitive and react with extreme precision to adjustments, while others are simpler and have only two or three positions to choose from.. Find out what your choice within the MOD ecosystem looks like, and find the right spot. 

Next, the big secret for overdrive and distortion pedals is the combination of volume and gain controls. Basically, with more volume and less gain you get a cleaner, fuller sound, and the opposite (less volume and more gain) will give you a more distorted, heavier sound. Try it and find out! Repeat this procedure with all the other saturation pedals (this includes fuzz, distortions, overdrives and boosters) that you have along the way in your search for the perfect tone.

An important note: in this first example, I created the same setup with and without the amp simulator. If you plug your MOD directly into a traditional transistor or tube amplifier, you probably don’t want to use the amp simulator. It is quite common to plug your MOD into an active sound monitoring system, such as a pair of audio monitors present in any home-studio. In this case, you will not only want to use the amplifier simulators (which are great and will be a separate topic soon in my posts here), but they will also be essential for creating your perfect tone.

Try to listen to both examples below, with and without the amplification simulation, and see what changes tonally. Pay attention to the details, the texture of the tone, the sound envelope (attack, decay, sustain and release, ADSR – we will also talk about this soon).

Eample #1a:

POST #2 – Exemple 1a – André Martins

POST #2 – Exemple 1a – André Martins distortion device without any amp simulation.

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Example #1b:

POST #2 – Exemple 1b – André Martins

POST #2 – Exemple 1a – André Martins same example, with amp simulation.

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What are the main differences? Here, it is not a matter of saying which is better or worse, but rather of finding basic differences in approach to help you create specific tones whenever they are needed.

In my opinion, the example with amplifier simulation has a more globally defined body, a more balanced EQ ratio between treble, mid and bass, more saturation, more condensed and unified as happens when we plug an electric guitar into a tube amplifier. Noticing these characteristics and knowing how to identify them will help you create more complex sounds and tones full of aesthetic nuances.

Pay attention to the differences between more or less gain and more or less volume. From now on I will always leave the examples with some kind of amplifier simulation on, but if you are going to use your own amplifier, just turn it off in the effects builder of the MOD or remove it from the sound chain.

Example #2: Less gain, more volume:

POST #2 – Exemple 2 – André Martins

POST #2 – Exemple 2 – André Martins Less gain, more volume

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Example #3: More gain, less volume:

POST #2 – Exemple 2 – André Martins

POST #2 – Exemple 2 – André Martins Less gain, more volume

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Notice that these two examples contain the SAME choice of pedals. They are identical, except for the volume and gain settings. Same guitar, same player, same MOD device, same virtual pedals and the same amplifier simulation settings. That is why it is important that you know how to carefully adjust and manipulate your virtual pedals and know the tone you want to produce with them. 

EQ is everything

You must have noticed that I have spoken several times about controlling and regulating the bass, mids and treble of your instrument and amplification system throughout this text and the previous post, right? Well, this is for a very simple reason: equalization for an electric instrument is everything. Simply everything. There are so many adjustment options in the instrument itself, in the amplifier, in the speakers, in the effect pedals, in the sound result according to the position of your amplifier, that it can cause a lot of confusion in the heads (and ears…) of all of us. For example, an instrument such as the electric guitar is an instrument with sound characteristics that are well positioned in the mid-frequency region. It is an instrument that can easily become “nasal”, without any punch or sweet middle, so extra care must be taken to regulate the instrument in terms of equalization. It is very common to set our “perfect” tone in the bedroom or studio by ourselves, and when we are playing with the whole band together we find that the sound is lost within the soundscape of all the instruments together. So it is very important that you have control of all the steps the musical instrument signal will take until the final result. 

One of the most serious problems nowadays is that the amount of options and equipment with “ready” sounds is such that many young musicians get lost in this immensity of presets and simulations and end up not being able to really have their own sound with interesting characteristics. The MOD ecosystem, by contrast, offers the musician, composer or producer a multitude of digital effects that are 100% configurable, interchangeable, and can technically and creatively cover the production of any kind of contemporary music. So we have reached an important step in the production of your final tone, especially nowadays… This will be the subject of our next post, see you there!

André Martins

Guitar player, composer, Ph.D. in Music and Improvisation, Brazil

www.andremartins.online

The post Introduction: how important are effects for instruments like the electric guitar and electric bass? Part 2 appeared first on MOD Audio website.

In this entry I will bring to mind some common circumstances and possible solutions within the MOD system. Starting with some of the quintessential system settings that intersect with this issue.

The first factor to consider is Gain Staging. Managing the relative levels in each step of an audio signal flow in the process, falls into this concept. This includes faders in a DAW, or mixing consol as well as inserts. If you happen to find the input signal is a bit too quiet, we suggest to increase the gain on the device connected to the input, while decreasing on the MOD Device output using a Gain plugin or Master Volume when appropriate. If the output signal is too quiet, increase the output on the MOD Device while decrease gain in device connected to output when appropriate. Taking a moment to assess where the volume adjustments need to be made are always crucial step in music making so dont over look the obvious. 

1. Gain staging
   1. input signal too quiet
      • increase gain on device connected to input, decrease on MOD device
   2. output signal too quiet
      • increase output gain on MOD device / decrease gain in device connected to output

Secondly the pedalboard arrangement should be monitored for any possible signal modifications that the effects themselves might make or when aligned in a series. Some amp and tape simulators color the signal with their own programammed enhancements and often can be dialed back when necessary. When this is not the case and when dealing with compressors or amplifiers we suggest using a Noise Gate to filter out all sounds happening below a dialed in DB. This is common practice and can be carried out in a straightforward way or creatively depending on the settings. Again exploring the unique characteristics of each plug in is very important to get the ideal sound. 

1. Pedalboard
   1. compresses / amplifies pick-up noise
      • use noise gate
   2. plug-in generating noise (as the original)

The third more hardware centered zone to consider is when Ground Loop is in effect. This is a much wider topic and falls into a few possible physical arrangements within your instrument and effects system. This encompasses the holistic connection environment including the power source and cables used. Here are a few examples of connection points and solutions. 

Some places to investigate within the ground loop occurrence. 

1. Ground loop (modulated 50/60Hz hum)
   1. multiple grounded devices plugged to different power sockets
      • use same power strip (limit loop size)
      • keep power cables closely together (limit loop size)
      • check for other equipment leading to interferences (e.g. dimmed LED)
      • experiment with other power sockets (increases loop size, but could be less prone to interference due to shape and orientation)
   2. unbalanced cables between MOD device and grounded gear (e.g. mixer)
      • if the receiving device has one, try using the “ground lift” switch.
      • add passive DI / ground loop isolator if receiving device has unbalanced ports
      • use balanced cables if receiving device has balanced ports
      • experiment with passive DI / ground loop isolator if noise persists with balanced cables (insufficient common mode rejection)
   3. USB connection to grounded device (e.g. computer)
      • use MOD USB cable
      • try without USB connected
      • try different USB port
      • try through a USB hub
      • add USB isolator 

The complex nature of signal routing and audio processing can be observed as a directional web of connection moving in a defined direction but being affected by other internal webs. Having a good understanding of the overall hardware architecture and cabling profile will open up whats happening within the signal chain. Overall this guide is quite specific to the MOD hardware system but can be applied to most effects led environments you might encounter. Happy patching!

The post Investigating Signal Chain Optimization appeared first on MOD Audio website.

These are legitimate questions, all of them. And there is probably an answer for us to begin to unravel: Do the best you can with what you already have at hand.

It doesn’t matter if you have only a single effect pedal or already have dozens of FX units, if you have one guitar or several, the amp A, B, or C… It doesn’t matter, I repeat. Let’s start working on your tone from now, right now. The idea here, in this series of posts I am producing, is to bring as much knowledge as possible so you can creatively use sound processing effects without having to be an audio engineer or studio professional.

In this series of posts about sound effects for guitar and bass or whatever musical instrument you do want to use, I will not focus on technical details or tell you to regulate your distortion this way or that, etc. No. Let’s take it a step further. Let’s move forward in the huge sea of information that exists in this modern world and let’s get creative. And if you, after reading all this and giving it some thought, think it is worth trying to find a unique tone, that will definitely help you to find… your sound, voilá!, I consider myself rewarded in the best and way possible!

First Steps

The first thing you should keep in mind is to know exactly what kind of sound you are aiming for. What is the tone you want to achieve so badly? And this today is something very difficult to know, especially if you are younger than 30 years old. When I started playing guitar, equipment was rarer, there was not even a tenth of the information that exists today, and everything took longer. So we did the best we could with the equipment we had. If it was a pedal, this pedal would be dissected, every knob, every knob would be tested in all the possibilities, all the ranges of options that those simple controls could offer to the player and/or music student. The same thing would happen with an amplifier or a new guitar, for instance. Therefore, you must first define what the tone of your dreams is.

Do you know how to define the tone you want? Let’s take a walk around to see (and hear, listen to these examples!!!) some well-known guitar tones today, just to use them as examples:

– For example, the guitar sound of U2’s guitarist The Edge is something simple, but very efficient and characteristic. Edge always has an almost clean sound, with a lot of repetition effect, but what characterizes his sound above all is a more arpeggiated, rhythmic, and repetitive way of playing, generating a more staccato sound;

– And how about Joe Satriani’s well-known sound? Apart from the first few albums, Satriani has gone to a full-bodied guitar sound, with less distortion, more defined notes and chords, and a lot of wah-wah used; notice how the melodic lines coming out of Satriani’s guitar seem to “sing”. Which pickups should he use more, the bridge pickups or the neck pickups? Think about it…

– Jeff Beck’s guitar sound needs no introduction, but can you define how he gets that sound out? And the harmonics, the way he uses tremolo, can you imagine that with lighter strings or is it only possible to do something similar with heavier strings? Have you heard Beck’s version of Charles Mingus’ “Goodbye Pork Pie Hat”? How does he make that guitar sound after all ?!?

– The amazing Stevie Ray Vaughan… How did SRV do all that? After all, it was just an old Stratocaster and an old amp… Could he get all that guitar sound out of that equipment alone? Could it be that if you had access to the same equipment as SRV you would have the same guitar sound?

– How about the weird, modern sound of Vernon Reed from Living Colour? He uses a lot of distortion and chromatic phrasing, but beyond this more technical aspect, how does he get such a powerful, almost clean sound with so much saturation together?

– And the ultra-clean and rhythm sound from Badi Assadi’s right hand? How does she makes it so perfectly and (well, it seems) easy to play those arpeggios and chords all broken into small groups of intervals, with different dynamics and articulation?

– Well, what about the eternal Allan Holdsworth? What about him? It is almost impossible to hear the sound of Holdsworth’s pick sound… Is it just the equipment, is it just the choice of hardware factors?

And other musicians like John Scofield? Julian Lage? Michael Landau? Well, we could stay here for pages and pages illustrating guitar sounds from musicians that are recognized all over the world for their sound. But I think you get my point:

Your musical sound, your very personal tone, will be born from your hands and your brain first.

It’s as simple as that. As the old Buddhist saying goes, if you don’t know where you are going, you won’t get anywhere… The first thing you have to do, for your own good, and before you go spending money on equipment, is to stop and think, reflect and experiment to find out what kind of musical sound you want. And for this, you need nothing more than an electric guitar or any other electric instrument that you play, an average mid-sized amp (or any other kind of audio monitoring system), and some kind of access to effects that are preferably available online, such as the MOD digital effects platform portal. Of course, you need some guitar picks, or something similar and strings as well… So this is the part of the exercise that is up to you, only you and no one else to do and figure out. Now, let’s continue with some elements that will help you on your way…

Start Simple

Before you start fiddling with the controls of your guitar, your bass, mic, or any other kind of musical instrument that you may have, your pedals, pedalboard, or any other kind of FX unit (even an app or software) and your amplifier, you should spend some time dedicated to each one of them, to get to know in-depth each step that makes up your entire guitar signal until the final result, which is the much desired and dreamed of tone. I suggest you start with your instrument plugged directly into the clean channel of your amplifier.

Let’s do this:

Leave all the EQ controls in the middle, take off the reverb or any other effect it has, and leave the volume at a reasonable height, neither too high nor too low. You have to understand first how your guitar works. Listen to the sounds produced by each of the pickups. What do the bridge pickups sound like? And when they are plugged together, like a Stratocaster in positions 2 and 4, i.e. there are two pickups plugged at the same time, what does it sound like? If you have a guitar with only two humbuckers, leave the switch in the middle and listen to the result. If your guitar has the option of single-coil, usually in the form of a push-pull, try it.

I want you to try all possible combinations of your instrument, listen, and define for yourself what the characteristics of each position are. Now, one important thing: the TONE control. Yes, it is present in almost all electric guitars, basses, or any other electric/electronic musical instrument, but it is amazing how few players are aware of the immense use this simple knob can have on the final result sound. You should probably always play with it fully open, so now try playing with it fully closed on all pickups. It will surely produce a dark and very muffled tone. Now open the tone control little by little, and try to find out where exactly is the balance point between the fully open and closed tone. Try playing like this for a few hours, and you will see that when you go back to the fully open position, you will most likely feel that your guitar sound is too high and shrill. Do the test.

Now that you know your musical instrument better, pay attention to your amplifier, or the type of equipment you use to amplify and distribute the sound of your musical instrument, whether it’s a traditional guitar or bass amplifier, for example, or an active or passive audio monitor system, or even a mini PA system. Understand the range of tessitura that goes into the bass, mid and treble controls of your amp. Does it have presence control? If so, it is another important addition to the overall control of the instrument, after all the present is nothing more than a midrange control, the most important region to tone an instrument in the guitar frequency. Does your amplifier have two volume controls, one master and one per channel? What happens if the master is louder and the volume controls are lower? And the other way around, what about the tone? Understand the relationship that exists between the pickups and tone controls of your electric musical instrument and the equalization controls of your amplifier. And one very important thing: the spatial relationship between you and your amplifier. This alone can change absolutely everything! If you play standing up, and your amp is on the floor, the sound you actually hear is very different from the sound that is produced directly from the speaker. Try changing the position of your amplifier. Put it on a chair. Let it lean against the wall and face slightly upward. Change the position it is in the room where you play, study, or rehearse. Try listening to your amplifier in several different ways until you find a position that you find satisfactory for the sound you get. Understand how they work and identify where you like the sound and where you don’t like it. Spend time on this discovery! It will be very worthwhile and will teach you a lot about your own instrument, and what you may want to add to it as a sound color palette.

Next month I will bring some basic examples that already contain the main core effects features for instruments such as the guitar, acoustic guitar, and bass.

See you then!

André Martins

Guitar player, composer, Ph.D. in Music and Improvisation, Brazil

www.andremartins.online

The post Introduction: how important are effects for instruments like the electric guitar and electric bass? Part 1 appeared first on MOD Audio website.

Generative Music was the brainchild of Brian Eno who cleverly dreamed up music created by a system. Embracing the concept of manufactured tones composed with asymmetrically played magnetic tape loops that never meet at the same points, the results caught in the record “2/1” are an ever-changing tone poem that would birth the possibilities imagined in what Eno called “Ambient Music”. Fast forward into the digital blur of the present where artists such as Holly Herndon utilize bespoke A.I to coproducer her brilliant collisions of multilayered folk futurism and legions of bedroom producers are programing music as much as they are arranging notes. Everything is dynamic and customizable to randomization, much like the present moment’s vibe itself a bit overwhelming with what is authentic to the artist or algorithm.

Chill out. This approach needn’t spiral into utter chaos. But observed as a hidden technique to enliven lifeless musical passages or lift the imagination out of a creative rut. Sometimes it’s refreshing to simply guide something automatic along and enjoy the spontaneous possibilities, a vast army of Modular Synth devotees will attest to this. An easy entry into this idea lies in LFO’s and creative modulation of note information or audio parameters, which can now be done with most DAW’s and of course the MOD system.

Here is one proposal for an environment that integrates an internal generative system along with external audio processing with the idea of making controlled spontaneously adjustable soundscapes. Ideal for creative sessions or bold performances and utilizes Mod Devices CV clock and parameter adjustments assigned to parameter controls to create an ever-shifting but guidable sonic manifold.

Generative w Inputs

#hidden

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Here notes are generated by two step sequencers playing at adjustable rates separate from each other but on the same master clock. The main sequencer note positions have been set to a potentiometer for quick intuitive entering. The sequencers have switchable note randomization along with manual addressing which allows for quick note shifts and adjustments. In the spirit of Generative music, there are three CV clock utilities that are adjusting midi note information within the two sequencers to include randomization into the mix. An arpeggiator is included in the midi chain to generate more dynamic note movement along with a midi cord generator and a midi scale tool. Upon leaving the FM synth, three channels of audio are sent to three separate effects. These include a tape emulating delay, a pitch modulating reverb, and dual pitch modulating delays. They are fed into the 4 channel mixer along with a dry input from an external device and can also be patched to the effects easily. These are all programable from the Duo X hardware. One can think of it as a highly tweakable ambient soundscape generator.

Tips:

1. Select an intuitive signal flow that allows for quick adjustments. Being able to correct the course is necessary sometimes especially when dealing with randomized elements.

2. Utilize imaginative combinations of pitch modulation and modulation delay for a fuller sound spectrum.

3. Capture snapshots of your arrangement settings to step back to interesting moments in the generative chain.

4. Explore rich degradation of tone and spatial textures with tape delay emulation.

5. Apply adjustable randomization to note assignments and control parameters to encourage generative accidents with internal CV modulation.

6. Think of the pedalboard as an ecosystem that develops over time and remember to record each session to capture interesting moments.

7. Assign hardware controls over tempo and time signature that open up alternative combinations.

8. Experiment with multiple Midi tools in the note chain. Surprising results can occur from the random characteristics of note information being shifted and suppressed.

9. Don’t forget about note velocity and its effects on synth dynamics, as these are perfect parameters to adjust with modulation.

This arrangement is just one approach to the idea of spontaneous sound generation and control. The beauty of systematic music production is tweaking it to your individual needs or as a way of resetting your inspiration. Staying curious and open to new techniques is the best path to defining your sound. You never know when that could lead to discovering a new genre of music unique to you…

Written by Jesse Siminski

The post Chromatic Spontaneity: Borrowing From Generative Music Systems appeared first on MOD Audio website.

Here at MOD Devices we work hard to develop innovative and intelligent tools that help those artists to go even further. 

By designing multipurpose audio devices, we aim to enhance creativity in the studio and innovate live performances with easy to use hardware and software.

Among the long line of artists that are already using our devices to make groundbreaking music, we selected five examples to show you the power of digital effects and how they can be used in the most diverse ways.

So let’s hear it from:

Jamaica Suk

Jamaica Suk is a Berlin based DJ and producer who forges a new vision of techno duality, hammering out deep stormy rhythms that reinforce a gentle story of polyphonies.

A trained musician and student of jazz, Jamaica’s extensive musical background originally led her towards a love of shoegaze and psychedelic rock. 

An eventual trip to Berlin changed her musical outlook drastically and Jamaica began to develop a love for the machine that would soon consume her. 

Her work developed into an impressionistic sound scape and sonic experience for the body and soul, also sharing the ideals of techno pioneers and purists who came before her.

She is a self proclaimed fan of the MOD Duo X and holds a special place for our device in her set.

“If you told me in my past career that this box could replace my pedalboard one day I would not believe you. And here it is! It offers CV possibilities and much more. It sounds ace on basses, guitars, drum machines & modular synths. It has a friendly programmable interface and is quite robust. It can easily fit in your backpack or large purse. Consider this the icing to my gluten free cake. It’s the yin to my studio yang!”

Inkie

Inkie is a Russian beatboxer/looper influenced by genres like tech-house, minimal, trip-hop, neurofunk, and glitch. 

His style in beatbox and looping comes from his personal love of sound-design and researching new ways to combine sounds with an unusual approach.

In 2012, he won his first beatbox battle at the Autumn Beatbox Battle. He later won the MTS Street Games two years later. In 2017, Inkie became the first Russian Loopstation Champion, facing fellow looper, Danya. 

Since then he has launched an international career and released his first album, Keep It Strange, in 2019, compiling 10 tracks he created during two years of battling in the international beatbox community.

Lately he has been using a Mod Duo X to sample vocals and create new elements to expand his unique approach to beatboxing. 

Check out the amazing work he has done with our device in his new track “Blue Flame”:

Benn Jordan

Benn Jordan is an American modern jazz and electronic musician operating under many pseudonyms. Since 1999, his most widely distributed electronic music has been released under the name of The Flashbulb. Benn has also released music as Acidwolf, Human Action Network, and FlexE.

As The Flashbulb, Jordan typically releases electronic or cinematic styled music. His style differs strongly between albums, but they all have a cohesive bond tied around intricate drum programming, jazz-influenced melodies, and a wide array of live instrumentation from various instruments Jordan has acquired. He also often records his melodies through MIDI-synced guitars. 

His guitar style and skill have gained attention because he typically plays the guitar strung backwards, and makes heavy use of fast sweeping and tapping. 

Also a MOD Duo X enthusiast, Benn can be seen in the video below using our device as a standalone, all-in-one looper plus performance instrument. 

Steve Lawson

Steve Lawson’s otherworldly cinematic soundscapes, improvised live with nothing but a 6-string bass guitar, an MPC-style MIDI controller and a bewildering array of pedals made him the most celebrated solo bassist in the UK.

His albums have included solo works, duets, and trio with live looping, mingling layers of sounds generated from a bass guitar.

Through touring the world as solo artist and across a staggering ninety-something solo and collaborative releases in the last two decades, Lawson has built a dedicated following for his particular brand of melodic, ambient, wonky electronica. 

In between all the music making, he somehow finds time to give regular masterclasses at universities across the UK and Europe, and is working on a PhD, exploring the audience experience of his improvised music.

In this video, taken from his Instagram profile, Steve plays the opening track of his 2020 album Hindsight, recorded live at the Casa Della Musica in Trieste, Italy. The keys and bass part are looped in the MOD DuoX.

“This little box contains a whole universe of musical exploration. I love the way it presents new creative possibilities every time I turn it on.”

Francesca Lombardo

Francesca Lombardo is an electronic music producer and DJ from Italy who has cultivated a sound of her own via an emotional narrative of dreamy soundscapes, stirring melodies and hypnotic rhythms. 

Always pushing boundaries in the name of creativity, Francesca’s live show sees instrumental ensembles of varying sizes perform her intricate productions, whilst her finesse as a DJ and undeniable vocal prowess further distinguishes her from the crowd.

Entering a new phase of her career, Francesca unveiled her critically acclaimed debut album Life Of Leaf in 2019, a collection of forward-thinking, powerful songs and made from the heart. 

Being an early user of our MOD Duo, she is one of the artists chosen by MOD Devices to test drive its new groundbreaking release: the MOD Dwarf. And she’s already loving it!

“All you need fits in a little box. MOD devices are sexy, minimal yet powerful and with no limitation. It has everything within one little box and it is very useful in the studio as well as live.”

If you liked what you just heard, how about giving our devices a try?

Imagine having endless effects, amp simulations, synths, loopers sequencers, and unprecedented patching freedom in an open-source, powerful black box.

That’s what you get with MOD Devices: 

A groundbreaking digital platform for audio manipulation, fully configurable to all your needs!

Visit our website and get to know more about our products.

The post 5 artists who are using digital effects to build a unique sonic identity appeared first on MOD Audio website.