Monitoring

Huber, David Miles; Runstein, Robert E.

doi:10.4324/9781315666952-18

Modern Recording Techniques 2017

DOI: 10.4324/9781315666952-18

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Monitoring

David Miles Huber¹,

Robert E. Runstein²

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2020

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“…In an exploratory approach, Majewski and Malecki (2015) compared sounds produced by an original amplifier with those based on the KPA emulation of the same amp. The authors used re-amping technology, the recording of a clean guitar signal using direct in (DI) and playback of the cleanly recorded track through a miked guitar amp/speaker (see Huber & Runstein, 2010, p. 147) to keep the input signal for both amplifiers constant. Musical examples were based on three short arrangements with electric guitar, bass guitar, and drums with the guitar playing a lead passage, a rhythm, and a solo.…”

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confidence: 99%

Confusingly Similar: Discerning between Hardware Guitar Amplifier Sounds and Simulations with the Kemper Profiling Amp

et al. 2020

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Over the last decades, the simulation of musical instruments by digital means has become an important part of modern music production and live performance. Since the first release of the Kemper Profiling Amplifier (KPA) in 2011, guitarists have been able to create and store a nearly unlimited number of “digital fingerprints” of amplifier and cabinet setups for live performances and studio productions. However, whether listeners can discriminate between the sounds of the KPA and the original amplifier remains unclear. Thus, we constructed a listening test based on musical examples from both sound sources. In a first approach, the psychoacoustic analysis using mel-frequency cepstrum coefficients (MFCCs) revealed a high degree of timbre similarity between the two sound sources. In a second step, a listening test with N = 177 showed that the overall discrimination performance was d’ = .34, which was a rather small difference (0.0 ≤ d’ ≤ 0.74). A weak relationship between the degree of general musical sophistication and discrimination performance was found. Overall, we suggest that listeners are rarely able to assign audio examples to the correct condition. We conclude that, at least on a perceptual level, our results give no support for a commonly accepted pessimistic attitude toward digital simulations of hardware sounds.

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confidence: 99%

Confusingly Similar: Discerning between Hardware Guitar Amplifier Sounds and Simulations with the Kemper Profiling Amp

et al. 2020

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Monitoring

Cited by 1 publication

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Confusingly Similar: Discerning between Hardware Guitar Amplifier Sounds and Simulations with the Kemper Profiling Amp

Confusingly Similar: Discerning between Hardware Guitar Amplifier Sounds and Simulations with the Kemper Profiling Amp

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