Clean tone with Nembrini Audio BST100 Super Overdrive (Soldano guitar amp)

BST100 Super OverDrive Guitar Amplifier: https://www.nembriniaudio.com/product...

This video is about clean tones so the first thing is to change from BOOST to NORMAL. The first thing we are going to do is adjust the input volume coming from the guitar. Adjust INPUT until INPUT REFERENCE shines mostly in green, touching yellow.

As we can see there are two pairs of knobs labeled NORMAL and BOOST. Those on the right are MASTER volume controls and control the volume of the power amp, those on the left are gain controls and control the volume of the preamp.The most common method to obtain clean tones is to increase the MASTER and decrease the PREAMP volume, this way we lower the level of the signal at the beginning of the chain avoiding saturating the following circuits.

PRESENCE is a tone control that affects the final sound that comes out of the amp and can increase or decrease the intelligibility of the #guitar in a #mix, for example use more presence for solos and less for rhythms. The tone controls on guitar amplifiers are usually very different from normal EQs, to begin with they are never flat and their curves are very soft and wide so their function is to balance the sound rather than shaping it... Differently to how it is done in normal EQs if you are looking for a bright sound in the amp you should use a combination of more TREBLE with less BASS and vice versa. The MID control can be used to increase the body or to reduce resonances depending on the style.

BST100 includes five of the most used and representative cabs of different musical styles in the history of guitar recording:
1 - Marshall 1960 4x12/Celestion G12T-25W
2 - Mesa/Boogie Rectifier 4x12/Celestion V30
3 - Bogner 2x12/Celestion V30
4 - Fender Tweed Deluxe 4x10/Jensen P10Q
5 - Soldano 412B 4x12/Eminence Legend V12
None of these five #cabinets are based on impulses, they are mathematical models which allows us to manipulate them as if they were real cabinets which makes them our personal favorite method. Among the advantages of modeling we have the possibility to select the microphone, change its position in front of the speaker, combine several of them and change their levels as we would with a real cabinet.

The microphone section offers 4 presets with 4 popular mic positioning combinations for recording. This offers you the possibility to quickly approach the sound and then make modifications when the inspiration is gone. Then by using the mixer you can select one or more mics, choose different models from the 4 available models that are: Shure SM57, Royer R-121, AKG C414 & Sennheiser MD-421. By combining two microphones you can create richer sounds such as mixing a Royer 121 which is dark with the SM57 which is bright to obtain a creamy and defined tone.

The third slider in the mixer controls the volume of the room. As we have seen in previous videos (and many don't want to believe) (Watch "The extra 10% that makes AMP Simulators sound REAL":    • The extra 10% that makes AMP Simulato...  ) the realism of amp sims comes mostly from a correct handling of the ambience. As we will see, as we introduce the AMBIENT, the guitar acquires context and gives us hints of the place where the musician is supposed to be. If we mute the two direct mics we can create the effect of being in a distant position from the musician. A trick we often use is to add a stereo reverb on top of the natural ambience of the guitar. The mix of different algorithms often increases the realism as we saw in a previous video (Watch "How to combine stereo & mono reverbs to confuse the listener":    • How to combine stereo & mono reverbs ...  ).

The main alternative to the system of cab, mics and ambience modeling is the use of IMPULSES. This system is based on files created through the complete signal chain and therefore it doesn't offer the additional manipulation options that the modeling offers, that's why each IR often comes with several files with different mic positions. The impulse-response system has traditionally been valued for its superior quality to the physical modeling, however the advances in modeling technologies along with the experience accumulated by the developers in this field have managed to close the gap to the point where in many cases it is impossible to discern the difference.

*All the music featured in this channel is our own unless otherwise stated. Reproduction is prohibited without the express consent of the authors.

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