I just got through getting Platinum on both my laptop and my desk top. It's great, but I'm still learning new things about it. One thing, I can't find three key plugins.
 
I can't find the "Keyboard Talent Simulator," the "Eric Clapton Les Paul," plugin, or the "Stevie Ray Vaughn Strat" plugin. I've played along with "Hideaway," but I still sound like myself instead of Clapton, a problem I've had for years. I was hoping the Clapton plugin would make me sound like Hideaway on the Beano recording.
 
The same goes for the Stevie Ray Strat plugin. No matter how hard I try, I still sound like myself. Especially on "Pride and Joy" and "Floodin' Down in Texas." If some nice person here could tell me where they hid the Steve Ray Vaughn plugin maybe my cover recordings of those two songs would sound better.
 
As for the "Keyboard Talent Simulator" plugin, I can't find it either, and really need it because I'm buying a keyboard and don't know a thing about them. I want to sound good right away without having to practice for years to sound like Floyd Cramer, my third hero after Eric and Stevie Ray.
 
Thanks in advance. I know I can count on you guys to tell me where these important plugins are.
 
JGP
PS. Now that I have SONAR Platinum, I'm wondering if I record a hit song on it, if I have to share the royalties with Cakewalk. Does anyone else have that concern?

"Does anyone else have that concern?"
 
Er, no.

JustGotPaid
PS. Now that I have SONAR Platinum, I'm wondering if I record a hit song on it, if I have to share the royalties with Cakewalk. Does anyone else have that concern?

you'll only have the share the royalties with your better half, but rest assured that it won't be an even split and not in your favour, either ... so why bother with a hit song???

Oh well, without the "Talent Simulator," the "Eric Clapton," and the "Stevie Ray Vaughn" plugins it will hard to have a hit song anyway.

I know this is tongue in cheek but I've spent a RIDICULOUS amount of time learning about/playing with my guit amp sims (TH2 and GR5) to emulate specific sounds from specific players (from specific recordings). As it happens I generally use SRV for my cleanish blues strat template.
 
Most importantly though I search for/craft MY old sounds and the sounds of the other players I worked with for my own recreations of what I used to do.
 
Included sim presets are generally garbage but can kind of sort of give you an idea of how to use in sim components to get close to what you want.
 
A better plan (for me) though is to actually read up on the gear your favorite players used then try to recreate their chain (effects, amps, etc) from scratch using the included models of whatever amp sim you own.
 
Many times you will need to find suitable substitions (like instead of some crazy hot rodded Marshal custom job you find a similar Marshal model in the sim components and tweak the heck out of it).
 
Of course the Sonar included TH2/3 are stripped out versions but still have some classic sounds for most things. It's much better to upgrade/own fully stocked sim programs (or buy the desired packs from companies like IK for sepcific models of amps/effects).
 
One of the MOST important things is to work the "room/cab/mic" controls these sims have. In TH2 you click on the cabinet to swap out/add mics, control mic distances/angles, pick a "room", etc. In GR5 you use the cab component options such as the "Air" slider on the cabs or better yet the Control Room Pro module/mixer.
 
More recently I've been using Aux Tracks to feed my dry signals into and stacking those Aux Tracks with different sims/sounds (perhaps I prefer the Marshalls in GR5 over the ones in TH2 and the Fender's in TH2 over GR5 or I want a GR5 head/effect running into a TH2 cab... whatever).
 
So I send that one audio clip/track to multiple aux tracks with multiple sim setups to blend, pan and add effects that compliment each other (like adding a clean attack to a nasty/dirty/mushy distorted sound).
 
It also allows me multiple instances of the Prochannel (and particularly the QuadCurve EQ) to ultra sculpt the guit tone. Then that all gets fed into a final target bus for blending/smoothing.
 
The modelling these days is awesome (it used to suck balls and I never used it) but getting an epic guitar sound in the studio has always been much more than just tossing a mic in front of a nice amp. There are lots of complex tricks and techniques involved (from tracking doubles, mic'ing, panning to straight up post tracking mix effects).
 
It is HARD and complex stuff that requires a TON of reading and experimenting and EVERYTHING changes as soon as you use a different guitar with a different output tone.
 
So sit down with your main guitar and start creating your own presets, reading about gear that your heroes used and mathcing it up with models you have, consider upgrading you entry level amp sims (do your research first to get what you REALLY need), learn your sims THOROUGHLY and learn about traditional guitar amp recording and mixing techniques (mic set up, compression, EQing, effects, etc).
 
I've actually been considering providing a service where someone could send me a dry DI guitar recording (so I have a sample of their actual guitar's output and their playing style), tell me what type of sound they are looking for and then creating custom guit sim presets/Track Templates they can use to toss in their own projects.
 
As far as a "talent" plug... can't help with that but I will be providing online lessons at some point too. Of course technical ability does not equate to real talent... but it doesn't hurt. lol
 
Good luck and have fun.

Thanks Beepster. Nice, thorough and informative reply. It's amazing the technology and variety of tones and amp sims they have these days.
 
I have most of them. I also have and Eleven Rack when I was using Pro Tools. Now, I have a Kemper. All of them are really fascinating. But I learned that every time I wanted to record I just put a Shure SM 57 on a 1966 Blackface Fender Deluxe Reverb and can get the tones I like, and I don't need many tones. I have several good effects pedals too, so the tone possibilities were literally endless. Actually there were just too many possibilities. I wasted a lot of time just playing with them all when I only use five or less tones for practically everything. In fact, I just took a box of old pedals to an area music store to sell them on consignment....and...the Eleven Rack.
 
In a blindfold test I doubt many people could tell the difference in the real thing and a sim, but I'm just old school and like to get the air moving and to hear the real tone coming out of the speakers. All I use basically is a clean Les Paul, an overdriven Les Paul, a clean Tele, an over-driven Tele, and sometimes the same for a Strat when I play slide. I never mess with the weird stuff...I'm pretty straight forward and basic with tones.
 
Thanks again for the informative reply.
JGP

Ah... yeah, even though I'm addicted to the sims (I have no other choice for tone bending due to lack of gear and proper soundproofing) I still think good amps, good guits, good mics, good hardware effects in the hands of an experienced user will outshine the sims.
 
HOWEVER... those sims can get pretty darned close with some wrangling (as well as allow for all new creations).
 
Sounds like you know what you want/like and most certainly have the gear/knowledge to do it ferrealz.
 
On the other hand though sims do of course provide a MASSIVE amount of options without the need to have a huge room set up like an amplifier museum (AND have to still setup and mic all that crap).
 
To me the hardest tones to chase with a sim are the nice, bright, classic and simple "tubey" clean tones of something like an old Fender Twin or HiWatt/Sound City. Part of the reason why I'd really like to eventually get a little tubed 5-10 watter and a functional SM57 (or a pair) as well as a "reamp" style splitter for some REALLY nice jangly clean tone stuff. All the high gain or crunchy rock sounds the sims can do.
 
With the Aux tracks method though I have been starting to hone in on reasonably passable "clean tube jangle" but it's a lot of screwing around AND still just ain't as sweet as the real deal.
 
Cheers and nice profile pic.
 
:-)

The amp I'm most interested in is the Fuch's Overdrive Supreme. The exact setup that Andy is using in this video is several thousand dollars...around 4g, as I remember. I was close to getting it, but then heard that some of my favorite players were using the Kemper. The Kemper does more and was a little less expensive (still over 2g), but I haven't found anything I like in it more than my little Fender.
 
This Fuch's amp is my favorite amp on the market today. Andy is a smart guy, a great conversationalist, and is a killer player. I just love this whole video. I'm getting rid of a lot of equipment I'm not using, and if I get enough for it all I may get serious about the Fuch ODS again.
https://www.youtube.com/watch?v=iOEvd3T7Mjg
I love the licks and tone at around 13:30.

DS
My fave amp that was available was a modified 1977 Marshall 50 watt combo. That thing stayed around Nashville for years, and is still there, I think. I'm in Nashville a lot (except for this year), and I saw it twice...in two different music stores. Each time I agreed to the price, the salesperson called the guy, and both times he said he'd changed his mind and didn't want to sell it. The last I knew of it, it was locked in a closet a couple of miles from Music Row, and I haven't seen it in a few years now. That thing had the magic. Maybe one day it will surface again. If I have another chance for it, I'm paying for it and leaving the store. They can call the guy later and tell him that it sold.

Late reply is late but I wouldn't give up on that Kemper. I guess for me I have been a little skeptical about how good the modelling actually is with them but since I mostly rely on modeled amp sounds these days (sims and my ancient Line6 Duoverb) and the Kemper is supposedly the creme de la creme of modelling it seems like once someone gets their hands on one it's worth hanging onto.
 
I'm sure you've already looked into/played with this aspect of the Kemper but just in case here is their model exchange webpage...
 
https://www.kemper-amps.com/rig/exchange
 
Basically an evolving catalog of amps being modelled by users and I'm assuming some "pro" level models from studios/gear vaults. I've seen vids of the proper modelling method (which looks like it needs to be done in a very specific way inside an isolation box to be accurate) so I don't see how a regular user without the right tools could do it correctly BUT there are people doing it.
 
So maybe next time you see that amp (very strange the same one keeps being put up for sale and then yanked again) ask the dealer if they would contact the seller about letting you model it for your Kemper... even for a small fee. You could do the same for your Fender or other fave amps (and maybe you could find a Fuch model or get one modelled).
 
I'm also assuming the modelling is only half the story as well. As in going through the modelling process would get the response of the head itself in relation to it's matched (or attached in the case of a combo) cabinet/speakers but you would want to find/build a similar cabinet to run the Kemper into for that model. So find out what speakers and wiring config were used and the design specs on the cab. Then try to buy something that matches or better yet bring the specs to a woodworking shop (or if you are good with wood/tools build it yourself) then load it up with the correct speakers in the correct wiring config.
 
Just some ideas. I'd just really love to have something like a Kemper around even if it wasn't PERFECT then save up for any super special gear it can't mimic. Just seems like one of those highly flexible pieces of gear that could be endlessly useful. Partly why I didn't get rid of my old Line6 Duoverb even though the modelling pretty much sucks. It's just got too many cool/useful routing options for recording and some of the clean models actually do work quite well as a base for sims/effects (as opposed to straight DI). It actually works VERY nicely for a good bass sound too. Much better than straight DI'd (into the interface) bass.
 
Again I'm sure you've already considered all that but it's a VERY intersting topic.
 
Cheers!

JustGotPaid
The amp I'm most interested in is the Fuch's Overdrive Supreme. The exact setup that Andy is using in this video is several thousand dollars...around 4g, as I remember. I was close to getting it, but then heard that some of my favorite players were using the Kemper. The Kemper does more and was a little less expensive (still over 2g), but I haven't found anything I like in it more than my little Fender.
 
This Fuch's amp is my favorite amp on the market today. Andy is a smart guy, a great conversationalist, and is a killer player. I just love this whole video. I'm getting rid of a lot of equipment I'm not using, and if I get enough for it all I may get serious about the Fuch ODS again.
https://www.youtube.com/watch?v=iOEvd3T7Mjg
I love the licks and tone at around 13:30.

DS
My fave amp that was available was a modified 1977 Marshall 50 watt combo. That thing stayed around Nashville for years, and is still there, I think. I'm in Nashville a lot (except for this year), and I saw it twice...in two different music stores. Each time I agreed to the price, the salesperson called the guy, and both times he said he'd changed his mind and didn't want to sell it. The last I knew of it, it was locked in a closet a couple of miles from Music Row, and I haven't seen it in a few years now. That thing had the magic. Maybe one day it will surface again. If I have another chance for it, I'm paying for it and leaving the store. They can call the guy later and tell him that it sold.

I know the last thing you want to do is spend more money, but you may want to consider the Fractal Axe Fx. I'm not biased because I work with/endorsed by the company...they truly have that 12AX7 tube thing down more than any other modeler I've ever heard.
 
I've had quite a few Kemper's come through the studio. Though I like them (other than the look of the amp...most hideous thing I've ever seen) I like them more for their clean tones over their dirty tones. I've had the luxury of messing with one for over a month, so I'm pretty familiar with it. I think the Fractal would allow you to save that 4g and give you quite an array to work with. Our new Quantum technology is off the hook. Way more control (in my opinion) than the Kemper with software that obliterates everything with ease and control. It's the closest thing to a real amp that I have ever experienced....and honest, I don't make a penny for anything sold. I just think with a little work, you can nail that sound. We even have the Fuchs Overdrive Supreme in our arsenal of 249 amps.
 
Anyone in the southern NJ area, can come try the Fractal stuff at my place since I'm probably the only one in South J that has everything they make. You could probably get away with the AX8, JGP. It has everything our big rack has other than tone matching and a little less memory. Price is super affordable too.
 
Anyway, sorry if any of this sounds like a sales pitch. I just really love the Fractal stuff and think you get HUGE bang for the buck with more power and control than anything I have ever used. Shameless plug, but I played on a song for my friend Phil in the songs forum. You can hear 3 different AxeFx amps in that song. None that will probably be to your liking, but I think they sound pretty good. :)
 
I used a Morgan AC 20 12AX7B amp for the Rhythm guitars, the same sound with a compressor used to sustain a little for the first solo, a Modded Marshall 800 (my normal tone) for the main lead in the middle, and a Fender tweed for the outro solo.
 
(You're Never Too Old To Rock n Roll) http://www.soundclick.com/bands/default.cfm?bandID=1050818&content=music
 
Of course there is nothing like mic'ing up that amp, especially if you got it down and have great results. But that sound you hear on that Fuchs is a starved plate, tube sound. We have that soo down in the Fractal stuff. We have a 1970 plexi amp that is just crying with that starved, 12AX7 tube sound like you heard at 13:30.
 
At any rate, if you are heck-bent on that Fuchs, my buddy Scott Lerner (amazing jazz/fusion player who lives 20 minutes from me) is endorsed by them. I can put in a call for you and see if he can do anything for you. But I'm still saying Fractal. :P
 
-Danny