Helpful ReplyOverloud TH2 Producer vs. TH2 Regular

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RSMCGUITAR
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2015/02/05 01:54:00 (permalink)

Overloud TH2 Producer vs. TH2 Regular

Can someone please explain the difference between these two versions? Is it a decent product?
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    Gone!!
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    Re: Overloud TH2 Producer vs. TH2 Regular 2015/02/05 06:08:26 (permalink) ☄ Helpfulby spazhands 2015/02/16 12:56:10
    Well if you are referring to TH2 Producer bundled with Sonar Platinum compared to TH2 Sonar bundled with Professional and artist, I don't really know, but I would guess that the later 2 just contain 'less', cut down versions of the full product, I have the full product and have never used the bundled versions except for a brief moment way back, before immediately going to the Overloud site and purchasing the full product, which is just more, much more.
     
    Is it any good ?, well that's up to you I guess. To me it is the king. I have TH2 Full, S-Gear, Revalver, All Studio Devil products, GTR, Amplion, Amplitube and Guitar Rig, and for me TH2 is the best, I use it the most, 99% of the time, it has everything I want or need, if I had to choose 1, it would be TH2.
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    Hypocrita
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    Re: Overloud TH2 Producer vs. TH2 Regular 2015/02/05 06:15:31 (permalink)
    Good morning RSMCGUITAR!


    From the Cakewalk store.
    "TH2 Producer users who upgrade to the Full Version of TH2 will get an additional 20 amp models, 20 cabinets, 15 microphones, plus 60 stomp boxes, pedals and rack effects. "
    Essentially, more toys to play with when it comes to the full TH2 product.

    But that is not saying TH2 Producer is bad! I've used it myself and have been very impressed with its features. Side-note: double-clicking on a cab, for instance, brings up microphone and other options (I mention this because before I knew this, I wasn't very impressed, but after, it really opened up new possibilities.)
    I would link you to something I made featuring TH2 Producer effects on guitar, but I don't feel it's in good taste to post it in public, so if you would like to hear that, let me know via PM!

    To answer your query in a short way: TH2 regular has more sound and tone options, but I would definitely say TH2 Producer, even though I would consider it a "light" version, is more than just a decent product, capable of being used in music without sounding cheap (if you take the time to actually play with all the settings!)


    Hope this helps!
    -Hypocrita
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    gunboatdiplomacy
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    Re: Overloud TH2 Producer vs. TH2 Regular 2015/02/05 08:36:17 (permalink)
    it has more pedals, amps, and cabs. I have both. I use the full version, but before upgrading, i'd consider trying the new amps that CW included in the new Sonar. as much as I like TH2 for backing guitars and "standard" riff-based playing, I find it hard to get a nice stereo delay or chorus using it. maybe there is a secret i'm missing, but I haven't been able to replicate the success i'd have with just bypassing TH2 and just running my guitar into individual plugs and getting nice wide stereo effects.
     
    I think it was a much better buy to upgrade to full Breverb (although with the new plug, I'm not so sure).
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    Beepster
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    Re: Overloud TH2 Producer vs. TH2 Regular 2015/02/05 10:46:52 (permalink) ☄ Helpfulby spazhands 2015/02/16 12:56:48
    If you are a guitar player and don't already own one of the really high end sims the full version is definitely worth the price. Even if you do own the other ones it is still a very nice program that has features that helps provide much more realistic tones. Two of the nicest things about it is a) the cab/room/IR options and b) the fact it responds to input signals like a real amp would (much more so than something like GuitarRig5 which I also own).
     
    a) If I have a good amp/drive/FX sound going on but it isn't quite punching through how I like or sitting in the mix properly getting at the cab/mic/room settings is almost guaranteed to polish things off. You have something like a dozen types of mics to choose, you have two possible mics on the front of the cab (and they can be different mic models) that you can place anywhere in relation to any of the cones on the cab (not just a few limited choices like in other programs) AND on top of those two mics you can also blend in a 45 degree mic and a rear mic which REALLY helps. You can choose from I think four or five different rooms all of which sound exactly as they should (IMO). There are invert phase switches and high/low cut filters on everything which is really nice. You can also choose from a buttload of included impulse reponse cabinets (although you cannot tweak these like the other cabs but they made sure each style of cab IR has lots of variations representing common mic set ups) and you can also import your own. And all that is only if you just have ONE cabinet in the chain. With the little TH2 mixer you can send out to two distinct cabinets with their own independent settings. Beyond that you could add even more cabs in a chain I think but I'm not sure how much benefit it would be at that point. You can save cab setup presets independently too so instead of creating a whole new bank in the main presets library you just save it in the cabinet dialog.
     
    You do however have access to the mic positioning/blending stuff in the Sonar version but you don't nearly as many cabs and I'm pretty sure the mic selection is limited too. That in itself it's a huge bonus of the upgrade.
     
    b) When I play into GR5 at varying levels of volume/attack/etc the sim just seems to remain the same. There is no character or color differences. The only thing that really happens is the drive or effects won't engage as aggressively if I play softer but it sounds unnatural. In TH2 they have some crazy way of processing the signal so when it's driving the amp models and effects it reacts like you would expect their hardware counterparts to. I personally think that most of a guitar player's tonal character comes directly from their attack/right hand technique and it's a special skill to use that to millk the tone and nuances out of the amp/effects being used. In other sims I've used that reaction/interplay seems to be missing and it sucks. I have to completely alter my right hand technique because those subtle nuances I'm trying to convey don't translate well and just make it sound crappy. With TH2 set up properly I can really get into things because it's doing what I expect it to. I don't have to think about it.
     
    The Sonar version of course still has that really nice processing and the including Overloud custom head works quite well for a lot of stuff but to REALLY hear how good TH2 is at this kind of thing you gotta try the Bogner and Randall heads which only come with the full version. I swear you can almost feel the tubes glowing and reacting to what you are playing. It's unbelievable. I do a lot of ultra high gain stuff which is much easier to deal with within a sim because you are processing/distorting the heck out the signal but I also like doing bluesy/jazzy stuff using clean/slightly tube driven tones. That's where it really becomes apparent how good these models are.
     
    Beyond that though all the stomp boxes and rack effect units that come with it make it super useful for pretty much most hings I'd ever do. I own and have played through a lot of the stuff modeled and it is all pretty spot on. I can tweak it just like I would the real thing so that makes things a lot easier when dialing in tones.
     
    The downsides to me about TH2 are... it's a little overwhelming at times. There is just SO much going on and SO many things that can be tweaked it can be a little hard to sort through it all and nail down a specific sound. Having experience with guitar gear, how it's set up and some recording know how is really imperative to getting the most out of it (unless you don't mind using presets which I only really use as a means to get ideas on how to set things up myself). The other thing is I find that even though the main windows are pretty easy to understand and use (the mapping windows) a lot of stuff is hidden so you really have to give the manual a good once over. The presets section annoys the heck out of me too. I find it's a really weird set up for saving, searching and loading things. Most people really like it though so it could be I'm just a little dumb.
     
    Anyway... I think it's great and have never regretted dropping the extra cash on it. I just wish I had known about it sooner because I upgraded to GR5 literally a month or two before X2 came out with TH2 in it. I haven't opened GR5 in well over a year and even then that was just to screw around with some bass tones (which I still kind of like GR5 for but I intend to buy the Overloud MarkII bass program which looks way batter).
     
    Cheers.
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    Beepster
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    Re: Overloud TH2 Producer vs. TH2 Regular 2015/02/05 10:55:59 (permalink)
    Oh and don't forget to play around with the Varifire flyout knob. Not sure what the heck that thing actually does but it seems to really emphasise that coloring/reaction stuff I was talking about. When I was still on the Sonar version that made the included amps a lot nicer sounding/feeling with just some easy adjustments.
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    Sidroe
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    Re: Overloud TH2 Producer vs. TH2 Regular 2015/02/05 12:28:02 (permalink)
    The Brunetti amps have become my goto for that Dumble type sound. The Randalls and all the others in the full version of TH2 are stellar. But the Brunetti amps make the upgrade worth every penny.
    I, too, have most of the high end amp sims but since I upgraded to TH2 full a few years back, they have sat idle! If you want that TRUE boutique amp sound along the lines of a Dumble or Two Rock or Doctor Z, the Brunettis fill that space very well.

    Sonar Platinum, Sonar X3e, Sonar X2a , Sonar X1 Expanded and 8.5.3 (32 and 64 bit), Windows 10 on a Toshiba P75-A7200 Laptop with i7 @ 2.4 quad and 8 gigs of RAM and secondary WD 1 Tb drive, Windows 10 desktop, Asus i5 @ 3.2 quad, 12 gigs RAM, 1 Tb drive, 1 500 gig drive, MOTU 24io, 2 Roland Studio Captures, Saffire 6 USB for laptop, Soundtracs Topaz Project 8 mixer, Alesis Monitor 2s, Event BAS 20/20s, Roland Micro-Monitor BA-8s, and 45 years worth of collecting FX, Mics, Amps, Guitars, and Keyboards!
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    Beepster
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    Re: Overloud TH2 Producer vs. TH2 Regular 2015/02/05 13:06:20 (permalink)
    Oops... I said Bogner instead of Brunetti. Sorry.
     
    I meant the Brunetti sims.
     
    I knew Sidroe would show up with his Brunetti love and he is totally right. They sound awesome. In fact I only really started exploring what they were capable of based on his posts. As a metal/rock guy I was mostly sticking to the models I'm familiar with IRL but those Brunettis aren't only just crazy sounding clean amps... they can sear like no tomorrow with the right effects and tweaks. Very unique sounding too when you use them in that capacity.
     
    I don't want to sound like Eddie or Diamond or whatever... I wanna sound like Beepster... and Beepster sounds like blood dribbling out of your ears. ;-)
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    Blues_Jam
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    Re: Overloud TH2 Producer vs. TH2 Regular 2015/02/05 15:28:56 (permalink)
    Well Beepster, I must say that is one heck of a review. It motivated me to go to the Overloud site and check it out. I was under the impression that I was already getting the full version with Sonar Platinum but alas, no. After seeing and hearing the full version I know that I was expecting too much. Anyway, at the upgrade price of $99 from the Cakewalk store it will have to be on my to-do list for a later time and make do with TH2 Producer for now.
     
    I knew you knew what you were talking about when you mentioned articulation transference and that is what has sold me. Now I won't bother looking at anything else and concentrate on learning the ins and outs of TH2 or just mic my Mesa Boogie.
     
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    Beepster
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    Re: Overloud TH2 Producer vs. TH2 Regular 2015/02/05 16:09:47 (permalink)
    Blues_Jam
    Well Beepster, I must say that is one heck of a review. It motivated me to go to the Overloud site and check it out. I was under the impression that I was already getting the full version with Sonar Platinum but alas, no. After seeing and hearing the full version I know that I was expecting too much. Anyway, at the upgrade price of $99 from the Cakewalk store it will have to be on my to-do list for a later time and make do with TH2 Producer for now.
     
    I knew you knew what you were talking about when you mentioned articulation transference and that is what has sold me. Now I won't bother looking at anything else and concentrate on learning the ins and outs of TH2 or just mic my Mesa Boogie.
     




    That's great and I don't think you'll be disappointed but for the sake of full disclosure I have heard some of the other high end offerings from IK and Amplitude have good response as well however you don't get the discount of being a Sonar owner and based on my (admittedly minimal) research they seem to really hone in on specific models as opposed to the much broader range TH2 has.
     
    Another thing to keep in mind is that sims can only do so much with the signal they are being fed. I've been experimenting a lot with feeding TH2 with signals from some of my outboard gear instead of using the DI on my interface. The reason being is even though being a Focusrite Scarlett user I think I have a better instrument/hi z in than if I was using other interfaces (it does seem to be a better signal than my old Echo Layla 3G) when I plug into my Line6 or old Traynor and use the line outs to my board into the interface and THEN into TH2 I get the benefit of having a proper guitar amp preamp that is expecting a guitar input as opposed to a general interface DI.
     
    That said... that method is kind of hit or miss and the more I learn about TH2 I find that for certain things the direct DI actually works better. There are also some solutions for guitar impedence matching some of the very smart fellows around here have been turning me on to like the Motu Z-Box and there are apparently even some fancy mixers (Mackie I think) that are designed to give that guitar preamp stage set up which really helps the signal once it hits the sim.
     
    I've also been doing some crazy stuff using my line outs on the amps and my old stomp boxes which sounds cool but tends to be really "close" and sharp on the raw track(s). What I recently discovered is if I record doubled tracks or have done some kind of dual output into two separate tracks (my Line 6 has two independent channels that I can route DI out) I can create a bus, route the doubled tracks to it, add a completely empty instance of TH2 to the FX bin then simply add a cabinet to TH2.
     
    By doing that I essentially take that raw, nasty output from my pedals/amps and add whatever cab, mics and room I want to it. Of course I could also add reverb or other effects before or after the cab. Sounds great and I get to use all this crap I have laying around. lol
     
    Anyway... lots of cool stuff you can do with the basic Sonar version too. That was the one very nice thing I found about that version. When we got GR4 lite or whatever it was it was essentially unusable to me so I upgraded to GR5 which was WAY better and I could use it. With the included version of TH2 it is as good as the full version as far as sheer functionality (and you could do a lot of the freaky stuff I was talking about with it) except it just doesn't have as many sounds and options. The ones that ARE there though work very well if you tweak them out right.
     
    Honestly once I upgraded to the full version for a little while I was thinking that maybe (because I'm broke) I could have just coasted on the basic version for a while it's that useable but after realizing how insanely powerful and diverse the full version is there was no question it was the right move to make.
     
    This is just my opinion though. Your mileage may vary.
     
    Cheers.
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    Gone!!
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    Re: Overloud TH2 Producer vs. TH2 Regular 2015/02/06 00:59:58 (permalink)
    Beepster
    (which I still kind of like GR5 for but I intend to buy the Overloud MarkII bass program which looks way batter).
     Cheers.



    It is . . . , and not only in 'looks' ;)
    Also you may like to try, Ignite Amps SHB-1 (Free) coupled with NadIR (Impulse Response (IR) convolver) (Free) to load up some cabinet responses, Rosen Digital are excellent, I like the Marshall 1960 Vintage even though it is not for Bass but Guitar, but the Ampeg-SVT and Mesa Powerhouse bass cabs are also no slouches. I often use these in place of Mark (Bass) Studio 2 or any other Bass sim I have.
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    Beepster
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    Re: Overloud TH2 Producer vs. TH2 Regular 2015/02/06 10:15:36 (permalink)
    jih64
    Beepster
    (which I still kind of like GR5 for but I intend to buy the Overloud MarkII bass program which looks way batter).
     Cheers.



    It is . . . , and not only in 'looks' ;)
    Also you may like to try, Ignite Amps SHB-1 (Free) coupled with NadIR (Impulse Response (IR) convolver) (Free) to load up some cabinet responses, Rosen Digital are excellent, I like the Marshall 1960 Vintage even though it is not for Bass but Guitar, but the Ampeg-SVT and Mesa Powerhouse bass cabs are also no slouches. I often use these in place of Mark (Bass) Studio 2 or any other Bass sim I have.




    Awesome, thanks. Bass is one thing I always struggle dialing (but I'm getting better). I did play bass for years in a nasty old punk band but I'm mainly a guitar player so I have a harder time figuring out what works for bass in a mix. It doesn't help I don't really have the right tools either but I'm getting better. Currently I try to hover between between Entwistle and Geddy and I guess a little Flea (kind of a strange combo) but I always tend to screw up the bottom end (too much or too little). I'll keep those in mind. Cheers.
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    Beepster
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    Re: Overloud TH2 Producer vs. TH2 Regular 2015/02/06 10:30:03 (permalink)
    As to the OP I actually have been trying to do some tone matching lately and generally attempting to get a better feel for the ridiculous amount of models in TH2. It's hard because they use wacky code names and semi vague descriptions for a lot of it I guess to avoid copyright infringement. However I was poking around their website and found that the list for their older lite version (THM) comes right out and names the actual amps being modeled. Looking at the THM list it looks very similar to what is included with TH2 Producer but perhaps with a few more or less items. Here is a link....
     
    THM (Lite) emulation list
     
    And here is the list of everything included in the full version of TH2. Unfortunately they don't use brand names on this one except for the emulations that are actually licensed (Randall, Brunetti, etc) but you can easily cross reference with the THM list...
     
    TH2 Full Version emulation list
     
    aaaaand because I like to keep things like this around locally with all my manuals and notes (I keep my DAW offline and I'm worried they may change/remove the lists) I copied those lists into a notepad doc so I'll post it here (sorry if the formatting goes wonky. You'll see there is just a whole buttload more stuff in the full version.
     
    At the top is the list for THM then after the double line is the list for TH2 full version....
     

    THM Model List

    AMPLIFIERS

        Darkface '65 (US): Fender® Twin Amp '65
        Rock '64 (UK): Marshall® JTM45
        SloDrive (US): Soldano® X88R Crunch
        Rock 900 (UK) Clean: Marshall® JCM900 Clean
        Rock 900 (UK) Dist: Marshallhall® JCM900 Dist
        Modern (US) CH1: MesaBoogie® Dual Rectifier Clean
        Modern (US) CH2: MesaBoogie® Dual Rectifier Crunch
        Modern (US) CH3: MesaBoogie® Dual Rectifier Lead
        Top30 (UK): Vox® AC30
        Heavy 51 (US): Peavey® 5150

    CABINETS

        1x12 Clst (UK): Marshall® 1974CX
        2x12 OB Darkface '65 (US): Fender® Twin '65
        2x12 OB Top 30 (UK): Vox® AC30 TopBoost Brian May
        4x10 OB Tweed '59 (US): Fender® Super Reverb
        4x12 Green (UK): Marshall® JCM800
        4x12 Vintage (UK): Marshall® 1960
        4x12 Heavy 51 (US): Peavey® 5150
        4x12 Modern (US): Mesa® Rectifier Standard

    PEDALS

        TubeNine: Ibanez® Tube Screamer
        BeeDeeToo: Boss® BD-2
        Distort+: MXR Distortion+
        MetalTone: Boss® MT-2 Metal Zone
        CHR-5: Boss® CE-5
        Wave Flanger: Overloud® Flanger
        Chorus Phaser: Overloud® Chorus Phaser
        DDelay: Boss® DD-3
        Noise Gate: Overloud® Noise Gate
        Tremolo: Boss® TR-2
        RSS Compressor: ROSS® Compressor
        Auto Wah: Mu-tron® III
        Env Filter: Boss® FT-2

    RACK EFFECTS

        Reverb: Overloud® BREVERB Plate
        Pattern Delay: TC Electronic® TC 2290
        CHR-5: Boss® CE-5
        Digital Phaser: Overloud® Digital Phaser
        Wave Flanger: Overloud® Wave Flanger
        Tremolo: Boss® TR-2
        Auto Wah: Mu-tron® III
        Param EQ: Overloud® Full Parametric EQ Band

    MICROPHONES

        Austria Gold 414: AKG® 414
        Austria 451: AKG® C-451
        TechJapan 4033: Audio Technica® AT 4033
        GermanFet 87: Neumann® U87
        RadioElectro 16: Electro-Voice® RE20
        Square 421: Shenneiser® MD 421
        American 57: Shure® SM57
        American 58: Shure® SM58


    ============================================================================================


    TH2 Model List



    Amplifier Model List

    Amplifier                 Ch.    Modes     Notes

    Bassface '59 (US)     1     1     Model of a classic american 4x10" "bass" combo amp, tuned to be great for rhythm    

                                            and blues playing on guitar once overdriven
    Darkface '65 (US)     1     2     Model of a classic american 2x12" amp with very clean sound
    Top30 (UK)             2     2     Model of a classic 2x12" UK combo with 'blue' speakers - the amp of choice of many  

                                            great guitarists in the last 40 years or so: The Beatles, U2, Queen used            

                                            them frequently
    Rock '64 (UK)             1     1     The Bassface made it to the UK, and a great engineer turned it into the amp of      

                                            choice for the UK rock-revolution
    Rock '75 (UK)             1     1     An early 1970s model of the 800 classics
    Rock 900 (UK)             2     2     Model of the UK rock sound from the 90s
    Modern (US)             3     8     Model of the tube/diode rectifier US amp which started the NuMetal wave and is used

                                            in many other styles too
    SloDrive (US)             3     3     Model of the first 3 channel hi-gain preamp, once model of choice for guitarists    

                                            like Steve Lukather as well as many others
    HeaVy51 (US)             2     2     Model of the first classic commercial Eddie amp
    Overloud Custom (US)     3     9     An Overloud interpretation of a famous californian boutique ecstatic amp
    Tumble ODS             2     5     Model of a special Overdrive amp made in Los Angeles in the '70s
    Randall T2             3     3     Authorized modeling of the Randall® T2 head. This model prodices produces an        

                                            extremely powerful, punishing tone, powered by the "Valve-Dynamic®" technology.
    Randall MrScary     1     2     Authorized modeling of the George Lynch signature Randall MTS® module.
    Randall Threadplate     1     2     Authorized modeling of the Randall Threadplate MTS® module into the Lynch Box head.
    Randall AC+             1     2     Authorized modeling of the Randall AC plus MTS® module into the Lynch Box head.
    Randall SuperV         1     2     Authorized modeling of the Randall Super V MTS® module into the Lynch Box head.
    Randall Grail             1     2     Authorized modeling of the Randall Grail MTS module into the Lynch Box head.
    Randall Plexi             1     2     Authorized modeling of the Randall Plexi MTS® module into the Lynch Box head.
    Randall Tweed             1     2     Authorized modeling of the Randall Tweed MTS® module into the Lynch Box head.
    Randall XTC             1     2     Authorized modeling of the Randall XTC MTS® module into the Lynch Box head.
    Randall Ultra             1     2     Authorized modeling of the Randall Ultra MTS® module into the Lynch Box head.
    Randall Ultra XL     1     2     Authorized modeling of the Randall Ultra XL MTS® module into the Lynch Box head.
    Randall Clean             1     2     Authorized modeling of the Randall Clean MTS® module into the Lynch Box head.
    Randall BlackFace     1     2     Authorized modeling of the Randall BlackFace MTS® module into the Lynch Box head.
    Randall SL+             1     2     Authorized modeling of the Randall SL+ MTS® module into the Lynch Box head.
    Brunetti Mercury     2     4     Authorized modeling of the Brunetti Mercury head, giving you that elegant and       

                                            evasive liquid metal sound.
    Brunetti R-evo             3     6     Authorized modeling of the Brunetti R-evo® head, the evolution of the XL            

                                            masterpiece.
    THD Univalve             1     16     Authorized modeling of the THD Univalve® Single-Ended Class A amplifier.
    THD Flexi 50             1     32     Authorized modeling of the THD Flexi® 50W head.
    High Wattage             1     2     Model of a Custom 100W amp made in England back in the 1974.


    Total: 30            45     125     

     
    Cabinet Model List (29)     

    - 1x10" Studio (US)
    - 1x12" OB Wanted (US)
    - 1x12" Clst (UK)
    - 1x12" OB Custom (US)
    - 1x12" GK (US)
    - 1x12" Bluelux (US)
    - Brunetti® 1x12"
    - 2x10" OB Vibro (US)
    - 2x10" OB Prince (US)
    - 2x10" OB Eastern (JP)
    - 2x12" OB Darkface '65 (US)
    - 2x12" OB Top30 (UK)
    - 2x12" OB Green (UK)
    - 2x12" Lane (UK)
    - 2x12" Slo12000 (US)
    - Randall® 2x12" CB
    - Brunetti® 2x12"
    - 4x10" OB Tweed '59 (US)
    - 4x12" Vintage (UK)
    - 4x12" Green (UK)
    - 4x12" HiPower (UK)
    - 4x12" Modern (US)
    - 4x12" Dutch (NL)
    - 4x12" England (UK)
    - 4x12" HeaVy51 (US)
    - Randall® 4x12" XL
    - Randall® 4x12" XLT 100
    - Randall® 4x12" LB George Lynch
    - Brunetti® 4x12" Custom

    OB = Open Back


    Mic Model List (18)

    - AustriaGold414 (C)
    - AustriaSilver414 (C)
    - AustriaTube12 (C)
    - TechJapan4033 (C)
    - Cool4038 (R)
    - RadioElectro16 (D)
    - TubeMicD1 (C)
    - German84 (C)
    - GermanTube47 (C)
    - GermanFet87 (C)
    - Australian1 (C)
    - California121 (R)
    - Square609 (D)
    - Square421 (D)
    - American52 (D)
    - American57 (D)
    - American58 (D)
    - American81 (C)


    C = Condenser
    D = Dynamic
    R = Ribbon

     
    Effects - Modules

    ___     Overdrive:     

    S     BeeDeeToo     Bluesy, vintage tube amp tone from the japanese stomp-box maker
    S     TubeNine     This is THE standard screaming overdrive green peda
    S     SDriveOne     The classic, japanese, yellow overdrive pedal
    S     Diode250     The american classic, overdrive preamp model
    S     Taxi Drive     Authorized modeling of the Brunetti TaxiDrive® overdrive pedal.
                

          Distortion:     

    S     Distort+     This pedal is perhaps best known for its crunchy heavy metal sound that was featured by Randy       

                            Rhoads in his work with Ozzy Osbourne
    S     TheCat             The mighty 'mouse' pedal
    S     MetalTone     The classic japanese metal stomp-box
    S     Diode69     Modeled after the flannel-shirt wearers who defined the 90s sound
    S     DistOne     The classic japanese distortion pedal
    S     FatMuff     First introduced in the early 1970s and was used by artists including David Gilmour and Carlos      

                            Santana. Said to be designed after Jimi Hendrix sound.
    S     Mercury Box     Authorized modeling of the Brunetti Mercury Box® distortion pedal
                

          Fuzz:     

    S     FussRace     The circular shaped fuzz box - originally from 1966. This was used by Jimi Hendrix.
    S     TuneFox     Played by artists ranging from ZZ Top to Adrian Belew, Parliament-Funkadelic to Peter Frampton
    S     Fuzzblend     Built with germanium transistors, this UK pedal had bold fuzz and maximum sustain.


          Chorus:     

    S     Digital     A model of one of the best digital chorus stomps around
    R     Comb Chorus     Comb-filtered Chorus
    R     Wave Chorus     Allows the selection of the kind of waveform modulating the signal
    R     Filter Chorus     Filtered, colored chorus
    S     Ensemble     Ensemble emulation from a famous string synthesizer
    S     CHR-2             The first chorus pedal for the japanese maker - here also in stereo
    S     CHR-5             The modern japanese chorus sound
    S     Dimension     A magical japanese 4 preset-chorus effect
                

          Delay:     

    R     Digital Delay     A very clean sounding digital delay
    R     Tape Delay     A model of tape delays, dark and fluttering as needed
    R     Swept Delay     Sometimes referred to as Modulation/Delay
    R     Filter Delay     Filtered delays for rich soundscapes
    R     Pattern Delay     Choose among a large number of rhythmic patterns for trippy delays
    R     Comb Delay     Sounds like an EQ, it's a delay in fact
    R     Spatial Delay     Use it to create sense of space in a mono signal, or to control width and thickness of sound
    S     D-Delay     A model of modern digital stomp-box delays
                

          Compressor:     

    R     VCA Comp        Model of the classic VCA compressor from the inventors of the Voltage Controlled Amplifier IC
    S     RSS Comp     Model of a classic compressor stomp-box
    R     VariMu Comp     Model of a very famous Variable Mu, tube based compressor


          Equalizer:     

    R     Parametric EQ     Clean, precise parametric EQ with hi/lo pass and shelving capabilities
    S     7-Band GEQ     The classic 7-bands stomp-box equalizer
    S     Amp EQ             5 bands of pure californian 'mark' sound


          Flanger:     

    R     Comb Flanger     Comb-filtered flanger effect
    R     Wave Flanger     Flanger with waveform selection
    R     Filter Flanger     Filtered flanger sound
    S     Analog Flanger     Inspired by a couple of the best analog flangers around
    S     Mild Flanger     Posh, Classy flanger tone
    S     Rich Flanger     Heavily modulated and colorful flanger
                

          Phaser:     

    R     Digital Phaser     The name says it all - modulatable parameters
    S     Chorus-Phaser     Also here, the name says it all
    S     OBH Phaser     Modeled after the "master" of all phasers as conceived by synth guru T.O.
    S     9-o-Phsr     The classic stomp-box phaser sound as heard on many early Eddie's hits
                

          Pitch:     

    R     Pitch Shift     A no-frills pitch shifter
    S     Octaver     A better-than-the-original (tracks better the input pitch) model of a classic brown stomb box
          Reverb     
    R     Spring Reverb     Model of a classic spring reverb used in american amplifiers.
    R     Reverb Hall     Model of a digital hall reverb from the 80s - warm and rich
    R     Reverb Plate     Model of a digital plate reverb from the 80s - dense and platey
    R     Reverb Room     Model of a digital room reverb from the 80s - lush and thick
    R     Reverb Inverse     Good to emulate that backwards sound
    S     D-Reverb     A digital reverb stomp-box


          Tremolo:     

    S     AmpTrem     Extended model of classic amplifier tremolo/vibrato - featues choice of waveform, modern or analog  

                            modeled

          Vibrato:     

    S     JC Vibrato     Comes from a japanese transistor jazz guitar amp
    S     UniVibrato     Got that vibe! Chorus/Vibrato sound
                

          Wah:     

    R     Mu-Wah             Totally configurable 'wah' effect with different filter models
    P     Crying Wah     The classic wah sound
    P     Rock Wah     UK wah - both the vintage and reissue models (switch)
    S     Auto Wah     Automatic (input driven) wah with low-pass, band and hi-pass modes
                

          Other:     

    P     Volume Pedal     Well... what else? It's got a setting for the minimum volume position
    S     AcGtrSimul     Acoustic guitar emulator
    R     Looper      A 32 track stereo looper for realtime recording and overdubbing your loops


          Noise Reduction:
        
    S     Gate Expander     A dual effect, both a gate and and expander with indipendent parameters

          Cabinet:     

          Cabinet     Based on ReSPiRe 2 technology, quad mic mixer, with rear and 45° mics.
          Cabinet IR     Loads up to two Impulse Responses. Choose from the included set of IRs or import from any impulse   

                            response library. Microdelay, filters, phase and balance controls for extended sound-sculpting      

                            possibilities.
          TH1 Cabinet     Dual mic choice (see list of cabs and list of mics in a separate table), balance, filters and phase

                            switch.
          Amp:     

          Amp             Amp module hosting all amplifiers in TH2. Features SLR morphing and VariFire technology.
          Amp + Cab     Loads an amp followed by a cabinet: matching is turned on by default
    R     Saint Amp     Emulates a classic amp+cab in a pedal.
                
          TOTAL     71 Modules

     R = Rack | S = Stomp Box | P = Pedal/Expression
     
    #13
    mikebeam
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    Re: Overloud TH2 Producer vs. TH2 Regular 2015/02/25 16:19:25 (permalink)
    Ok, just for clarification - TH2 Producer that comes bundled with Sonar Platinum is a downgrade from the TH2 you're talking about?  With all of those nice amps and such?
     
    I ask because I originally bought Sonar X3 Studio - which came with TH2 Sonar, then I upgraded to X3 Producer, now it seems that I have both TH2 Sonar AND TH2 Producer.  I'm worried I might missing out... 
    #14
    Beepster
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    Re: Overloud TH2 Producer vs. TH2 Regular 2015/02/25 16:36:58 (permalink)
    That's right. What I listed above is the full version of TH2 which you have to upgrade to separately either through the Cake store or Overloud's site.
     
    TH2 Sonar and TH2 Producer are essentially the same "lite" version except TH2 Producer came with a few more things. I think it was just some extra pedals and cabs but perhaps some extra heads as well. It is still very limited compared to the full version but still quite useable.
     
    The amps in those versions are however mostly their older sims (I think it's mostly stuff from TH1). The newer, licensed ones in the full version are absolutely fantastic and I've been using them extensively lately. The Randall, THD and Brunetti amps (which are the newer ones) are extremely versatile so unless I'm doing something super specific I generally reach for those first. The Brunetti distortion pedals are really nice too (Mercury Box, Taxi Drive).
    #15
    mikebeam
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    Re: Overloud TH2 Producer vs. TH2 Regular 2015/02/25 16:42:35 (permalink)
    Thanks!  Any chance you have your stuff up on Soundcloud or anything so I could hear a little bit of what they sound like?
    #16
    pentimentosound
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    Re: Overloud TH2 Producer vs. TH2 Regular 2015/02/25 17:00:44 (permalink)
    Thanks Beepster! WOW That was exactly what I wanted to know about upgrading. Now if someone (hint hint) could do that for the Breverb upgrade to full, that would take care of that for me!
    Great review and feedback, Beepster and Sidroe!
     
    @ mikebeam    The upgrade Beepster is talking about is another $99 at the CW store (bottom of the page)
    https://shop.cakewalk.com/1244/catalog/category.60465/language.en/currency.USD/?id=WYDmpidsof
     
    Michael
    ....wow!
    #17
    Beepster
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    Re: Overloud TH2 Producer vs. TH2 Regular 2015/02/25 17:03:28 (permalink)
    This is something I did a while back using TH2 but I think I was using mostly the older models and I didn't really know how to use TH2 as well as I do now. There are a few mix problems too but the guitars sound pretty good.
     
    https://soundcloud.com/user432042324/beeps-creep-remix-bass-fix
     
    From there you can check out the AC/DC Malcom Young amp test I did (someone was trying to find that tone so I gave it a shot) which is just layered guits going through the Randall Plexi. The other metal song on there is REALLY old (first live tracking I did in Sonar) and I used GR5. Gotta remix that one and I'll probably swap out the sim.
     
    Then there is this tune the CHC asked me to play on and we just finished the other day...
     
    http://forum.cakewalk.com/Karyns-Got-A-Gun-Aerosmith-cover-m3178897.aspx#3180929
     
    I played all the rhtyhm guits myself. The clean sound at the start is goign throuhg the Darkface model with the Acoustic Simulator and a touch of chorus (I used the rack unit). I did however use my Traynor amp's DI as the input so SOME of the tone is coming from that but not much.
     
    The gritty rhythm guits I used a dual amp setup using the newer model (Brunetti and Randall I think) and the Taxi Drive distortion pedal. I blended them into a Brunetti cab and did a bunch of mic tweaking.
     
    The lead guits were done by another fellow and were REALLY hot and kind of crackly. They already had some effects on them. I EQd out the crackliness and ran it all through various instance of TH2 (lower parts, higher parts and the solo were all ran through their own instance). Again I was using newer models. For the solo which was already super wet with effects I just ran it through a cabinet to give it some "room" and to make it sound more natural. I kind of rushed that though and think I could have gotten the solo sounding a little better but it fits the mix WAY better than it did originally.
     
    Cheers!
    #18
    mikebeam
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    Re: Overloud TH2 Producer vs. TH2 Regular 2015/02/25 17:09:06 (permalink)
    Ummm...  Those are amazing!  I like Beepster Creep!  If I could get even close to that I'd be pumped!
     
    So - I'm pretty new to recording.  Are you just running a 1/4" from your guitar into an interface?  Any other hardware involved?
    #19
    Beepster
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    Re: Overloud TH2 Producer vs. TH2 Regular 2015/02/25 17:17:54 (permalink)
    Thanks! :-)
     
    For Beepster Creep I THINK I went straight into the interface. I have a Scarlett 18i6 which has a half decent Hi-Z. Still it's not as good as a proper guitar pre so I've been doing stuff like recording the clean output from either my Line6 Duoverb head (which has two XLR outs) or my Traynor TS140 (one XLR out). Then I take those signals and run them through TH2. It makes things a little easier to dial in that way because I'm not fighting to fix the interface DI sound (which is the biggest problem with sims). I've also started running the XLR output from those amps into my old Mackie mixer which allows me to pad/EQ the signal more if need be. The pres on the Mackie sound really good too so I think it adds a nice bit of sparkle to things and the EQ.
     
    However sometimes I'm feeling lazy and still plug straight into the interface and TH2. Still sounds great.
    #20
    Beepster
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    Re: Overloud TH2 Producer vs. TH2 Regular 2015/02/25 17:20:18 (permalink)
    Oh and if I ever have any extra cash I'm thinking of trying one of those Motu Z-Boxes that mimics a proper guitar amp preamp section but doesn't color the signal in any other way so it's supposed to be good for inputting to a sim. More of a pure but natural signal... or so they claim.
     
    #21
    Beepster
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    Re: Overloud TH2 Producer vs. TH2 Regular 2015/02/25 17:51:32 (permalink)
    pentimentosound
    Thanks Beepster! WOW That was exactly what I wanted to know about upgrading. Now if someone (hint hint) could do that for the Breverb upgrade to full, that would take care of that for me!
    Great review and feedback, Beepster and Sidroe!
     
    @ mikebeam    The upgrade Beepster is talking about is another $99 at the CW store (bottom of the page)
    https://shop.cakewalk.com/1244/catalog/category.60465/language.en/currency.USD/?id=WYDmpidsof
     
    Michael
    ....wow!




    I think they have a full demo version on their site with all the models. I'm pretty sure they just use the old noise/dropout every 30 seconds to cripple it and you can't save anything. Should be good enough to do some exploring.
     
    Cheers.
    #22
    mikebeam
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    Re: Overloud TH2 Producer vs. TH2 Regular 2015/02/25 18:25:35 (permalink)
    Yeah, I saw that.  I might have to try that. 
     
    I have a Fender Hot Rod Deluxe.  Could I unplug the 1/4" that connects to the loudspeaker and run a line into the interface?  I was going to try that, but I was worried about frying something.
     
     
    #23
    Beepster
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    Re: Overloud TH2 Producer vs. TH2 Regular 2015/02/25 18:32:58 (permalink)
    No no no no... it has to be a proper line out (as in line level signal). If you plug the speaker output into your interface I think it will go kablooie. Ideally what you want is a line out (XLR or 1/4") that either has a trim/volume on the amp to control the outgoing level or into something like a mixer that has input trim. Most interfaces that have multi inputs have trim knobs for those inputs so that works. Just make sure if you are using a line level signal that you do not use the Hi-Z or Instrument settings on the interface. You want to switch it to the regular line input setting.
     
    But again... definitely do NOT use the speaker output of your amp. That will likely end in disaster.
     
    Cheers.
    #24
    Beepster
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    Re: Overloud TH2 Producer vs. TH2 Regular 2015/02/25 18:37:50 (permalink)
    And just as an example... my Line6 head has a trim knob that controls the outgoing signal from the XLR line outs. So I can just keep it all the way down and turn it up slowly until I get the level I want in the device receiving it.
     
    My Traynor does not have an output trim/level knob. Even with the volume turned all the way down I still get a strong line out signal so I have to control the level on the device receiving the signal (usually my mixer but I could use my interface if I REALLY wanted to using the Multi Ins).
     
    Both of those amps have a completely different set of outputs to power speakers.
    #25
    mikebeam
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    Re: Overloud TH2 Producer vs. TH2 Regular 2015/02/25 18:44:05 (permalink)
    Gotcha.  That's what I thought.
     
    I think I might take your suggestion and give one of these Motu boxes a try.  I've been running the guitar straight into the interface and it feels a little weak to me.  Doesn't have that "amp" feel.  
     
    Thanks!
    #26
    pentimentosound
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    Re: Overloud TH2 Producer vs. TH2 Regular 2015/02/25 18:45:38 (permalink)
    https://shop.cakewalk.com/1244/catalog/product.152124/language.en/currency.USD/?id=WYDmpidsof
    The CW store page explains what the difference is upgrading from TH2 Sonar and TH2 Producer. The TH2 Sonar upgraders get the 10 more stomp boxes, pedals and rack effects, that the TH2 Producer owners get. 
    #27
    pentimentosound
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    Re: Overloud TH2 Producer vs. TH2 Regular 2015/02/25 18:51:40 (permalink)
    Do NOT run a tube amp without a speaker or load. It will blow up. It's like infinite gas/rpms to a motor...ie BAD.
    There are boxes like the Hughes & Kettner Red Box that can go in between the amp and speaker (the amp's speaker out goes into it and it's speaker out goes to the speaker) but that has to be done while it's off.
    #28
    tlw
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    Re: Overloud TH2 Producer vs. TH2 Regular 2015/02/25 18:57:45 (permalink)
    mikebeam
    Yeah, I saw that.  I might have to try that. 
     
    I have a Fender Hot Rod Deluxe.  Could I unplug the 1/4" that connects to the loudspeaker and run a line into the interface?  I was going to try that, but I was worried about frying something.
     


    Never, ever run a valve amplifier without the correct impedance load (such as the speaker) attached to the speaker output)s). Valve amplifiers, because they have output transformers, require a particular impedance at the speaker output, which is why e.g. Marshalls have different outputs for eight or sixteen ohms.

    If a valve amplifier's output transformer isn't correctly loaded down by a speaker or suitable dummy load, the transformer and/or the output stage valves can burn out, and generally take other components with them as well. Valve amps don't tolerate being run without a speaker connected for the same reason. On the other hand, a very brief short circuit on the speaker output might not kill them.

    Transistor amps, on the other hand, will sometimes tolerate a lower load than they are designed for or even open circuit with nothing connected, but shorting out the speaker output generally kills them instantly.

    Sonar Platinum 64bit, Windows 8.1 Pro 64bit, I7 3770K Ivybridge, 16GB Ram, Gigabyte Z77-D3H m/board,
    ATI 7750 graphics+ 1GB RAM, 2xIntel 520 series 220GB SSDs, 1 TB Samsung F3 + 1 TB WD HDDs, Seasonic fanless 460W psu, RME Fireface UFX, Focusrite Octopre.
    Assorted real synths, guitars, mandolins, diatonic accordions, percussion, fx and other stuff.
    #29
    Beepster
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    Re: Overloud TH2 Producer vs. TH2 Regular 2015/02/25 19:11:51 (permalink)
    Heh heh. You've scared all the guitar players. lol
     
    I didn't realize that was a tube amp so was more worried about the interface.
     
    Yanno... I've always known running a head without a speaker was bad news but didn't realize it was that catastrophic. I could swear I've forgotten to attach speaker cables before turning things on and nothing blew but then again it wasn't for very long so I guess I was lucky.
     
    The I run the Line6 head without a cab attached all the time but it is a) a transistor head and b) designed to run without a speaker for recording or going line out into a PA. It's old and the models are kind of crap but it's a useful beast.
    #30
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