Though ready and willing to take full advantage of all that the digital tone modeling revolution has to offer, like many guitar gearheads, I fall back on my trusty tube amps and analog stomps when it's time to get serious. Color me intrigued, however, when Yamaha's two-strong THR Series solid state combo amps hit the shelves at the beginning of last year – featuring the company's Virtual Circuitry Modelling (VCM) technology for authentic-sounding tone, even at low volume. Mac video driver update. Three new models made a U.S. Debut at the Winter NAMM Show back in January 2013, and I've been discovering exactly what VCM tubes sound like with the THR10C solid state boutique home/studio amp. Bmw inpa 5.0.2 download english. Syarat tersebut mulai dari menyebutkan salah satu seni budaya di daerah asalnya dan daerah lain, mampu menampilkan kesenian daerah, hingga dapat menyanyikan lagu daerah. Lagu daerah di indonesia. 'We use the physical modeling technology originally developed for the VL1 synth in 1993 (the world's first commercially available physical modeling instrument) to accurately model the behavior of each component in the signal chain,' Yamaha UK's Julian Ward told me. 'So instead of using our DSP power to shape and equalize the output of our guitar amp circuit (what most modeling amps do), we use a fundamentally flat-response audio circuit and deploy the DSP to model each component in our virtual amp circuit. By doing this, the bi-product is the tone of the analog circuit we've digitally created but beyond the tone, we also get the musicality of an analog circuit because the physical modeling technology is capable of modeling the non-linearity and signal loss associated with analog circuits.' 'What that means in the real world, is that the amp models in THR actually respond like a tube amp – from the fact that turning up the master volume changes not only the loudness, but also the tone, compression and distortion characteristics to the fact that the amp responds to picking dynamics and attack in the same way as a cranked tube amp – because our VCM algorithms are capable of reproducing the way individual, analog components actually effect and interact with both the signal passing through them and each other,' he continued. 'But even with the capability of modeling the behavior of individual component types, VCM isn't a carbon-copier for amp circuits – the algorithms need to be hand-tweaked and fine-tuned by an engineer who understands how the real component and circuit would react.' ![]() THR10X is dedicated to guitarists that want more gain, more distortion and the unmatched response of a cranked high-output stack. With 5 different channels from 3 amps, all delivering dynamic, intense distortion, THR10X perfectly delivers the subtly different distortion characteristics of each amp or channel to give a tone and response perfectly suited to everything from classic rock to extreme metal. 'This is another unique element of THR's amp models,' added Ward. 'While they are based on classic amps as a starting point or reference, they're not designed to be a perfect simulation of another amp. Instead, our engineers create the best sounding amp based on that type of circuit they can make – just like amp modifiers like Mesa Boogie, Splawn and a host of other boutique amp companies (who mostly started by making amps based on either modded Fender or Marshall designs) – but our engineers have a VCM software toolkit instead of a box of components and a soldering iron.' The new home/studio amps retain the original THR shaping that lends a vintage radio feel rather than the more familiar square box practice combos like my 15 W Marshall shown below. The dark blue THR10C has dimensions of 360 x 183.5 x 140 mm (14.1 x 7.2 x 5.5 inches) and weighs a portable 2.8 kg (6.1 lbs). It's powered via an included AC adapter or six AA-sized batteries (not included) – the alkaline variety claimed to offer up to six hours of use, while Nickel-hydride cells will get you an extra hour or so. There's a chrome carry handle to the top for ease of transport. ![]() Moving left to right along the top, you find five user-assigned memory buttons, a small LED display and a tap/tuner button. The tap function allows the user set the tempo of the repeat (by tapping more than twice) when using the unit's delay effects, and the chromatic tuner function is engaged by pressing and holding the button for one second. Holding down the switch for more than three seconds activates the unit's extended stereo function, which expands the stereo image for a far more spacious feel than you'd think possible from such a small unit. 'I think a lot of players are looking for what they think an amp sounds like rather than what it actually sounds like,' said Ward. 'Lots of these amps are actually quite hard to get a good sound from (unless you're John Mayer, Joe Bonamassa or Eddie Van Halen playing in a great sounding room with amazing mics, recording equipment worth millions of dollars and a top-class engineering/production team). Is it better for us to attempt to create a totally accurate replica of the sound and response of a DC30 (or whatever) or just make an amp that has that vibe in terms of sound and response and is fun, engaging and easy to play?
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