The circuitry that processes computer models of speaker cabinets and, more lately, whole guitar amplifiers is the most well-known product of French gearmaker Two Notes. However, the business has also long developed software editors that optimize the capabilities of these machines and allow consumers to make their own presets. Therefore, it makes sense that these features have now been combined in Genome, a completely original modeling plug-in for usage with the most widely used DAWs on the Mac and Windows platforms.
Genome is a "ecosystem" created "to deliver the pinnacle in end-to-end tone shaping," according to Two Notes. It is comparable to Line 6's Helix Native, IK Multimedia's AmpliTube, Native Instruments' Guitar Rig, Positive Grid's Bias FX 2, Waves' Voltage, and a number of alternatives from Neural DSP, Universal Audio, and other companies since it is fully plug-in based and obviously intended for home and studio usage.
The fact that Genome can produce the amp part of your tone in two different methods is one of the features that sets it apart from other software-based amp modelers. The first is by Two Notes' own more conventional method of digital tube-amp simulation, Tube Stage Modeling (TSM).
Foundry (also known as Fender), Albion (Marshall), Foxy (Vox), Nifty Fifty (high-gain boogie-style), and Peggy (bass amp sim) are some of the TSM amp models available in Genome. The specialized preamp circuits in each of these can be used with any output stage that the other circuits have access to, such as push-pull or single-ended 6L6, EL34, EL84, and KT88.
The Codex Unification Engine, a program in Genome that can house "captures" made by Two Notes or outside vendors Neural Amp Modeler (NAM), Proteus, and Aida-X, is the second method for turning up an amp sound—or effect, for that matter.
A capture is basically an audio impression of the properties of an actual amplifier, which may subsequently be modified by its host to replicate that sound, as opposed to a software model that digitally recreates every stage of a vintage amplifier. (Kemper, who invented this technology, calls these "profiles.")
The advantage is that you can obtain an almost infinite library from outside vendors or recreate the sound of any amplifier you have access to with the correct capturing/profiling technology. Additionally, Codex allows you to mix and match tone stacks and place them before or after the gain stages of the amp captures since it is more than simply a neutral host for amp captures. Additionally, it has a graphic EQ and Enhancer for extensive tone adjustment.
A wide variety of vintage pedals are included with Genome and can be positioned either before or after the amplifier block. The DynIR Cab engine also provides studio-style post-amp processing for dynamics, reverb, delay, stereo width, augmentation, and other effects, and it offers over 700 cab types with eight possibilities for two microphones per cab (with nearly limitless positions).
Most people who have used this kind of software previously will recognize the Genome computer interface. Despite this, Two Notes has made some serious changes to the user interface and, in the process, streamlined the workflow with a straightforward lane-based signal flow that makes editing whole rigs and creating presets quite simple.
To activate a pedal, amplifier, DynIR cab, or other processor, just click on the appropriate block in the lane at the top of the plug-in window. A visual depiction will cover the middle of the screen, enabling you to modify and store analog-style settings for that block.
Setting up quite complex signal chains, either in series or parallel routes, and saving them as user presets is made incredibly simple by the method.
Eight banks of 100 rigs each are included in Genome's presets, and simple import and export features let you to save and retrieve many more. Exploring the plug-in's creative features further exposes useful options, such the ability to choose automate parameters in your DAW while processing recorded recordings.
For instance, you may set up a Tube Screamer pedal model to automatically increase drive during a specific guitar section or enhance feedback on an analog delay pedal model during the song's bridge.
I used a Universal Audio Apollo Twin Duo's Hi-Z input to test Genome as a plug-in in Pro Tools on my Apple iMac, which was powered by a Gibson ES-355 and a Fender Telecaster. I found that it operated nicely and was quick and simple to get up and running with after making a few little modifications for the best latency and oversampling settings. The playing feel and sound quality were superb.
Willow Stella
The circuitry that processes computer models of speaker cabinets and, more lately, whole guitar amplifiers is the most well-known product of French gearmaker Two Notes. However, the business has also long developed software editors that optimize the capabilities of these machines and allow consumers to make their own presets. Therefore, it makes sense that these features have now been combined in Genome, a completely original modeling plug-in for usage with the most widely used DAWs on the Mac and Windows platforms.
Genome is a "ecosystem" created "to deliver the pinnacle in end-to-end tone shaping," according to Two Notes. It is comparable to Line 6's Helix Native, IK Multimedia's AmpliTube, Native Instruments' Guitar Rig, Positive Grid's Bias FX 2, Waves' Voltage, and a number of alternatives from Neural DSP, Universal Audio, and other companies since it is fully plug-in based and obviously intended for home and studio usage.
The fact that Genome can produce the amp part of your tone in two different methods is one of the features that sets it apart from other software-based amp modelers. The first is by Two Notes' own more conventional method of digital tube-amp simulation, Tube Stage Modeling (TSM).
Foundry (also known as Fender), Albion (Marshall), Foxy (Vox), Nifty Fifty (high-gain boogie-style), and Peggy (bass amp sim) are some of the TSM amp models available in Genome. The specialized preamp circuits in each of these can be used with any output stage that the other circuits have access to, such as push-pull or single-ended 6L6, EL34, EL84, and KT88.
The Codex Unification Engine, a program in Genome that can house "captures" made by Two Notes or outside vendors Neural Amp Modeler (NAM), Proteus, and Aida-X, is the second method for turning up an amp sound—or effect, for that matter.
A capture is basically an audio impression of the properties of an actual amplifier, which may subsequently be modified by its host to replicate that sound, as opposed to a software model that digitally recreates every stage of a vintage amplifier. (Kemper, who invented this technology, calls these "profiles.")
The advantage is that you can obtain an almost infinite library from outside vendors or recreate the sound of any amplifier you have access to with the correct capturing/profiling technology. Additionally, Codex allows you to mix and match tone stacks and place them before or after the gain stages of the amp captures since it is more than simply a neutral host for amp captures. Additionally, it has a graphic EQ and Enhancer for extensive tone adjustment.
A wide variety of vintage pedals are included with Genome and can be positioned either before or after the amplifier block. The DynIR Cab engine also provides studio-style post-amp processing for dynamics, reverb, delay, stereo width, augmentation, and other effects, and it offers over 700 cab types with eight possibilities for two microphones per cab (with nearly limitless positions).
Most people who have used this kind of software previously will recognize the Genome computer interface. Despite this, Two Notes has made some serious changes to the user interface and, in the process, streamlined the workflow with a straightforward lane-based signal flow that makes editing whole rigs and creating presets quite simple.
To activate a pedal, amplifier, DynIR cab, or other processor, just click on the appropriate block in the lane at the top of the plug-in window. A visual depiction will cover the middle of the screen, enabling you to modify and store analog-style settings for that block.
Setting up quite complex signal chains, either in series or parallel routes, and saving them as user presets is made incredibly simple by the method.
Eight banks of 100 rigs each are included in Genome's presets, and simple import and export features let you to save and retrieve many more. Exploring the plug-in's creative features further exposes useful options, such the ability to choose automate parameters in your DAW while processing recorded recordings.
For instance, you may set up a Tube Screamer pedal model to automatically increase drive during a specific guitar section or enhance feedback on an analog delay pedal model during the song's bridge.
I used a Universal Audio Apollo Twin Duo's Hi-Z input to test Genome as a plug-in in Pro Tools on my Apple iMac, which was powered by a Gibson ES-355 and a Fender Telecaster. I found that it operated nicely and was quick and simple to get up and running with after making a few little modifications for the best latency and oversampling settings. The playing feel and sound quality were superb.