Been into recording and at the moment I have been looking for a decent amp or amp sim. Currently plugging directly into a Focusrite Scarlett 2i2 running through reaper and listening back to on M-Audio BX5a monitors. Guitar I'm using has passives if that matters (bareknuckle painkiller) and I use a MIM Strat with stock pups for my cleans.

My current amp is meh, it's decent for practice but all I have at the moment due to my other amp breaking on me I'm stuck with a Line 6 Spider IV 15 watt.

As I don't really gig, I figured trying out bias fx would be a good idea. I downloaded the demo which gives me a clean, crunch and high gain channel as well as bias amp to see which I should buy.

The problem is, the tones I get are just so plain and boring, I don't know if it's just because I'm using the demo. EQs always end up being wayyy too bright, I try to look for a warm sound when I'm playing clean. The High gain on the other side just sounds very muddy and boring. I find that I'm getting way better tones on my Line 6 Spider to be honest and that shouldn't be the case

I took a shot at Bias amp and checked out some of the amps that users have modeled, and the problem I run into there is that I get this very nasty feedback. I don't get feedback on the Line 6 and very minimal feedback that is eliminated on Bias with noise gate on, but on Bias amp the feedback is atrocious.

I'm having a harder time figuring this out than I would have thought and honestly the demo is not impressing me. 
At this point I just feel like buying a tube amp and an SM57 to record instead but I don't want to give up on sims just yet. Does anyone have any advice/experience in this?
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You CAN play anything with anything....but some guitars sound right for some things, and not for others. Single coils sound retarded for metal, though those who are apeshit about harpsichord probably beg to differ.
Blackreaper_ buy real tube amps + full-soak loadbox And your problem is done.. I own pro Bias FX and pro Bias Amp... I buy them just because i was curious is it really that good... Because if that really good i dont need spend much money to buy more amps for my studio... Just match the real amps and its done almost same feature with the kemper but more simple and cheaper...
But the reality not that great... Regret? Nahh... I still use them as "value package" recording gear in my studio for my "rockstar wannabe" teenage clients that has not much money to spend for... Happy customers, happy life... But for me...i choose to crank the real deal 100 watt hot tube...
Last edited by datresults at Mar 19, 2017,
A lot of what makes using AmpSims so satisfying and aggravating at the same time is that you need the same technique between the sim and the real thing.

One big part of this is the sound going INTO the software. Make sure it's clean and not clipping. Clipped signal will interact with the sim's gainstaging algorithms in terrible ways. Listen to the raw tone going in... if it crunches; it's level is too high. I would recommend NOT using a hardware drive pedal in any way. With the 2i2, I recommend also getting (or borrowing) a DI box to ensure there's no impedance mismatches.

Once you know you have the correct input gain for your source, start with a basic setup, IE: amp and cab. My work flow is:

1) Get the amp's front end roughly set. Don't put any pedals or effects in front of the amp in Bias. I like to first slowly increase my gain until the point where I'm saturating at the right places. The EQ on this section will be determined by the style, but usually I push the mids on the EQ in the amp up to about 7 or 8. Once I've got a basic sound I'll move on.

2) Bias will give you a great amount of flexibility in 'mods', such as changing your tubes, their bias, the saturation, the tonestack, the poweramp... I try not to mess with these too much. So let's next look at the cabs

With the cabs, some work and some don't. Don't waste time trying to futz with a cab to get THE sound; click between them and you'll find one that seems to click... for me it's the Orange-type cab with V30s. Change the mic to a 57 and move the little position indicator so it's sitting on one of the edges of the cone. I don't really mess with this too much either.

3) Now that you have a very basic tone, roll your pre-amp gain back. Add a drive (808-style is fantastic for this, assuming you BROOTZ). Take that drive and lower the gain as low as it can go, and set the level at max. I like to to roll the tone back a small amount to kill a bit of the shrillness the 808 has.

4) from here adjust your gain and EQ. I like to roll the bass off a bit (because you'll want to EQ it out anyways to carve space for the bass guitar and to clean it up so it's not boomy or muddy) and will often add a bit of sheen by increasing the presence up a notch or two.

5) Once you have a rough amp sound, add a compressor after the amp. Set it to 1:1 for now, with a threshold as close to 0 as you can get. 

Compressing electric guitars can be touchy so we'll set some baseline settings, drop them into the guitar and adjust from there. 

Take your attack and set it to 5ms or so
Set your release to .1ms or so
Next, increase your ratio to 2:1 (or 2)
If you have an option called Knee. set it to moderate (sometimes it's given in dBs, in that case, go for 18 as a starting point)

Now we'll slowly start lowering the threshold. We want to listen to the guitar and watch any monitoring you have. We want the compressor to be barely slapping the guitar (IE: not constantly working, but any muted parts will trigger the compression)

Most of the time you don't need to adjust, but sometimes you may need to increase the attack to 1ms to tame any 'punch-pop' stuff (think of something like the guitar opening to Unholy Confessions by Avenged Sevenfold; you'll want the compressor working on the muted parts specifically). I wouldn't worry to much about compete precision on this as in a mix, or with multi-tracked guitars the compression artifacts get lost.

6) EQ is a bit challenging depending on your overall tone target. 

I like to scoop at about 200 (as most snares are sitting here and they want space to breathe) with a moderate Q. A visual EQ is extra helpful for this, as I'm going to post my most common setting (that I found while helping someone on here a few months ago). Cut this by about 3-5 dB

I'll boost the root of the guitar a bit, and roll off below that quite heavily. If you're in E standard (or Drop-D, as this will help clean it up) boost 80Hz a bit (thinking like 1-3 dB), then add a roll off below that that's at -12dB/octave or faster. This will tighten the guitar up.

For the top end, I do this if needed, but I'll do a fat (wide Q) 3 dB boost at about 4kHz, and roll everything off above 10kHz with a -18dB/octave or faster pass filter. 

From here, increase the output of the EQ to a good level.

We put the EQ after the compressor for a reason: The EQ will compress the signal, and allow the EQ to make steadier changes. Compressors will also let you know if you are having problems with the amp's tone itself. If the guitar is pumping really bad with very little relative compression, the bass on your amp is too high. If the guitar goes really fuzzy, you have too much high end. If it starts squealing and making a tonne of racket, you have too much gain.

Here's my settings. Note that you can use any effects to do this, I happened to use SSL by preference that day. I usually use the Pro-Tools included EQ and compressor for metal guitars, but wanted to try some stuff here. (Note that I changed the Pre-Amp tubes to 12AU7s, as that's what I run in my Rectum-fryer). All the EQ in Bias is going is cutting out some low end as it was a bit rumbly with the guitar recording I used.

And the tone we get is:

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