In [this interview with *Guitarist* magazine](http://www.musicradar.com/news/guitars/james-dean-bradfields-guitar-collection-606679) from September 05, 2014, Bradfield discussed his Mosrite Ventures guitar. "I tend to use Line 6’s Amp Farm with this one," he said. "I do that quite a lot to be honest, to get the best tone."more
Things are very organized around Vrenna’s studio. All the essential hardware and synths are within reach, and the drum room is just around the corner. At the center of the studio is the essential Pro Tools rig stocked with four 888 A-D converters and multiple Line 6 Amp Farm cards—all running through a 933mHz Power Mac G4 tower. “I’m getting another Mix Farm in there soon because I’m doing everything else via FireWire,” he says.more
From the "Tech Talk" section of the old KMFDM website: Question (Sean): I was wondering how you guys track your vocals and what equipment you use to put the distortion effects on them? Answer (Sascha): The vocals are recorded once there is some semblance of an arrangement of a new song. Often, while we record the vocals new ideas come up that will then force the track to be re-arranged. The distortion varies, but **more often than not I use the Ampfarm plug-in.** It's by far the best sounding smooth distortion available. Another way I do it, is to re-amp the vocals and record them onto a cassette tape, with Dolby noise reduction on. Then I play back the tape with Dolby noise reduction off and re-record it into Pro Tools. Various degrees of realy nice sounding distortion can be achieved that way.more
"I hardly ever use any outboard gear now. I've got an old Yamaha REV7 which I like and an Alesis Quadraverb, but everything else is a plug-in. I'm a big fan of Line 6's Amp Farm, and all the plug-ins which simulate the analogue world, funnily enough. This has given synthetic sounds a new lease of life. A synth can sound like something which has been miked up through a cabinet, for example. You can use so many multiple effects on the same sounds, and mutate sound sources so much, that I can't imagine ever going back to the way things were before. The snobbery about plug-ins is that so many dance records just use them for ear candy and don't really explore the possibilities, but they are the most sophisticated and creative thing to happen to modern music since the first synthesizers appeared. You can try things on Amp Farm which took hours to do with a mic and a cabinet."more
"That's a part that was originally a vocal melody, but I didn't like it as a vocal, so I used it for an instrumental part instead. I'm playing it really fast -- like a mandolin. In the left speaker, I overdubbed a part that hits one note through the entire chord progression. The guitars ran through the Amp Farm -- I think we used the Vox AC30 model."more
"“That existed until I hooked up with Line 6. Remember when Amp Farm came out? I beta-tested the software. They brought over the very first Flextone and said, ‘Check this out; it’s like your Deluxes.’ I played it and said, ‘Well, yeah, it sounds real good, but I can’t tell if it’s like my Deluxes.’ I A/B’ed it with my Deluxes, but they were hyped up, different amps. I think of it as cloning, so I asked them to get me the amp that was the mother of this amp, the one they cloned it from. They brought over this pre-CBS blackface, and I A/B’ed the mother, the organic clone, and the software clone. I recorded an instrumental on all three amps, and had the engineer switch between the three without me looking, to see if I could pick out which one was which. I could always tell which one was the organic amplifer; there was something missing. But between the mother amp and the software, I could not tell the difference. So I figured, I’m not stupid; I’ll just start using the software. So I started recording in Amp Farm."more
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