Since a capture is nothing else than an image of a device pre-setted using a tone stack (amp or OD), the request is to have a selection of usual tone stacks : Marshall, fender, mesa, Diezel, baxandall, and so on. So placing them in front of a capture would allow the user to have the true response of the real amp.
Then captures would not have to be multiplicated : users should set all knobs of the real amp’s tone stack at maximum. Because those knobs are pots (variable resistors) users just have to cut undesirable frequencies and would preserve the true tone of the amp’s capture.
And you can add a input or drive knob before the tone stack the same way. And you can add a presence and eventually depth knobs on the same idea.
OK someone will tell than there is already some tone knob settings for the captures BUT those are generic and kind of actives : you can add gain, bass, mids and treble that are not into the captured tone AND a real tone stack is highly interactive but one in the QC is not.
Not sure if I am clear…
Sorry, I can’t understand what it is you’re asking for. Are you asking for NDSP to release the individual settings for captures? Or to fully model captures further, or…?
I think it’s a request for eq tone stacks of various amp manufacturers that can be baked in to captures.
Yes Bluzdog, that’s what I’m asking for. For example, you have a Mesa recto. You capture it with gain, bass, middle, treble at max. Then in the QC you add a Mesa rectifier tone stack (same as the Marshall jcm800 or Slo) before the capture. So you can have a capture that reacts exactly like the real amp when changing the settings. No need to do another capture because it lack trebles or something else. You can add a virtual knob for presence too.
For a pedal, a BBpreamp for example, capture it with all knobs at max, then add a baxandall eq before the capture.
The virtual knobs in the QC to refine the captures (gain, B, M, T, vol) are generic and do not reflect real tone stacks.
A real pot of a tone stack just cuts what goes through and don’t boost it. So setting a treble pot at 12 o’clock is not neutral position but it half cut the treble freqs. True tone of the amp is when all knobs are at max (and it’s horrible 
)
If it were that simple, everyone would have done it like this by now. It would make nearly perfectly modeling amplifiers trivial. The problem is that you can’t just put a tonestack in front with no consideration for where it is placed in the actual circuit. A capture doesn’t model a circuit, so there is no way to put the tonestack where it should go.
Just add an EQ after the capture and you got everything to adjust!
D
An eq is tricky to use, but we all are used to work with tone stacks. There should be a solution. And sure a tone stack position can vary in the circuit but some are at the input some are in the output and some in the middle of the preamp . The latter is the impossible ine to mimic. And you could put a tone stack before or after a preamp capture then add a power amp and hp capture.
If nobody has done it before then it’s obviously not that easy or as easy as you make it seem Wouldn’t you think?
Try downloading Duncans Tone Stack Calculator program. Ignore all the electronic component side but
pay attention to the EQ curves vs B/M/T locations. Fender / Marsh / Vox etc are all available. You can then use the std QC EQ block to simulate these curves. I know it’s a convoluted solution but it should get you close.
It’s worth noting that in a real amp (I design, mod, repair amps) the (simplistic) way to look at it is as follows: IP gain-> pre distortion EQ / tone shaping → preamp distortion → post preamp EQ → OP stage.
The EQ / tone shaping pre distortion stage has a big impact on the response and type of distortion. For example a lot of classic hot rodded Fender channels sound like flubby rubbish because there is too much LF / Bass being fed into the distortion stage. The more gain you have in an amp, the less tolerant the distortion stage is of LF / Bass being fed into it.
This all might sound confusing if you don’t design and build amps but I mention it because I don’t know if QC captures (or even QC STD amp models) respond to pre EQ / tone shaping in a way that real a amp / pre amp electronics do.
I don’t own a QC, will be acquiring one soon, but I am concerned of it’s ability to ‘behave’ like a real amp with these pre/post distortion EQ changes. Real amps are very sensitive to this but I can only imagine this would be very difficult to capture / copy in the digital domain.
We will see.
Terry
Yes! I know the Duncan tone stack calculator, I mod amps too (I’m not well teached but I do mods on trial and error basis and I can read a schematic without understanding everything in it). I’ve modded jet city’s some jca22h and jca50.
I will try to capture my roadster at full tilt B/M/T then set an eq according to the Duncan tone stack calculator and see if the tones are similar between amp and capture on different tone stack setting.
But FWIW, some standard amps on the QC reacts very close to the real amps, like rectos, jp2c, Marshall and fender amps…but I didn’t played all the real amps that are in the QC. I’ll tell you what I found.
If someone has a good method to try, please tell me.
Cheers
Modelers have responded as expected to pre-eq for as long as I remember. Dialing out low end before the amp model reduces flub and tightens up the sound just like a real amp. I don’t think I’ve ever tried dialing in more low end because I hate flubby low end. Adding highs and high-mids works as expected as well and you can get cocked wah sounds or drive the high-end harder if you want to.