DISTORT6
NJ Devil
<yawn> Not enough sleep, right?
Oh, if you would like to continue this lovely conversation, feel free to message me.
Apologies to Ahazz.
Hope some of my experiences can help you!
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<yawn> Not enough sleep, right?
<yawn> Not enough sleep, right?
Oh, if you would like to continue this lovely conversation, feel free to message me.
Apologies to Ahazz.
Hope some of my experiences can help you!![]()
<yawn> Not enough sleep, right?
Oh, if you would like to continue this lovely conversation, feel free to message me.
Apologies to Ahazz.
Hope some of my experiences can help you!![]()
Still going…No need. Sometimes writing interesting solutions can be a chore until someone provides good ideas. Thanks for your experience.
I have one with the thick framed black glasses and the banana nose, and you are welcome to borrow it, but I'm relatively certain that it did not come with instructions. I think they just figured you put them on and then just go with the flow.Someone once suggested that to defend oneself from a contentious person, diffusive humor was suggested. I'm not especially good at clown-juggling balls or wearing funny eyeglass/mustaches, so there is that.
I have one with the thick framed black glasses and the banana nose, and you are welcome to borrow it, but I'm relatively certain that it did not come with instructions. I think they just figured you put them on and then just go with the flow.
I'm joking. See... people trying to joke with you is not being contentious. So even if you can't juggle clown balls,eek
you can wear the banana nose glasses if you just try. You've got to want it, CP! We can't all just be funny without trying. To some of us, it comes naturally. To others, the struggle is real.
You were doing fine up until the video.![]()
CP, if you've seen the movie, that was the funniest part of the post. I say how funny I am and how naturally humor comes to me, then post a video of the UNfunniest man ever (again, you have to have seen the movie to get that). I thought it was rather clever, but then we all know I'm easily amused.
And please get this, which I've been trying to tell you for a couple years now. Nobody here is picking on you or bullying you! We're joking with you like "one of the guys." If I say something goofy, I expect someone to take a jab. It's not mean spirited, it's what buddies do. I've told you this 50 times: If I DON'T tease you, that's when you know I don't consider you a buddy. And I never bully or tease meanly. At least, never with a mean spirit.
If you want Marshall sounds also consider something like the bluguitar amp 1. I've just got one and it's pretty good. You've basically got a jtm45/plexi, a jcm800, and some kind of hot rodded Marshall (bogner, SLO) and a pretty decent clean channel that can go from Tweedy to silver face. 100 watts but can be set to 50 watts, and with midi commands could even be dialed in lower. Has the advantages of universal power (can accept voltages from all countries), doesn't need a speaker load (can run through just headphones, frfr or IRs via some kind of DI/IR loader) and you don't have to worry about replacing expensive valves (though it does have one in it).It will be replaced by a Marshall
I do understand why some think that modelers aren't for them, because of the excess options. This had always been one reason why I used to shy away from modelers, until I realized their potential, and the fact that I'd never again need to buy a boutique or collectible amp again because a good modeler had already made that possible.
That, plus the options for no-cost OS upgrades that will last well into the future. Consider the cost of tubes and maintenance. IMHO, it made sense that a decent modeler would do the job and provide good tone.
For me, it isn't the surfeit of options that makes me choose tubes for projects I work on.
I often use amp models when writing parts that I'll later record with a real amp, and in those cases, options aren't a bad thing. And sure, modelers provide good tone, no doubt good enough for lots of folks. They also offer the gigging musician light weight, which is extremely important if you have to pay for cartage, and convenient if you're just gigging the local club. Especially if you're past a 'certain age'.
Those are all pluses. If I played out, I'd certainly have a modeler to use on days when I just can't schlep an amp around, which would be...gosh, lotsa days!
My issue with modelers is with sound quality and feel. It goes no further than that. If those issues aren't bothersome, then sure, modelers are a viable alternative to amps...
...Bottom line, if a modeler works for a player, by all means, go in that direction. I can't criticize the choice (though I do like to kid around about modelers and tease folks about their choices, but don't take that too seriously)...
...What I don't need are a bunch of different flavors of Plexi, a bunch of different flavors of Black Panel, a bunch of different Tweeds, etc. It's just not necessary. But that's not why I'm not interested in modelers except as scratch pads.
However, I truly don't need dozens, hundreds or thousands of amp models. I can't imagine why anyone would, but I'm only me. Other people have different needs.
A lot of the discussion that has been shared throughout this thread reminds me that, for all of our perceived differences, we are not as divergent as we often think. Discussions of old/new/my/your tones are personal and sensitive to being questioned, but discussion is like counseling… both helps you understand why you think things, and lets you know the world is bigger than your front porch.
In the end, the tried and true remain so, analog or modeled, in much the same way as a grand piano sounds like a grand piano and that’s just what you want, even though that sound has been “done to death.” Why? Because it sounds good! It’s interesting how many people who are chasing their “own tone” end up with a Marshall and some pedals, a Fender and some pedals, a Vox and some pedals, a Boogie and… you get the point: the most used combinations in modern music history. And the most used amps in modelers, too!
We’re the combination of influence and inspiration, rules and exploration. We argue points to the finest line, while speaking the same musician’s language.
I love being a musician!
I played on an Axe Fx for years with the other guy on tubes, with a keyboard player too… never got lost. I’ll pass along a few of my modeler discoveries:
1. You have to develop band presets with the band, playing at gig volume. Generally, presets made at home and at low volume won’t translate with a band. If you only did this, and your modeler is up to the task, you’re halfway home already.
2. A quality monitoring source is essential. You may read that as “cheap sounds… well, cheap”
3. Shy away from using too many different amp models, and consider using very few cab options. While every patch that sounds great jamming with recordings at home is fun, it is impossible for the FOH or monitor mix guy to EQ that into a cohesive sound. They won’t like the rumbling lows becoming ice-pick highs with each patch change, and neither will your band. My best solution was using only 1 or 2 cab sims for all amps. You also approximate this when you run into a tube amp power section to amp/speakers with no cab sims. You have to funnel it down… it’s the way.
4. A modeler tone is more like the studio experience… cab blazing in a sound room, you’re playing in the quiet easy chair on cans hearing the finished mix. That’s cool, and done right leaves the sound guys very little to fix in the mix. If you’ve looked at the FOH EQ on most guitar amps, it’s very rarely flat.
5. Unlike a tube amp, you can give the house a different EQ and volume than you’re hearing. This is powerful, and you should use it to your advantage.
6. Air moving is air moving. A single 12” FRFR monitor is not going to out-volume your buddy’s 4x12 (or 2). Level up.
The truth is that tube amp settings you use at home might need tweaks with the band. I’ve heard great tube amps, set wrong, disappear or clash in a mix. I know Fractals and Kempers can match up, and they do it on stages worldwide. Check out Metallica, Def Leppard, Trans Siberian Orchestra, Periphery as examples. Done properly, the tech isn’t the issue.
I hope this is helpful to someone here.
I truly believe no one wishes to spend more time than necessary of creating and dialing in good tone.
There’s the wisdom of the day! Regardless of how you assail your audiences’ ears, if you step on the sonic space of others, they won’t know it’s you. Hearing you over others in the monitors is a different challenge. Separate FOH from monitor mix in your head and get a buddy/sound person to dial in the mix for you. Situate yourself on opposite sides of the stage from the other guitarist so your ears have a little more “me” space.One other thing...
I think it's more about dialing in what works as opposed to what you might want to hear. Two guitarists occupying the same sonic space is going to cause issues.
I've got a handful of tube amps that sound good to me. They're easy to dial in, and I'm more than happy with their handful of tones.
I must be very easy to please.![]()
In the mix, no one hears your cab’s bass.
Yup.Perhaps the players who spend most of their playing time alone get used to setting up with lots of bass, which makes sense if you're playing solo, but when they get with the band, doesn't work so well.
Yup.
In our case with a 2 guitar cover band I make sure my rig sounds different from the lead player's rig.
Even to the point that if we're both playing chords I'll play a more "accentish" role and if he's on granny chords I'll go barre, and vice versa.
Anything to avoid us both strumming the same pattern in the same positions with similar rigs. Even if you're both heard it's sonically boring.
Exactly!Excellent point! I do the same thing when recording and layering in guitar sounds, though sometimes I'll double a rhythm part and pan each take hard left and right to give the thing more of a sense of space, and envelop the listener.
However, even then I'll use a different guitar and amp, so there's some variety of texture.