Super Models (plug in)

this is an epic comment, and yes ‘master volume’ amps are trash. crank it up.

LSchefman said:
The Grissom amp is wonderful. It took me a little while to understand how to get the most out of it - the DG30 is a specialized amp, suited to Grissom’s style of play, and isn’t designed to be operated like a typical master volume amp, where you look to the preamp for the gain, and then just control the volume with the master.

With the Grissom, the amp needs to breathe, and the master interacts with the gain control. So a lot of folks try one and don’t get it. The secret is to turn the master up, and use the gain control to control the volume of the amp as well as the grind. Then control how much gain you want with the guitar volume.

Just like the amps the greats used back in the day, before master volume controls existed. It’s a pro amp, not a bedroom amp, but I have a feeling that you’d be able to appreciate what it does.



Actually, that mic is a super-nice ribbon made by Rode, called the NTR, and you’re right, I use it as a room mic, but that pic was taken with the mic out of position so it’d fit in the pic. I like the NTR a ton - it’s more natural sounding than my Royer because it has better high frequency response, and it’s a really fantastic room mic. Sounds good on acoustic instruments, guitar cabs, you-name-it.

It’s nice on vocals, too, especially female singers. But I also use condensers a lot.



I think the focusrite stuff is pretty damn good! I’m still using a ‘94 Focusrite Red preamp, and spent years and years with a Red 7 channel strip, back when focusrite gear was almost too expensive. Back in the 90s, the ad music business was hot, and I could splurge. But the bottom line is that Focusrite certainly knows how to make pro gear, and that know-how is reflected in their more moderately priced offerings. People don’t give them enough credit!

While I like the preamps in the Apollo, and use them, I’m not sure that they offer much advantage over the recent moderately priced focusrite gear, except for the ability to use them as Unison preamps with the UAD plugins that change their character a bit.

My only criticism of the Apollo preamps is, well, when you really push a higher end preamp, it compresses and begins to get gritty in a pleasing way, and that’s where the character comes in. The Apollo preamps can get a little brittle when pushed hard. Obviously, backing off the gain makes them sound nice, and the software gives them character (you can push the software preamp without overdoing it on the hardware).

But make no apologies for the focusrite you have!

I have some of the Slate stuff, and it’s quite good. I think my son used some of their plugins on the new 30 Seconds to Mars record (he produced a couple tracks on the record, and played on it), so it’s definitely pro software.

Many of the UAD plugins are available as third party plugins that run natively. Plugin Alliance, Softube, and others make the exact same software for native and UAD platforms.

With today’s computers, I don’t think the main advantage of UAD is the ability to offload processing power to the UAD card. I think its main advantage is the ability to run software to make the Unison preamps sound very close to the real stuff so you can track without noticeable latency.

However, the Apollo system has excellent AD and DA converters. In my son’s studio, he and his bandmate just switched from an Apogee Symphony system to a couple of Apollos, one of which is the small portable one, which says a lot.

It’s almost like there are too many great choices! I’ve been really impressed with some of the recent Waves plugins that do very cool things beyond emulating classic gear, and the Plugin Alliance stuff is also both creative and great at solving specialized problems. And of course I have a lot of UAD stuff.

We have a plethora of cheap and excellent choices I’d have killed for when I first got in the business back in the days of analog gear and tape machines running in synch with analog video machines, that I had to lay out serious dough for.

PS - if you do buy an Apollo, get one with as much UAD processing power as you can afford. Their better plugins chew up the horsepower.
Click to expand...
 
Leif Robertson said:
Oh.
How do you like the HXDA model? What does that feel like?...And shame on you for going with a di boxt lol. Just kidding.
Click to expand...

The HXDA is my favorite amp, ever. I run it with NOS Mullard preamp tubes and NOS Siemens EL34s. And because I love it so, I’ve bought spares, and spares for the spares. You might say I’ve made a commitment to the HXDA.

The amp does wonderful things. The Allman Brothers Band was using PRS amps on tour. Paul Smith wondered whatever happened to Duane Allman’s “Live at the Fillmore” Plexi (his was a Superbass). Turns out they knew where it was, and gave it to Paul and Doug to clone, down to the transformers, etc.

I’ve had two; the first was the 50 Watt head. The first thing I did when it arrived was put all the switches in the DA position, and there it was. In my room. It was THAT SOUND. Orgasmic.

But wait, there’s more!

They got hold of one of Eric Johnson’s vintage Superleads, the Hendrix model, and discovered it was only a few parts away from the Allman amp. So they made it possible to progressively switch the amp in three stages from Duane to Jimi.

So, you ask me how it feels; it depends how you set it up, and how you use it. All-HX is brighter and tighter than all-DA. They feel a little different. The beauty is that there’s that wonderful ability to dial in the perfect vintage Plexi tone.

It’s so much more compelling than the later Marshall style amps that I frankly dislike playing through.

I did switch to the 30 Watt version so I could open it up more; the 50 is a touch looser (both are EL34). I would probably still have the 50 if I played out. I’m a product of Duane’s era, and amps from that time appeal to me.

A clip is worth a million words. In the first one (that became a song) I use the HXDA “edge of clean,” crunchy, and dirty. No overdrives, no changes to the amp settings, just the guitar’s volume control, a little delay, (and a wah in a little craptastic solo), but I ran the intro chords through a Moog Filter in mixdown.

I’m really a keyboard player masquerading as a guitarist, so don’t let my playing dissuade you from trying one. Also, I don’t sound anything like Duane, and it ain’t a blues tune, but it shows a side of the HXDA that I think is cool:

https://soundcloud.com/lschefman/waves-of-blue

For a little contrast, here’s a demo of the DG30, with a 594 Soapbar on the rhythm parts and first lead, and a regular 594 on the second solo. I did use an OCD almost as a clean boost in the lead parts. Kind of bluesy.

https://soundcloud.com/lschefman/messya-deux-v2

Finally, another all-HXDA demo, this time using chorus, delay, and some other modulation and preamp-y stuff, with a little EQ going for a different vibe. I like these tones, too. Shows how the HXDA works with effects.

https://soundcloud.com/lschefman/pedaland-4
 
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LSchefman said:
The HXDA is my favorite amp, ever. I run it with NOS Mullard preamp tubes and NOS Siemens EL34s. And because I love it so, I’ve bought spares, and spares for the spares. You might say I’ve made a commitment to the HXDA.

The amp does wonderful things. The Allman Brothers Band was using PRS amps on tour. Paul Smith wondered whatever happened to Duane Allman’s “Live at the Fillmore” Plexi (his was a Superbass). Turns out they knew where it was, and gave it to Paul and Doug to clone, down to the transformers, etc.

I’ve had two; the first was the 50 Watt head. The first thing I did when it arrived was put all the switches in the DA position, and there it was. In my room. It was THAT SOUND. Orgasmic.

But wait, there’s more!

They got hold of one of Eric Johnson’s vintage Superleads, the Hendrix model, and discovered it was only a few parts away from the Allman amp. So they made it possible to progressively switch the amp in three stages from Duane to Jimi.

So, you ask me how it feels; it depends how you set it up, and how you use it. All-HX is brighter and tighter than all-DA. They feel a little different. The beauty is that there’s that wonderful ability to dial in the perfect vintage Plexi tone.

It’s so much more compelling than the later Marshall style amps that I frankly dislike playing through.

I did switch to the 30 Watt version so I could open it up more; the 50 is a touch looser (both are EL34). I would probably still have the 50 if I played out. I’m a product of Duane’s era, and amps from that time appeal to me.

A clip is worth a million words. In the first one (that became a song) I use the HXDA “edge of clean,” crunchy, and dirty. No overdrives, no changes to the amp settings, just the guitar’s volume control, a little delay, (and a wah in a little craptastic solo), but I ran the intro chords through a Moog Filter in mixdown.

I’m really a keyboard player masquerading as a guitarist, so don’t let my playing dissuade you from trying one. Also, I don’t sound anything like Duane, and it ain’t a blues tune, but it shows a side of the HXDA that I think is cool:

https://soundcloud.com/lschefman/waves-of-blue

For a little contrast, here’s a demo of the DG30, with a 594 Soapbar on the rhythm parts and first lead, and a regular 594 on the second solo. I did use an OCD almost as a clean boost in the lead parts. Kind of bluesy.

https://soundcloud.com/lschefman/messya-deux-v2

Finally, another all-HXDA demo, this time using chorus, delay, and some other modulation and preamp-y stuff, with a little EQ going for a different vibe. I like these tones, too. Shows how the HXDA works with effects.

https://soundcloud.com/lschefman/pedaland-4
Click to expand...


I appreciate your links. That helped a little. Not bad for a keyboard player :) Im I guess the opposite. A guitarist who occasionally acts like an occasional keyboard guy too as a keyboard player lol but really Im a songwriter first and Ive actually jumped from keys to guitar and even pedal controllers live which was crazy but turned out to impress the audience. I think your song is nice :).Liked the harmonica?? Unfortunately with amps such as PRS I cannot find one locally to play both so its all on faith and what videos I can find. Maybe Ill charge an HXDA after doing research last night after your post I maybe made a mistake. Of course and maybe sacrilegious to say I do own too many amps already lol. I have a good feeling Id like both based on what Ive heard and your mixes which is difficult to truly tell from anything online really. An amp must be played but thats my problem. Id love to just see if I like the Grissom or the HXDA but around my way I only see the 2 channel used and the Sonzera which I just stumbled on in the used section and got it dirt cheap for 400 after I talked Sam Ash them to only 450. Paid cash lol. Inexpensive amp and yet I like it and even more as my rig with a BF fender. See if I like the Grissom and also order an HXDA, keep both, or send one back maybe. I dunno my charge is getting high...lol... but its best to familiarize with an amp for awhile before you know if you really like it. Almost every amor I bought initially I liked because I could play them first. Thats why I like swetwater. You can return your amps. I think Im gonna find out and spend some serious time with the Grissom (bug the crap out of you maybe lol jus kidding lol) and if I like it great if not...Order the HXDA. The tremonti I can tell is way too heavy gain amp for me...I like vintage tone.

I came here to this forum (i think i may have told you this) because I purchased the inexpensive Sonzera 20 and it makes my rig detachable for practice lol and wanted to learn more about PRS amps...and asked about a hollow body..Don't know when Im getting one but thats a totally different topic.

Here to give you an idea of what I use...Mostly use my rig set up...Twin with Sonzera.
Ok here are my favs that I own amp wise
1. 67 Blackface Twin Reverb. (great for outdoor gigs without needing to mic.)
2. 79 Twin reverb I had redone to BF specs (plus a mid boost mod...almost the same amp)
3. 67 Vibrolux (the most responsive amp I own..Im honestly afraid to play it live because its difficult to find one without some chasis changes)
4. Achilies 68 Vibrolux replica (wish I bought before my Vibrolux it is so close actually and if I played out with it I would take this instead of the real one...Excellent replica...I maybe doing there web site for them soon..Its a mess)
5. Fuch ODS (a dumble class with violin sustain but do not like the clean for some reason..Doesn't sound like the guitar unplugged for some reason but the drive is sweet..I just have fun with it. I don't gig with it..Sometimes record with it though. Like the harmonic sustain and its a fun amp to play.)
6. BF Fender Bassman 69 head and cab (had forever)
7. Matchless DC30 (I do like this amp very much..)
8. Orange Rockerverb (Sure I play hard rock on occasion and I actually like it for that sometimes)
9 and 10. Orange Crush Pro 60 combo and also 120 head (solid state version of the Rockerverb in case of emergencies I guess and they were really cheap and for solid state not too shabby I guess...the clean is actually not bad either just a cheap back up amps that happen to get the job done
11. PRS Sonzera 20 (now part of my rig w. my BF Twin Reverb and I really like it!!! Had it for about a month and a half now)
12. PRS Grissom DG 30 (do not actually have it yet but ordered) Wait and I guess Ill find out!!!!

I own others too such as 2 Voxes and a Egnator rebel 30 etc. and a few more lol so I own too many amps...Onoly because I don't play a lot of them anymore. I only bought Vox because hey I wanted to try them out as I never got into them. Then I realized oops the Voc AC30CCx2 is just as heavy as my twin reverbs and the Vox AC 15C1 LE is nice if you crank the hell out of dirty channel with a clean setting but I hate the drive and neither of them take pedals well at all!!!! So I discovered for that and other reasons Im just not a Vox guy. I can tell you why if you care. There are certain things that bother me about Vox amps. I know that now so probably getting rid of them.

I think we maybe a lot alike but your a bit smarter about it. Pick your fav. that suits you the best and get a couple lol. That makes sense!

FYI I was going to buy a Bad Cat (loved it and there is one at my local GC right now used) but never got around to it. I see you have a Mesa. Thats the only other amp I haven't gotten into yet. I played a rectifier but found it was a little harsh for my tastes. But you know only played it for 20 minutes at the Guitar Center.

MY BIGGEST ISSUE IS I CAN'T FIND MANY PRS AMPS TO PLAY IN MY AREA so Im buying on faith and reviews and thank god for swetwater return policy. So yeah thanks for the links!!! I guess your gonna hear from me soon. Of course I am used to amps set up like that as you can see above.

Are PRS 2x10 or 2x12 cabs the best? I want a small cab but I want two speakers thats semi compact I can carry around. Looks like you always match your cabs with your head. I do like the same kind of tones as you do actually. Different music but same kinda vintage tone.

Sorry for the long post! Right now you've been very helpful. I appreciate that!
 
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jxe said:
i had no idea hxda was hendrix/duane allman, that’s great.
Click to expand...

Me either!

I think "maybe" I should have ordered the HXDA instead but thats ok,, They both probably are great in their own way.. So difficult to tell from online demos. The Grissom demos were good because he wasn't rocking out he was demonstrating the tone possibilities which makes you hear like hey I can use that basic tone with this style etc. And I try to stay away from signatures but I never heard of Grissom. There is a used Archon combo at GC. I don't think thats right for me personally based on the description and what I saw..but Ill try it..If you guys think a more vintage type player will like it I guess I should any least play it but I may have ordered the wrong PRs amp lol..I think I should have def. ordered the HXDA if its the Hendrix, Duanne Eric Johnson stuff. I had no idea. I am pretty sure Im going to like the Grissom...

I have a relationship with someone at sweet water (I guess a lot of people do) so I can always send the DG30 back and get the HXDA if it comes down to it. I wish I could play them first but they don't carry new ones at GC or Sam Ash..So I have to go on faith and research.

Well I just locked myself in my home studio now for the week end. I doubt Ill log back in till Sunday but great post!
 
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one or the other, your amplifier collection is insanely great, dem classic fenders...

Leif Robertson said:
Me either!

I think "maybe" I should have ordered the HXDA instead but thats ok,, They both probably are great in their own way.. So difficult to tell from online demos. The Grissom demos were good because he wasn't rocking out he was demonstrating the tone possibilities which makes you hear like hey I can use that basic tone with this style etc. And I try to stay away from signatures but I never heard of Grissom. There is a used Archon combo at GC. I don't think thats right for me personally based on the description and what I saw..but Ill try it..If you guys think a more vintage type player will like it I guess I should any least play it but I may have ordered the wrong PRs amp lol..I think I should have def. ordered the HXDA if its the Hendrix, Duanne Eric Johnson stuff. I had no idea. At least I am pretty sure Im going to like the Grissom...

I have a relationship with someone at sweet water (I guess a lot of people do) so I can always send the DG30 back and get the HXDA if it comes down to that. lol.Im just too impulsive.

Well I just locked myself in my home studio now for the week end. I doubt Ill log back in till Sunday but great post!
Click to expand...
 
jxe said:
one or the other, your amplifier collection is insanely great, dem classic fenders...
Click to expand...

Id have to be totally insane to argue with that one! Personally no clean is better than a pre cbs BF vibrolux with that shimmering clean and amazingly responsive clean tone..Just my opinion and I realize its all subjective but I love that amp. As for my twins, well they sound amazing at any volume you can handle. They don't break up at all of course, like the vibrolux but they are perfect. You can also buy one of those 70s models for around 900 to probably 1k and any respectable tech can put it to BF specs for you if they know what they are doing..Which would save you a grand or more. Ive A/B them after and they both sound sweet. Clean clean all the way up as loud as you need. Of course sometimes when Im transporting them, I wish I had a super reverb because of the weight lol.. Still I love both my twins and vibrolux. Ill never sell or trade them.

The Fender reissues, they are not even close to being the same amp. They aren't all bad per say but the vibrolux reissue are an insult. You can get an Achillies replica for a little bit less than the real deal and just as sweet and of course brand new.

Yeah gotta love the old Fenders!!!! :)
 
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Leif Robertson said:
Me either!

I think "maybe" I should have ordered the HXDA instead but thats ok,, They both probably are great in their own way..
Click to expand...

You made a great call! They’re both great amps, and worth having. Of the two, the Grissom is one you won’t be able to get close to with most other amps out there, which is a cool thing.

Leif Robertson said:
Id have to be totally insane to argue with that one! Personally no clean is better than a pre cbs BF vibrolux with that shimmering clean and amazingly responsive clean tone..
Click to expand...

My son’s first record was cut with an old BF Vibrolux, with the volume cranked all the way, so of course there isn’t a clean tone on it. But it sounds fantastic.

You are a man of taste, Leif!
 
I don’t know LSchefman beyond the few interactions that we’ve has on this forum. Which is to say: I don’t know LSchefman at all
That said, if I were to make one hypothesis that involves his opinions, I’d say that asking LSchefman his opinion on the HXDA amp would be quite similar to asking me my opinion on JS Bach’s music. In short, I think you’d struggle to get either of us to shut up on our respective topics. ;)
 
BWV548 said:
I don’t know LSchefman beyond the few interactions that we’ve has on this forum. Which is to say: I don’t know LSchefman at all
That said, if I were to make one hypothesis that involves his opinions, I’d say that asking LSchefman his opinion on the HXDA amp would be quite similar to asking me my opinion on JS Bach’s music. In short, I think you’d struggle to get either of us to shut up on our respective topics. ;)
Click to expand...

If something is really THAT good, then tell everyone about it. Have I told you lately about the Archon?
 
BWV548 said:
I don’t know LSchefman beyond the few interactions that we’ve has on this forum. Which is to say: I don’t know LSchefman at all
That said, if I were to make one hypothesis that involves his opinions, I’d say that asking LSchefman his opinion on the HXDA amp would be quite similar to asking me my opinion on JS Bach’s music. In short, I think you’d struggle to get either of us to shut up on our respective topics. ;)
Click to expand...

You know me well!
 
I had something interesting happen w/the Archon model yesterday. I decided to play around a little w/the Holcomb SE on a part for a backing track I'm recording for my mother to use in church, and I thought the down-tuning and drop-C stuff might give me some interesting voicings to play with. I pulled up the Logic session, set up the track and added the Archon plug-in. There was enough latency that it really bothered me. I don't think I detect some of this stuff as well as some of you, so that should give you an idea how bad it was - there was definite sensation of pick the note/delay/hear the note. I'd had some latency issues w/the models when I first installed them right after they were released, but I'd made some adjustments and didn't have that anymore.

I started searching for the buffer settings, but I couldn't find them in the plug-in instance. I flipped the Time Fix switch - no difference on either setting. Looked around a bit more. Kept hitting notes periodically even though I wasn't changing anything. After a few minutes of searching, I noticed something - the latency was gone. Other than the initial on/off/on flip of the Time Fix switch - which didn't do anything at that time - I hadn't actually changed anything. It seems like it detected the latency and corrected it on its own. I can't swear that's what happened, but if it did, that's a pretty cool little feature.
 
alantig said:
I had something interesting happen w/the Archon model yesterday. I decided to play around a little w/the Holcomb SE on a part for a backing track I'm recording for my mother to use in church, and I thought the down-tuning and drop-C stuff might give me some interesting voicings to play with. I pulled up the Logic session, set up the track and added the Archon plug-in. There was enough latency that it really bothered me. I don't think I detect some of this stuff as well as some of you, so that should give you an idea how bad it was - there was definite sensation of pick the note/delay/hear the note. I'd had some latency issues w/the models when I first installed them right after they were released, but I'd made some adjustments and didn't have that anymore.

I started searching for the buffer settings, but I couldn't find them in the plug-in instance. I flipped the Time Fix switch - no difference on either setting. Looked around a bit more. Kept hitting notes periodically even though I wasn't changing anything. After a few minutes of searching, I noticed something - the latency was gone. Other than the initial on/off/on flip of the Time Fix switch - which didn't do anything at that time - I hadn't actually changed anything. It seems like it detected the latency and corrected it on its own. I can't swear that's what happened, but if it did, that's a pretty cool little feature.
Click to expand...
When you make church music for your mother celestial things happen.
 
Tucson Thump said:
When you make church music for your mother celestial things happen.
Click to expand...

Usually it just makes my feet burn, and sometimes it moves up to my ankles. I worry someday she'll want a really long song, and I'll end up like Mick Shrimpton.
 
LSchefman said:
You made a great call! They’re both great amps, and worth having. Of the two, the Grissom is one you won’t be able to get close to with most other amps out there, which is a cool thing.



My son’s first record was cut with an old BF Vibrolux, with the volume cranked all the way, so of course there isn’t a clean tone on it. But it sounds fantastic.

You are a man of taste, Leif!
Click to expand...
Thanks! You probably think so because I believe we have similar tastes if I were to take a guess :).. Id have to say the same of you.:) and true maybe I should have ordered the HXDA (based on your comment etc) first or maybe its better I got the Grissom first... it doesn't matter they both have to be great amps. May ultimately end up with both. Who knows. But I have to say with your comments it does seem like Id def. love the HXDA as well having those type of power at my finger tips and how it will react with my playing style(s) etc. lol.

Also Ive been meaning to thank you for pointing out the UAD plug ins. I did not realize they were available without an actual apollo. lol.

I am even equally curious how different guitars will react to different amps..I do that quite often despited the fact that sure I like PRS.. I assume a PRS is going to be primo but I will be trying it with my starts (maybe even an LP lol) as well and rest assured if its still ok with you... may pass back and forth some stuff via messaging here if thats still ok
(raw clips with questions if there are some good settings for various things etc.). I will be maybe asking for some advice to save time if that offer is still on the table. I now know we both have Suhr strats and we obviously both have PRS. .I don't mind tinkering and Im sure there will be some of that but I like to spend my time being productive so yeah I maybe sending you some messages in a few days if that offers still on the table regarding the Grissom.

Thanks for everything! Like to hear your sons album he used the vibrolux with too. Let me know where I can find it is its released.
 
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BWV548 said:
I don’t know LSchefman beyond the few interactions that we’ve has on this forum. Which is to say: I don’t know LSchefman at all
That said, if I were to make one hypothesis that involves his opinions, I’d say that asking LSchefman his opinion on the HXDA amp would be quite similar to asking me my opinion on JS Bach’s music. In short, I think you’d struggle to get either of us to shut up on our respective topics. ;)
Click to expand...

Ive got the same problem lol. Nothing wrong with that. Information is a wonderful thing! I read everyones posts. Even if they are as long as mine are lol.

Of course we got off topic on this one but thats ok by me :)
 
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alantig said:
I had something interesting happen w/the Archon model yesterday. I decided to play around a little w/the Holcomb SE on a part for a backing track I'm recording for my mother to use in church, and I thought the down-tuning and drop-C stuff might give me some interesting voicings to play with. I pulled up the Logic session, set up the track and added the Archon plug-in. There was enough latency that it really bothered me. I don't think I detect some of this stuff as well as some of you, so that should give you an idea how bad it was - there was definite sensation of pick the note/delay/hear the note. I'd had some latency issues w/the models when I first installed them right after they were released, but I'd made some adjustments and didn't have that anymore.

I started searching for the buffer settings, but I couldn't find them in the plug-in instance. I flipped the Time Fix switch - no difference on either setting. Looked around a bit more. Kept hitting notes periodically even though I wasn't changing anything. After a few minutes of searching, I noticed something - the latency was gone. Other than the initial on/off/on flip of the Time Fix switch - which didn't do anything at that time - I hadn't actually changed anything. It seems like it detected the latency and corrected it on its own. I can't swear that's what happened, but if it did, that's a pretty cool little feature.
Click to expand...


yeah sometimes if u reboot that will go away and other tricks like turning off unused plugins but there is a true way to fix it with anything thats causing it in logic. Go to the track your using, go to utility plug in and select i/o. It will show you what level of latency your at. Like lets say it says 35. Then go to audio prefs and under Recording delay (which should normally read 0 set it to -35 and there you go back to zero latency.) Usually though a reboot or something or closing another app will fox that however. :)
 
Leif Robertson said:
yeah sometimes if u reboot that will go away and other tricks like turning off unused plugins but there is a true way to fix it with anything thats causing it in logic. Go to the track your using, go to utility plug in and select i/o. It will show you what level of latency your at. Like lets say it says 35. Then go to audio prefs and under Recording delay (which should normally read 0 set it to -35 and there you go back to zero latency.) Usually though a reboot or something or closing another app will fox that however. :)
Click to expand...

Thanks - saved me some research! I didn’t seem to have as much luck with it today. But I got done what I wanted to do (and a little more) - not all with plug-ins. Waves does have a chart for all their plug-ins that lists their latency, so that should be useful, too.
 
Leif Robertson said:
I now know we both have Suhr strats and we obviously both have PRS. .I don't mind tinkering and Im sure there will be some of that but I like to spend my time being productive so yeah I maybe sending you some messages in a few days if that offers still on the table regarding the Grissom.

Thanks for everything! Like to hear your sons album he used the vibrolux with too. Let me know where I can find it is its released.
Click to expand...

Feel free to PM me, no worries. I don’t have a Suhr Strat, though; I don’t have any Strat style guitars, or for that matter, any Suhr guitars; I’ve played some Suhrs, but don’t own one. I do have lots of Suhr pedals, though!

My son’s record is Partybaby, “The Golden Age of Bulls%!t,” released by Warner Brothers Records here, and Paradyse in the UK. There’s an acoustic version EP of several of the songs, called “Versions” that was also released here by Warner Brothers.

So you can find his work easily on iTunes, HD Tracks, etc. Also check out his production work (and playing) on 30 Seconds To Mars’ album, “America.”

Nice review of Versions in the British mag DIY here; they also had a nice review of Golden Age, but I can’t link it because it says the word ‘bullish!t’.

http://diymag.com/2016/11/24/partybaby-versions-dont-say-it-bedroom
 
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