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Discussion in 'Gear & Equipment' started by Gmork, Mar 23, 2021.
30Kg combos? My 38kg combo wants a word with you
I wish more amp cabinets (especially vertical 212s and 412s) had dolly style or luggage style handles and rear wheels. Like permanently built in. Amp casters work on perfectly flat surfaces and short distance, but that's about it.
Dolly style can plow up stairs and sidewalk edges easy time. You can attach your own, but it's quite alot of woodworking. And if the cab is a back panel type for speakers they usually don't have enough surface wood area to cut the recess and mount the screws into it.
Can you use a little moving dolly as a temporary thing? Yeah, I've done it in the past. It kinda sucks though ngl
Yeah, it's obviously going to be the best option to get you a Petrucci sound. I'm after low-mid gain bluesier stuff, maybe Timmons with a hair less saturation, so the V just fits me a lot better. Honestly, while it's a great high gain amp, it's strong suit is those in-between/mildly driven sounds falling short of full-on saturation.
The shared Eq concept should be ended. With midi programmable preamp pots (Hughes and Kettner) being available over 25+ years the simple fact that every amp maker isn't doing so these days is insane. It is really sad that so many musicians don't use this technology.
And why should it end? There are plenty of people that appreciate simplicity in gear, and the less shit you have going in your amp, the better. I really like Victory's design phylosophy. If someone needs a truckload of features they can just look alsewhere.
Metal players went from scooping the mids and cranking the gain to 11 to become overly obsessed with controlling every single frequency of the spectrum (to end up sounding like shit anyway in plenty of cases ).
Also, those implementations have a whole other issues as well, and sometimes very noticeable latency when switching (like the Engl E580, for example). Repairing them is a nightmare, and if parts get obsolete you're fucked (like the Mesa TriAxis).
Guitar players are very conservative beings anyway.
Digital control actually does seem to be a bigger problem than it seems to be on the surface: http://blog.hughes-and-kettner.com/smart-rotary-controls-giving-128-real-tube-channels-one-amp/
I agree that having it would be great but guitarists also are very prone to misunderstanding it. Every thread I have seen it discussed there's people who don't understand the difference between a digital signal path and digital control. Hell, some even think Class D poweramps are digital (doing D/A and A/D conversion) rather than digital controlled. Digital is still a curseword for guitarists...unless it's digital delays.
Now shared EQ, it needs to be crafted well to work. My BluGuitar Amp 1 ME is one of the few amps where I feel it truly does work, on everything else I've had with a shared EQ it's not ideal and usually results in compromises for some channel. My real pet peeve is clean channels with only a volume knob though.
I suppose the shared EQ amps are made for people with massive pedal boards I guess, so I suppose they have there place, but I prefer having less things in my chain, so I prefer midi switching preamp settings that are savable per preset just like the modelers do. I don't get why companies who make modeler's understand this but tube amp manufacturers will not do this when it has been around forever.
I already explained why. It's expensive, hard to repair (since plenty of these parts get obsolete) and there's little market for it. Mesa was forced to discontinue the TriAxis because no one would make them the membrane anymore. Engl discontinued the E580 in favour of the E570 with no programmable EQ at half the price... The list goes on and on.
Most people are satisfied with switchable voicings to tailor their sound, so that's what stayed.
I wish that was more of a thing in amps. I mean nowadays I can buy AxeFX presets from my favorite guitar player of the month, but if I want to buy a Dual Rec, I have to tweak the hell out of it to make it sound good.
Just make like a valve jr version of amps, 2-3 channels of the sounds everyone is trying to get out of them, and just a volume knob.
The BluGuitar Amp 1 manual states it very well: Most people when playing live don't actually want to switch between vastly different sounds but instead are happy with variations on sounds with common tonality. So the Amp 1 is made to work with that concept where you can get several different flavors but they all sound just fine with the same EQ settings, so the shared EQ works on that amp. Super simple to use but does mean you can't tailor the perfect sound for each channel and have to compromise a little bit.
By comparison something like the JCM2000 DSL50 I had did not work like that at all. It was either tubby sounding clean/crunch channel or a thin sounding higher gain channel. Or you made a subpar compromise between them where neither sounded good. Or just ignored the higher gain channel and used a boost, turning it into basically a JCM800. I hear the newer DSL models are better balanced between channels though so maybe Marshall has fixed that issue as well.
I feel like in the past there was a lot of pushback against complex amps, with all kinds of "simpler signal path gives you a pure tone that lets your guitar shine through" hoopla thrown around. The cycle seems to be coming around where people are now again more open to more features in their amps.
I just wish designers of high gain metal amps stopped trying to make a low to mid gain overdrive channel. Those are just plain mediocre on most 4 channel amps and have a stiff sound and feel. I would prefer to see channel setups that let you clone channels become a more common thing so you can have say two clean channels or two overdrive channels with a bit different settings.
I think it would be cool if amps had assignable pre and post fx loops. Being able to throw your drives/gate into a pre loop that can be switched off when you go to your clean channel would be awesome.
The original version of the Bogner Goldfinger had this. It was not that popular so it was replaced with a built in tube boost gain stage.
It's generally just easier to use something else to manage the pedals in front of an amp. My current setup with the Bogner Goldfinger 45 Superlead uses the RJM Mini Amp Gizmo to make the amp MIDI controllable and I can use my Line6 Helix Floor to switch channels, boost, reverb and fx loop with a single switch while adding any effects I want.
Sounds way more complicated to have it that way, especially with more and more newer amps already being midi programmable. Seems like an easy thing to do instead of having to buy a bunch of extra gear to do the same thing. For example, if one of the two loops on my Peavey Invective was a pre loop, it would be a lot better at taking external drives and not needing another noise gate to tame the feedback
The only complication was the RJM in my setup since Bogner in their infinite wisdom didn't think that MIDI was a good idea when you already use a DIN connector and enough switchable features for MIDI to make sense. Once that is sorted out having everything managed by the Helix (or a suitable loop switcher) makes sense to me at least and works very very well.
I think we have opposite approaches here where you want to treat the amp as the control system and I see the amp as just another thing in my fx loops. To me having the external unit control things means you have more routing options too as I could run the Helix into two different amps for example with neither amp being affected by the other.
They can't, because of us. How many times you see a thread like "Recommend me a hi-gain head with fender cleans and british crunch"? Rings a bell? Same shit with pickups: "I want a pickup with tigh punchy lows, organic snarly mids and clear but not harsh highs"
People can't get over the fact that no amp or pickup can be top dog at everything. People have been complaining about the 5150 clean channel for 30 years now (even though the amp doesn't have a clean channel). Then the 5150 III came out with a "Fender clean" (lmao), and it's regarded as a very versatile amplifier. But don't be mistaken, 99% of the time the "crunch" channel is used with a boost to play metal anyway.
Amp designers insist in mediocre crunch tones because we demand them. You don't have the space to design an amp that sounds like a Fender, Vox, Marshall, Mesa, 5150 and Engl in one box... Unless you go digital, of course. Most people don't realize most multi-channel amplifiers are usually 2 channel designs with switchable voicings/gain stages. You can't radically change the design of a channel unless fully independent, and you don't have that space inside of an amp to get around that unless you're using a modular design like Synergy.
Classic players usually don't give a shit about anything else than the sound they go for, and add pedals if needed. For them, most metal amps sound like shit. For us, we know classic amps sound great but they can't do metal without help. It's much easier to help the amp get more metal with pedals, than the other way around (here is where Victory V4 preamps fucking shine, since you can turn a 5150 into a VOX).
Each day I'm happier being less and less concerned about gear. I buy stuff just to try different things but at the end of the day I can adapt to pretty much anything. Like Marty Friedman says, just give me a nice sounding amp with enough gain and I'm good to go.
Play a sig:x and call me
Feel free to send me one!
Amp coasters and/or cupholders?
Yeah they are a little hard to find right now
Mine doesn't leave my jam spot