wat's ur fav multi-effect so far?
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SpaTanS
Member
ShredCow said:Indigo_blues said:hey shredcow, appreciate your reply. maybe we can meet up some day and u can teach me some stuff. cheers
Definately... Its a joy meeting guitarists. So much to steal (learn) from!
i've spoken to u b4 but yet to meet up ... :lol: u've got my no. ? i wud love to see u play on your 7 stinger and learn some stuff from u ... er ... a pack of strings + kopi ?? :lol:
Indigo_blues
New member
ShredCow said:
kk.. actually i was the guy whom u almost sold ur triac to.. we spoke a few times over the phone but i backed out because of the knob problem you had with it.. haha.. :wink:
bluepowder
New member
Sigh...been so busy wid work...even missed out the SOFT competition....damn..... 
hey shred bro...sorry I havent been able to meet ya....but maybe have a meeting this weekend sometime....hehe....maybe along with spatans...hehe....love meeting fellow musicians....
...
alright as for what this post is about....I think for the next 100s of years till the point where someone comes up with a way to make a pen sized guitar which u can carry in ur pocket and shred on .... ppl are gonna fight abt multis vs analogs..
Ive tried both...I frankly think that analog pedals have a sound that cannot be replaced....it just cannot!!!! but for the kind of sound i want and the kind of variety i want...i would have to sell my guitar to get my pedals....hehe...
so multi fx are the thing for me.....call it a way of cheating your ears.....but it works decently enough....I think i will probably stick to multi effects.....
Modelling technology is increasing by leaps and bounds...the kind of technology BOSS and DIGITECH and even VOX are coming up with is truly amazing....POD pedals are good...but i find them to be a lil too 'digital' for my liking....i think BOSS and DIGITECH are shortening the barrier between digital and analog.....
After sufficient research....I found that the BOSS gt-8 is the pedal suited msot to my liking.....The versatility associated with this pedal is somethign that required a year of dedicated effort to master....mind you...it is not for the lazy musician....without a lot of knowledge on sound, it is not possible to get the sound that this pedal is capable of....
Another tip to GT-8 users....this pedal is modelled purely on what ur guitar input is like,what your pickups are like....so be very careful while setting input leves,output leves..gain levels and global equalizers and Noise thresholds......DO NOT BE STINGY WITH CABLES.....otherwise you are wasting the potential of your modeller...
Lastly, an interesting tidbit for multi effects users.....here is an article by one of the most knowledgable on multi-effects....you can find him on BOSS Gt forums..his name is Kewlpack...(hope he doesnt mind me posting his article)...
Unlock The Full Potential Of Your Modeler
Kewlpack • Thursday, September 08, 2005
FYI NOTE: For the purposes of this article, when I refer to "Modelers", I am primarily talking about mainstream digital modelers such as POD XT Live, Boss GT-8, and Vox ToneLab SE (to only name a few). To be sure there are many other types of guitar amp modeling available and some are even software-based or are built into combo amps as all-in-one packages. Some of these are very good at what they produce, however they are outside of the scope of this article.
Amazing! Frustrating! Argh!
May I tell you something? Amp modeling technology is flat out amazing. At the same time, it can be incredibly frustrating. I've seen many folks dismiss the mainstream modelers as having "no dynamics", or "sounding sterile", or "just flat", or "lacking any 'authentic' feel". Why? What's the problem? It isn't just the vintage guys or the "tube snobs" who are complaining. What are we missing? One thing that always used to plague me with these modelers was the varying degrees of "blah" I could get out of them without trying too hard (and that would subsequently send me off to try the next modeling product, etc.). Why would (or could) companies market products that were plunky, lifeless and a far cry from what they claimed. Before I get too far into this let me point out: it's not always reliable to measure the products by the mp3 sound clips that are put out by the various companies... but you should be able to come close to what you hear in those demos... right? One would think so. Another aspect that further complicates the issue... all the output settings - yikes!
Call me an eternal optimist (or just plain neurotic). I believe innovation is a great thing - even if it's difficult to work with it at first. Progress is earned. I have had the opportunity to own and work with all of the mainstream modeler/multiFX products: POD XT Live, GT-8, ToneLab SE, Korg PX4, GNX4, V-Amp Pro, and a few other smaller units as well. It would be an understatement to say these are engineering marvels. To fold so much functionality into a single, useable product... just boggles the mind. It's a great time to be playing the guitar! But it isn't without its caveats... and if you have dropped by your favorite music store to demo one of these units, you know what I'm getting at.
It Souldn't Be That Hard... Right?
After a couple of years of experimentation with different approaches, a host of rig combinations, and long nights of obssessive compulsive tweaking, I believe I've finally found a potential solution to this elusive tone anomaly. It started some months ago as I was hopping around my favorite forums (you know who you are!). We were all barking about how hard it was to get "good tones" out of our modelers. It got so bad for a few guys that they gave up on the modeling technology altogether! We were running through combo amps (high end, low end, tube, and solid state), stacks, in front of the preamps, into the FX returns, using various EQ and "maximizer" tools as post-fix solutions, and several other things. Most of us were simply striving to reproduce our "direct/headphone/recording" tones through our live rigs. People suggested building at least two sets of patches; one for recording/headphones, and another for running through your live gear. Well, that's a nice idea in theory - but IMHO in real life it is much more difficult than it appears to replicate tone through very different output systems. I'm all for having thousands of patches - but it can't be this convoluted to get good tones that translate from direct to live to headphones... To be fair, not everyone was complaining... there was a relatively small contingent of users who were extremely happy.
The Grumblers Versus The Thrillers
I stepped back and began to take notice of who was grumbling about their tones versus those who were absolutely thrilled with the results they were getting... I may have missed one or two users, but I found that 100% of the folks who were unhappy with their tones had one thing in common... they were all running through traditional guitar amplification! Sure, they all had their own unique rigs and various post-treatment "fixes"... but the output was always through some sort of typical guitar amp/speaker cabinet. In contrast to this, the elated users were almost 100% running through some sort of flat response, full range, active PA monitor or keyboard amp type of rig. I hadn't considered not using a guitar amp/cab for my primary amplification rig, but things were starting to make a crazy kind of sense. Afterall, you wouldn't run a full guitar amp/cabinet/FX rig into another guitar amp/cab setup... would you? Ah... I think we're onto something now.
A couple of the oft-touted features of all these modelers are 1) the ability to get those cranked-amp tones without having to crank the actual volume...(i.e. you have the option of huge tone at headphone/bedroom volumes); and 2) you can go straight into a direct/recording scenario without the need for anything between the modeler and the recorder - no amp, no real cabinet or microphone (these all have their own cabinet/mic modeling). Both of those features seem aimed at a flat response, full range output scenario. In other words, the modelers are designed to give you fantastic results through your headphones (typical practice scenario) and/or studio monitors (typical recording/mixing scenario); which are full range and pretty much flat response speaker systems. Obviously there are a wide range of quality and price points, but the fundamentals are the same.
Stay with me here... your guitar amplifier/cabinets are not designed as flat response, full range systems. They are engineered to intentionally color your tones in certain and unique ways. This is not always a good match for modeling technology. The specific speakers in your typical guitar amp are voiced to sound a certain way and work best with matched preamp(s) (e.g. Marshall combos/stacks, Fender combos, Mesa Boogie stacks, etc. all have a unique voice in a mix and work best with a typical guitar preamp tone). Modelers usually include a variety of output options to compensate (with varying degrees of success) for the typical guitar amp/cabinet rigs that most users will be running through. But frankly, I find things either get too shrill and brittle or they get too muddy and dark... and the tone's character is never quite "acceptable". I know I'm not alone in this opinion (just visit the various user forums). I want the same quality tones through my live rig as I get through my headphones and recording setups. The best and easiest way to get there is to - logically - run through a flat response, full range output system... essentially - an active monitor or keyboard amplification system.
Hmmm... Flat Response, Full Range
So I went and demo'd a few different actives as well as some keyboard amp setups. I used several different modelers during that demo period and spent quite a bit of time listening to the overall character and quality of the tones - at low and high volumes. It was literally one of those moments where you say to yourself, "Wow! That's what all the fuss is about! Holy cow... why didn't I try this before?!" So now I run exclusively through a pair of flat response, full range units - and the tones are gorgeous, articulate, punchy, crushing - whatever I want them to be... regardless of the modeler I decide to plug into for the day. Need a huge low end, high gain tone for your favorite metal tune? No sweat - I can rattle the windows and shake the floor. Want a sparkly chorused clean that cuts through - piece of cake. And everything in between... To put the icing on the cake, stereo output fills the room with very musical tone.
If you think about it, I believe you'll understand the sensibility in this amplification approach. Ultimately in a typical, high quality, professional gig, everything goes through a mixing board where it's all tweaked for the FoH (front of house PA system). What you're hearing from your amp on stage isn't necessarily what the audience hears - they hear your guitar AFTER it has been processed and refined by the sound guy.
I can't keep track of how many other guitarists have shared the same epiphany as they let go of their traditional paradigms and get on the bandwagon. It's really cool to see the elation of guys and gals who are inspired to play more intensely - and their having more fun than ever. You have to really try it to appreciate it. Not only that but you will find you spend FAR less time dialing in your tones! You can dial in a tone much faster because you aren't having to compensate for the voicing of your guitar cabinet/speakers. The result: You won't want to put your guitar down for hours (well, at least that's what happens to me - every time).
Things To Keep In Mind
Now there are a few things to consider if you choose this route for amplifying your guitar modeler tones. I won't make any bones about it. You need to keep these things in mind when using actives or keyboard amps:
In a live band scenario, take time to EQ your patches at band practice so you aren't competing with the bass guitar or other guitarist(s) in the band. You should do this anyway with traditional rigs, but because you are full range you can muddy things up by being too heavy in other instruments' key frequencies. It's not much different than understanding how a guitar should sit in an overall mix. Have some friends sit out away from the stage and give you feedback to help work things out.
If your band has more than one guitarist, and the other guitarist is using a traditional rig, it can be tricky to cut through. It has to do with the voicing of the guitar cabinet and speakers. They live in the mids and are going to be very present. You will need to take time to shape your modeler/full range tone so that you are both loud and clear. This is particularly important if you both trade off leads or play in unison/harmony. The goal is to have a balanced guitar presence on the stage. As I said before, have some friends sit out away from the stage and give you feedback to help work things out.
It might take you a little time to get used to not being connected to a "real" guitar amp. It did for me. For some, this can be a bit of a problem because we do love being hooked up to a fire-breathing behemoth of a stack (disclaimer: wear earplugs)... and full range systems do feel somewhat different. But allow yourself to acclimate to the new rig. Once you are accustomed to it, the connection to the tone will come back and I would bet that you'll be happier than you ever expected! Note that this disconnected feel is actually worse (IMHO) when running a modeler through a traditional guitar amp/cabinet. A flat response, full range rig in stereo simply oozes feel and tone... If you're like most folks, you'll easily roll right into the new, improved sonic wonderland.
Don't crank all of the knobs to 10 (i.e. to the max)!!! You wouldn't do this on a real amp (at least you shouldn't if you want to have a musical tone!), so don't do it with a modeler. What makes this especially important to consider is the fact that most of the modelers actually have a wider range of characteristics and features than their real counterparts. For example, many classic amps didn't have a midrange or presence pot but just about all of the modelers throw them into the preamp models because they can. Well folks - just because you can turn that dial doesn't mean you should. Use good judgment and small adjustments.
Be prepared to retweak your old non-full range tone patches. You'll want to revamp them to take advantage of the better output rig.
Burn The Infidel?! Hold Your Horses...
I know there are those out there who are reading this who will want to burn me at the stake for even suggesting the idea of playing a guitar without a real amp/cabinet... well don't light the matches or set the kindling just yet... not until you get a chance to try a good modeler through a good set of actives or keyboard amps - and don't go into it with preconceived ideas, nor with the words "digital, fizz, sterile, unrealistic, or [insert negative comment here]". Just let the modeler do what it does and listen... not so much for "this is a Marshall" or "this is a Fender"... but listen for a musical, useful guitar tone. I really think you'll be surprised at how good it sounds. Particularly so through a stereo full range rig. Of course, there is always the disclaimer that each person's ears and taste are their own. After trying all of this out, you might not like what you hear at all. That's okay. A modeler is merely another tool available to us that can inspire us to make beautiful, emotive music.
There you have it. If you have been wringing your hands over your modeler; spitting fire at it because you can't get it to sound quite the way you want... perhaps you should head to your neighborhood musical instrument dealer and ask to demo some flat response, full range output rigs with your modeler. Spend some time with the default patches. Dial in a few basic ones of your own. Make sure you are using the Direct/Phones/Line output setting! Prepare to be blown away by your good old modeler!
As always, YMMV (your mileage may vary). A flat response, full range output rig may not be a panacea... but it is a very good option. In the end, trust your ears and use the gear that makes you love to play! Keep on rockin'!
alright back to me now
I am currently runnign by BOSS GT-8 throught a Laney ck80(keyboard amp)....the kind of response i get from it cannot be matched even by a JCM 2000(on which i had the privilige of playing a month back)....because a modeller is not meant for a JCM 2000!!
hope this helped....
cheers-blue
hey shred bro...sorry I havent been able to meet ya....but maybe have a meeting this weekend sometime....hehe....maybe along with spatans...hehe....love meeting fellow musicians....
...alright as for what this post is about....I think for the next 100s of years till the point where someone comes up with a way to make a pen sized guitar which u can carry in ur pocket and shred on .... ppl are gonna fight abt multis vs analogs..
Ive tried both...I frankly think that analog pedals have a sound that cannot be replaced....it just cannot!!!! but for the kind of sound i want and the kind of variety i want...i would have to sell my guitar to get my pedals....hehe...
so multi fx are the thing for me.....call it a way of cheating your ears.....but it works decently enough....I think i will probably stick to multi effects.....
Modelling technology is increasing by leaps and bounds...the kind of technology BOSS and DIGITECH and even VOX are coming up with is truly amazing....POD pedals are good...but i find them to be a lil too 'digital' for my liking....i think BOSS and DIGITECH are shortening the barrier between digital and analog.....
After sufficient research....I found that the BOSS gt-8 is the pedal suited msot to my liking.....The versatility associated with this pedal is somethign that required a year of dedicated effort to master....mind you...it is not for the lazy musician....without a lot of knowledge on sound, it is not possible to get the sound that this pedal is capable of....
Another tip to GT-8 users....this pedal is modelled purely on what ur guitar input is like,what your pickups are like....so be very careful while setting input leves,output leves..gain levels and global equalizers and Noise thresholds......DO NOT BE STINGY WITH CABLES.....otherwise you are wasting the potential of your modeller...
Lastly, an interesting tidbit for multi effects users.....here is an article by one of the most knowledgable on multi-effects....you can find him on BOSS Gt forums..his name is Kewlpack...(hope he doesnt mind me posting his article)...
Unlock The Full Potential Of Your Modeler
Kewlpack • Thursday, September 08, 2005
FYI NOTE: For the purposes of this article, when I refer to "Modelers", I am primarily talking about mainstream digital modelers such as POD XT Live, Boss GT-8, and Vox ToneLab SE (to only name a few). To be sure there are many other types of guitar amp modeling available and some are even software-based or are built into combo amps as all-in-one packages. Some of these are very good at what they produce, however they are outside of the scope of this article.
Amazing! Frustrating! Argh!
May I tell you something? Amp modeling technology is flat out amazing. At the same time, it can be incredibly frustrating. I've seen many folks dismiss the mainstream modelers as having "no dynamics", or "sounding sterile", or "just flat", or "lacking any 'authentic' feel". Why? What's the problem? It isn't just the vintage guys or the "tube snobs" who are complaining. What are we missing? One thing that always used to plague me with these modelers was the varying degrees of "blah" I could get out of them without trying too hard (and that would subsequently send me off to try the next modeling product, etc.). Why would (or could) companies market products that were plunky, lifeless and a far cry from what they claimed. Before I get too far into this let me point out: it's not always reliable to measure the products by the mp3 sound clips that are put out by the various companies... but you should be able to come close to what you hear in those demos... right? One would think so. Another aspect that further complicates the issue... all the output settings - yikes!
Call me an eternal optimist (or just plain neurotic). I believe innovation is a great thing - even if it's difficult to work with it at first. Progress is earned. I have had the opportunity to own and work with all of the mainstream modeler/multiFX products: POD XT Live, GT-8, ToneLab SE, Korg PX4, GNX4, V-Amp Pro, and a few other smaller units as well. It would be an understatement to say these are engineering marvels. To fold so much functionality into a single, useable product... just boggles the mind. It's a great time to be playing the guitar! But it isn't without its caveats... and if you have dropped by your favorite music store to demo one of these units, you know what I'm getting at.
It Souldn't Be That Hard... Right?
After a couple of years of experimentation with different approaches, a host of rig combinations, and long nights of obssessive compulsive tweaking, I believe I've finally found a potential solution to this elusive tone anomaly. It started some months ago as I was hopping around my favorite forums (you know who you are!). We were all barking about how hard it was to get "good tones" out of our modelers. It got so bad for a few guys that they gave up on the modeling technology altogether! We were running through combo amps (high end, low end, tube, and solid state), stacks, in front of the preamps, into the FX returns, using various EQ and "maximizer" tools as post-fix solutions, and several other things. Most of us were simply striving to reproduce our "direct/headphone/recording" tones through our live rigs. People suggested building at least two sets of patches; one for recording/headphones, and another for running through your live gear. Well, that's a nice idea in theory - but IMHO in real life it is much more difficult than it appears to replicate tone through very different output systems. I'm all for having thousands of patches - but it can't be this convoluted to get good tones that translate from direct to live to headphones... To be fair, not everyone was complaining... there was a relatively small contingent of users who were extremely happy.
The Grumblers Versus The Thrillers
I stepped back and began to take notice of who was grumbling about their tones versus those who were absolutely thrilled with the results they were getting... I may have missed one or two users, but I found that 100% of the folks who were unhappy with their tones had one thing in common... they were all running through traditional guitar amplification! Sure, they all had their own unique rigs and various post-treatment "fixes"... but the output was always through some sort of typical guitar amp/speaker cabinet. In contrast to this, the elated users were almost 100% running through some sort of flat response, full range, active PA monitor or keyboard amp type of rig. I hadn't considered not using a guitar amp/cab for my primary amplification rig, but things were starting to make a crazy kind of sense. Afterall, you wouldn't run a full guitar amp/cabinet/FX rig into another guitar amp/cab setup... would you? Ah... I think we're onto something now.
A couple of the oft-touted features of all these modelers are 1) the ability to get those cranked-amp tones without having to crank the actual volume...(i.e. you have the option of huge tone at headphone/bedroom volumes); and 2) you can go straight into a direct/recording scenario without the need for anything between the modeler and the recorder - no amp, no real cabinet or microphone (these all have their own cabinet/mic modeling). Both of those features seem aimed at a flat response, full range output scenario. In other words, the modelers are designed to give you fantastic results through your headphones (typical practice scenario) and/or studio monitors (typical recording/mixing scenario); which are full range and pretty much flat response speaker systems. Obviously there are a wide range of quality and price points, but the fundamentals are the same.
Stay with me here... your guitar amplifier/cabinets are not designed as flat response, full range systems. They are engineered to intentionally color your tones in certain and unique ways. This is not always a good match for modeling technology. The specific speakers in your typical guitar amp are voiced to sound a certain way and work best with matched preamp(s) (e.g. Marshall combos/stacks, Fender combos, Mesa Boogie stacks, etc. all have a unique voice in a mix and work best with a typical guitar preamp tone). Modelers usually include a variety of output options to compensate (with varying degrees of success) for the typical guitar amp/cabinet rigs that most users will be running through. But frankly, I find things either get too shrill and brittle or they get too muddy and dark... and the tone's character is never quite "acceptable". I know I'm not alone in this opinion (just visit the various user forums). I want the same quality tones through my live rig as I get through my headphones and recording setups. The best and easiest way to get there is to - logically - run through a flat response, full range output system... essentially - an active monitor or keyboard amplification system.
Hmmm... Flat Response, Full Range
So I went and demo'd a few different actives as well as some keyboard amp setups. I used several different modelers during that demo period and spent quite a bit of time listening to the overall character and quality of the tones - at low and high volumes. It was literally one of those moments where you say to yourself, "Wow! That's what all the fuss is about! Holy cow... why didn't I try this before?!" So now I run exclusively through a pair of flat response, full range units - and the tones are gorgeous, articulate, punchy, crushing - whatever I want them to be... regardless of the modeler I decide to plug into for the day. Need a huge low end, high gain tone for your favorite metal tune? No sweat - I can rattle the windows and shake the floor. Want a sparkly chorused clean that cuts through - piece of cake. And everything in between... To put the icing on the cake, stereo output fills the room with very musical tone.
If you think about it, I believe you'll understand the sensibility in this amplification approach. Ultimately in a typical, high quality, professional gig, everything goes through a mixing board where it's all tweaked for the FoH (front of house PA system). What you're hearing from your amp on stage isn't necessarily what the audience hears - they hear your guitar AFTER it has been processed and refined by the sound guy.
I can't keep track of how many other guitarists have shared the same epiphany as they let go of their traditional paradigms and get on the bandwagon. It's really cool to see the elation of guys and gals who are inspired to play more intensely - and their having more fun than ever. You have to really try it to appreciate it. Not only that but you will find you spend FAR less time dialing in your tones! You can dial in a tone much faster because you aren't having to compensate for the voicing of your guitar cabinet/speakers. The result: You won't want to put your guitar down for hours (well, at least that's what happens to me - every time).
Things To Keep In Mind
Now there are a few things to consider if you choose this route for amplifying your guitar modeler tones. I won't make any bones about it. You need to keep these things in mind when using actives or keyboard amps:
In a live band scenario, take time to EQ your patches at band practice so you aren't competing with the bass guitar or other guitarist(s) in the band. You should do this anyway with traditional rigs, but because you are full range you can muddy things up by being too heavy in other instruments' key frequencies. It's not much different than understanding how a guitar should sit in an overall mix. Have some friends sit out away from the stage and give you feedback to help work things out.
If your band has more than one guitarist, and the other guitarist is using a traditional rig, it can be tricky to cut through. It has to do with the voicing of the guitar cabinet and speakers. They live in the mids and are going to be very present. You will need to take time to shape your modeler/full range tone so that you are both loud and clear. This is particularly important if you both trade off leads or play in unison/harmony. The goal is to have a balanced guitar presence on the stage. As I said before, have some friends sit out away from the stage and give you feedback to help work things out.
It might take you a little time to get used to not being connected to a "real" guitar amp. It did for me. For some, this can be a bit of a problem because we do love being hooked up to a fire-breathing behemoth of a stack (disclaimer: wear earplugs)... and full range systems do feel somewhat different. But allow yourself to acclimate to the new rig. Once you are accustomed to it, the connection to the tone will come back and I would bet that you'll be happier than you ever expected! Note that this disconnected feel is actually worse (IMHO) when running a modeler through a traditional guitar amp/cabinet. A flat response, full range rig in stereo simply oozes feel and tone... If you're like most folks, you'll easily roll right into the new, improved sonic wonderland.
Don't crank all of the knobs to 10 (i.e. to the max)!!! You wouldn't do this on a real amp (at least you shouldn't if you want to have a musical tone!), so don't do it with a modeler. What makes this especially important to consider is the fact that most of the modelers actually have a wider range of characteristics and features than their real counterparts. For example, many classic amps didn't have a midrange or presence pot but just about all of the modelers throw them into the preamp models because they can. Well folks - just because you can turn that dial doesn't mean you should. Use good judgment and small adjustments.
Be prepared to retweak your old non-full range tone patches. You'll want to revamp them to take advantage of the better output rig.
Burn The Infidel?! Hold Your Horses...
I know there are those out there who are reading this who will want to burn me at the stake for even suggesting the idea of playing a guitar without a real amp/cabinet... well don't light the matches or set the kindling just yet... not until you get a chance to try a good modeler through a good set of actives or keyboard amps - and don't go into it with preconceived ideas, nor with the words "digital, fizz, sterile, unrealistic, or [insert negative comment here]". Just let the modeler do what it does and listen... not so much for "this is a Marshall" or "this is a Fender"... but listen for a musical, useful guitar tone. I really think you'll be surprised at how good it sounds. Particularly so through a stereo full range rig. Of course, there is always the disclaimer that each person's ears and taste are their own. After trying all of this out, you might not like what you hear at all. That's okay. A modeler is merely another tool available to us that can inspire us to make beautiful, emotive music.
There you have it. If you have been wringing your hands over your modeler; spitting fire at it because you can't get it to sound quite the way you want... perhaps you should head to your neighborhood musical instrument dealer and ask to demo some flat response, full range output rigs with your modeler. Spend some time with the default patches. Dial in a few basic ones of your own. Make sure you are using the Direct/Phones/Line output setting! Prepare to be blown away by your good old modeler!
As always, YMMV (your mileage may vary). A flat response, full range output rig may not be a panacea... but it is a very good option. In the end, trust your ears and use the gear that makes you love to play! Keep on rockin'!
alright back to me now
I am currently runnign by BOSS GT-8 throught a Laney ck80(keyboard amp)....the kind of response i get from it cannot be matched even by a JCM 2000(on which i had the privilige of playing a month back)....because a modeller is not meant for a JCM 2000!!
hope this helped....
cheers-blue
Ah.... But I can't put the voice to the nick... spoke to too many musicians over the phone already.
I'm buying a Sansamp Classic, then sending my TRI AC over the hills and far away (Nightwish vids on youtube) to Tech21 for 10 long years... okok... yeah, sending the TRI AC to get repaired. The quirk is quirking me out so to speak.
Hehe...
I'm buying a Sansamp Classic, then sending my TRI AC over the hills and far away (Nightwish vids on youtube) to Tech21 for 10 long years... okok... yeah, sending the TRI AC to get repaired. The quirk is quirking me out so to speak.
Hehe...
theblueark
New member
Here are two excellent articles on multi fx modelers too.
http://www.thestompbox.net/ViewArticle.aspx?ArticleID=19
http://www.thestompbox.net/ViewArticle.aspx?ArticleID=10
http://www.thestompbox.net/ViewArticle.aspx?ArticleID=19
http://www.thestompbox.net/ViewArticle.aspx?ArticleID=10
bluepowder
New member
Well I have never been a fan of ZOOM, I am sorry if i offended any ZOOM users, but in my opinion ZOOM does not have purity of sound....the AX3000 is something I havent personally tried,but I know that Paul Danial uses this and his tone is awesome so yea its very capable....as for me....I never liked the Korg 1500g....so I did not bother with the higher model...
not that it is lacking,but just like analogs, each multi efx company has its singature amp modelling sound....for me...It has always been Digitech and BOSS....currently I own a digitech multi efx...but I use only my BOSS gt-8....I would say that the top 3 IMO:
BOSS gt-8
POD XTL
DIGITECH GNX3000
not that it is lacking,but just like analogs, each multi efx company has its singature amp modelling sound....for me...It has always been Digitech and BOSS....currently I own a digitech multi efx...but I use only my BOSS gt-8....I would say that the top 3 IMO:
BOSS gt-8
POD XTL
DIGITECH GNX3000
bluepowder said:
nice eh, managed to manipulate that unit to produce some cool tones.
actually its the ax1500. yeah this unit has been excellent, for what it can do. probably by tomorrow, im going back to roots, single stomp pedals. now gigging nitely thru a JCM800 w/classic stacks [thanks to my boss]. the way certain frequencies still protrude, some lost, after multiple edits, are calling for a change. your post on multi-fx [ thanks for sharing that ] thru full range/flat speakers is spot on, in this situation.
i'll keep the ax1500 for direct recording or any gigs, that may require an all-in-1 unit. it has its moments. k im off to collect them stomps [battle tanks]
theblueark
New member
The great thing about single stomp boxes is that if halfway through a song you find a certain quality missing, or you need to do some eq, it's so easy to bend down and turn the right knobs (or use your toes). Whereas with multi's you more or less have to live with it for the rest of the song.
snuffleupagus
New member
http://www.darksunband.com/yurzappa/Boss_ME-50.html
I'm not shamelessly self promoting the gear that i use, or maybe i am.HAHA
Just an interesting read.
check it out
I'm not shamelessly self promoting the gear that i use, or maybe i am.HAHA
Just an interesting read.
check it out
bluepowder
New member
PAUL: oops...sorry man my bad...but yea the korg is capable of producing some awesome tones.....
THEBLUEARK:very very valid point...but i think the nulti effect companies have caught onto this....and made modifications accordingly...right now i can safely say that my gt-8 is more flexible that stompboxes with respect to what u mentioned...there are various modes....to have effects....apart from the 2 volume pedals and the solo button,there are also manual switches for delay chorus,reverb,fx etcetc...all custom assigned...the volume pedals can be used to moitor gain and volume levels or anything for that matter.....
alright the BEST PART....the FX loop....so for all the guys who just love analog pedals....the BOSS gt-8 has the effects loop wherein u can use an analog distortion pedal along with the gt-8...there is an fx in and an fx out...so u just need 2 wires extra...this can be used if u want to use ANY analog pedal..I know someone who uses a POD XTL in the FX loop of the GT-8.If u want to use the AMP distortion instead of the digital one...all u need to do is use the 4CM method..itnerested users can read it up on... www.bossgtcentral.com ...the multi efx of today are very competent...
hehe i guess im a supporter of multiefx...though i guess someday when i can really afford it...i might just get myself a mesa boogie and some nice analogs...hehe....
THEBLUEARK:very very valid point...but i think the nulti effect companies have caught onto this....and made modifications accordingly...right now i can safely say that my gt-8 is more flexible that stompboxes with respect to what u mentioned...there are various modes....to have effects....apart from the 2 volume pedals and the solo button,there are also manual switches for delay chorus,reverb,fx etcetc...all custom assigned...the volume pedals can be used to moitor gain and volume levels or anything for that matter.....
alright the BEST PART....the FX loop....so for all the guys who just love analog pedals....the BOSS gt-8 has the effects loop wherein u can use an analog distortion pedal along with the gt-8...there is an fx in and an fx out...so u just need 2 wires extra...this can be used if u want to use ANY analog pedal..I know someone who uses a POD XTL in the FX loop of the GT-8.If u want to use the AMP distortion instead of the digital one...all u need to do is use the 4CM method..itnerested users can read it up on... www.bossgtcentral.com ...the multi efx of today are very competent...
hehe i guess im a supporter of multiefx
...though i guess someday when i can really afford it...i might just get myself a mesa boogie and some nice analogs...hehe....theblueark
New member
Ya multi effects are the way to go for extreme versatality. But I dislike that they are not intuitive.
For example, if I'm at a gig, and I'm high on the music, and I step on my boost pedal for my solo. If I hear that it's too ffing loud, or too much treble, I can tweak that bugger right away. If I find my delays too overwhelming I bend over to my delay pedal and tweak it.
For a multi effects, I have to remember which knob controls what. Because of the extreme versatality, most knobs do different things on different patches. When I'm high on the music I don't want to be thinking "Ok I'm on patch 3 for this song, there's a delay on it and to turn it down I gotta control... this knob"
Single effects however, lack the ability to quickly switch between patches and effects placements. You'll have to tap dance a lot or have complicated patch systems if you want to fully control a long effects line. So it really depends from user to user and their style of music and performing.
If you like multi effects with effects loops check out the G system. Built for multi effects people who also want powerful control of their single effects, using relays for true bypass. In built with a couple of good effects too.
looks like a dream.
For example, if I'm at a gig, and I'm high on the music, and I step on my boost pedal for my solo. If I hear that it's too ffing loud, or too much treble, I can tweak that bugger right away. If I find my delays too overwhelming I bend over to my delay pedal and tweak it.
For a multi effects, I have to remember which knob controls what. Because of the extreme versatality, most knobs do different things on different patches. When I'm high on the music I don't want to be thinking "Ok I'm on patch 3 for this song, there's a delay on it and to turn it down I gotta control... this knob"
Single effects however, lack the ability to quickly switch between patches and effects placements. You'll have to tap dance a lot or have complicated patch systems if you want to fully control a long effects line. So it really depends from user to user and their style of music and performing.
If you like multi effects with effects loops check out the G system. Built for multi effects people who also want powerful control of their single effects, using relays for true bypass. In built with a couple of good effects too.
looks like a dream.
