#3
You can run it straight into the PA but it won't sound very good.
Gilchrist custom
Yamaha SBG500
Telecasters
Randall RM100 & RM20
Marshall JTM45 clone
Marshall JCM900 4102 (modded)
Marshall 18W clone
Fender 5F1 Champ clone
Atomic Amplifire
Marshall 1960A
Boss GT-100


Cathbard Amplification
My band
#5
It's mainly to be used in conjunction with your speakers signal in both live and recording situations. Engineers can do magical things with it, man. Maaaaaaaagical.

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#6
Quote by BaffAttack
It's mainly to be used in conjunction with your speakers signal in both live and recording situations. Engineers can do magical things with it, man. Maaaaaaaagical.

Baff, long time no see man...
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Unless its electronic drums.

BURN THE WITCH!!!!!
#8
They can turn your guitar tone into a magical babymakingbysoundwaves machine.
I AM MASTER OF JIGGLYPUFF.

Current Gear:
Gibson Boneyard with Bigsby
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Mesa 2x12 & 4x12 Cabs
#9
Hahah.

By magical I meant "completely pedestrian tricks. In live applications, you allow the house systems amps and cabinets to "fill out" the sound along with your base tone. Just gives you a bit more oomph. Well, actually, that's the studio reason, too, but without the amps and cabinets part.

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VOLUME SWELLING OCTAVE MONGER σƒ τλε τρπ βπστλεπλσσδ

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#10
Ah. Well, wouldn't it just be the same, if not better, to just mic a cab and use that through the house PA?

I remember once at this gig, the other guitar in my band was being fed to the PA through the line out, which disabled the speakers for some reason...and they kept ****ing with his levels during solos. It was such a wonky live mix.
#11
If you can get both, I'd go for it, mainly because you're at the mercy of the microphone used to mic your cabinet.

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#12
IF you ever line out your amp, make sure it is CONNECTED TO A CAB OR A LOAD BOX.

Otherwise the poweramp will kill electronics and your tube amp, overall a mess.
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#14
Quote by forsaknazrael
I've always been looky, nothing but shure and sennheiser.


Heh. Well, even good mics can only pick up so much. Think about the difference in quality (and the amount of money spent) on mics in recording studios, and even THEY have their cons as far as what they miss or "overdo," etc.

By no means am I suggesting you sacrifice your speakers output tone, just saying that if it's possible to fill it out with a line out (without it completely taking your cab out), you should do it, you get the full spectrum of your amps potential.

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#15
Quote by DakoRob

Otherwise the poweramp will kill electronics and your tube amp, overall a mess.


wut!?
I've never seen a poweramp killing stuff
#16
Quote by Sguit
wut!?
I've never seen a poweramp killing stuff


It does when the head isn't connected to an appropriate load (E.G. Speakers)
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#17
Quote by forsaknazrael
Ah. Well, wouldn't it just be the same, if not better, to just mic a cab and use that through the house PA?

I remember once at this gig, the other guitar in my band was being fed to the PA through the line out, which disabled the speakers for some reason...and they kept ****ing with his levels during solos. It was such a wonky live mix.


I mean if it doesn't shut off the speakers you can use it for reamping or a di box or running it through a beehive into the pa.
Prs se Holcomb is the answer
#19
Quote by forsaknazrael
A balanced line out won't have this problem...
the idea is that it's already at line level...DUH


That's not what he's saying. he's saying that you still have to have the head connected to a load of some sort (unless you love the smell of burning electronics) even when you're lined out.
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Gay & Lesbian I think, the box smelled funny
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#20
Quote by forsaknazrael
A balanced line out won't have this problem...
the idea is that it's already at line level...DUH


Errr true, sorry. I read DakoRob's comment and was thinking speaker out when I typed that. I was just talking about connecting a head to a load of some sort.
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Last edited by GNR4EVER at Jul 14, 2010,
#21
Quote by forsaknazrael
Ah. Well, wouldn't it just be the same, if not better, to just mic a cab and use that through the house PA?

I remember once at this gig, the other guitar in my band was being fed to the PA through the line out, which disabled the speakers for some reason...and they kept ****ing with his levels during solos. It was such a wonky live mix.

That is why I will never play with just an amp modeller into a PA. How hard is it to mike a cabinet? I mean seriously? At a gig you can just hang the thing in front of the cab facing the floor and it will still work ok. Screw relying on the drunk behind the desk more than you have to.
Gilchrist custom
Yamaha SBG500
Telecasters
Randall RM100 & RM20
Marshall JTM45 clone
Marshall JCM900 4102 (modded)
Marshall 18W clone
Fender 5F1 Champ clone
Atomic Amplifire
Marshall 1960A
Boss GT-100


Cathbard Amplification
My band
#22
the Lineout is there primarily for re-amping. You go from that to the Line In (Effects Return) of the other amp - one preamp, two power amps. It's used for demolition work.
Gilchrist custom
Yamaha SBG500
Telecasters
Randall RM100 & RM20
Marshall JTM45 clone
Marshall JCM900 4102 (modded)
Marshall 18W clone
Fender 5F1 Champ clone
Atomic Amplifire
Marshall 1960A
Boss GT-100


Cathbard Amplification
My band