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#41
yeah, studio monitors should work. they'd sound pretty good too
punk isn't dead, it's always smelled that way.

"A perfection of means, and confusion of aims, seems to be our main problem."
-ae
#42
Quote by GS LEAD 5
Tell me some. I have an RP500, but I might be able to use them here.

Well, number one, the Tube Compressor is your best friend. It can fatten up your tone very well.

Number two, you don't need nearly as much bass as you think you do. At the most, I usually don't have it over 1-o'-clock.

Three, play around with the cabs. The cab for the JTM-45 is usually too bassy for me (they're supposed to be Greenbacks), so I usually switch to the cab for the Park 75 or the JCM-800. Although a bright mic, like the model of the Sennheiser MD 421, can help with the muddiness (I got a sweet Jeff Beck-style tone with the standard cab loaded with Greenbacks and the 421). I've heard that a lot of people on Sevenstring.org like to disable the cabs entirely and just use impulse responses in their DAWs. I haven't tried this yet, as I haven't actually recorded anything with it yet.

Four, the overdrive, distortion and fuzz pedal models are awesome, and you should use them.

Five, I've gotten the best chorus tones out of the delay with modulation and the flangers. Their model of the Boss CE-1 is great, but it's very dated-sounding. I love using it when I'm playing Rush songs (the Hiwatt model is fucking amazing; combine that with my semihollow and I can get pretty damned close to Alex's tone on Hemispheres/Permanent Waves/Moving Pictures), as well as Police songs (the AC30 model, thankfully, is one of the best ones on the unit), but it's not all that modern-sounding, and sounds very late '70s-early '80s. They only have three choruses, a Roland Dimension D (which is great for '80s sounds), the Boss CE-1, and a Tri-Chorus, which I don't really like much, although I haven't really played with it too much. However, you can get good chorus tones out of the flangers if you play with them enough, and the delays with modulation (both digital and analog) give you good and pretty transparent-sounding chorus.

Six, you can get a BADASS Matt Bellamy-style Fuzz Factory-type fuzz by chaining the Maestro Fuzztone model (which is a very weak fuzz) and one of the heavier-hitting fuzzes, like the Fuzz Face, the Tone Bender, or the Big Muff. The Fuzz Face seems to get the most chaotic one, from my experiments. Another good tip for a MASSIVE fuzz is to run one of the overdrives into one of the fuzzes. I've tried chaining two of the higher-gain fuzzes together, and it doesn't really sound good. The noise gate (which is pretty much a necessity, as Line 6 decided it would be a good idea to implement virtual AC hum into their amp models; you can actually choose whether you want a European 50 Hz or a North American 60 Hz hum, which is kinda cool, I guess) kills the sustain, and the fuzz gets all sputtery, and not in a cool Devi Ever way.

Seven, Line 6's models seem to be slightly higher gain than the real amps, IMHO, so getting a perfectly clean tone can be hard at times, even on the Fender blackface models. If you want a perfectly clean tone, just use a Tube Compressor with a light amount of compression, and then EQ that to taste. Hopefully they'll put a JC-120 model in eventually, either in a firmware update or as part of an optional expansion pack. A lot of people have been asking for it, and since they've already got the chorus from the JC-120 (the Boss CE-1 is, from what I've heard, essentially the JC-120's chorus with more parameters to control), I don't see why they wouldn't put one in. Would it be very hard to do a model of a solid-state amp? They've done the JC-120 before on their earlier PODs. I've just had a bit of trouble getting a modern jazz tone, and I was kinda disappointed that they didn't put any high-quality solid-state amp models in, like the JC-120, the Polytone Mini-Brute, or the more recent Acoustic Image Clarus. I can get awesome fusion tones, and plenty of classic jazz tones (shit, they even have a model of that old Gibson amp from the '30s that Charlie Christian played, which actually can get some really raunchy overdrive that sounds pretty cool and VERY retro), but when it comes to contemporary jazz, I have trouble.

Eight, you can assign virtually any parameter of anything you want to the expression pedal. You can assign as many parameters as you want, as far as I know, to the expression pedal. You should exploit this as much as possible, as it's a great way to get CRAZY sounds out of the unit. I'm still experimenting with this, as there are so many effects and so many parameters that I doubt I'd ever be able to try out every combination.

Nine, you can get some cool sounds by assigning different effects to each stereo channel. Like, for example, on the left channel, you take a delay and put it through an intelligent harmonizer, and on the right channel, you take another delay with a longer or shorter delay time and put it through another intelligent harmonizer tuned to another interval. You can get some cool arpeggios out of single notes with that. The volume swell delay and reverse delay can be cool choices for this, but I tend to prefer the standard digital delay, maybe with modulation. Then you can run that into a nice long reverb post-mixer, and you've got an awesome ambient/post-rock sound. You may or may not be able to use an amp model with this. I think you'd be okay if you just used an amp model, and you didn't put any effects before the amp besides the noise gate and maybe a volume pedal if you want. I'd recommend one of the blackface models for this, of course, although the Voxes are good, too, as long as you're careful with the gain and keep it nice and clean. There are several presets that expand upon this sort of idea, some of which use the guitar synths (there are several, and they're actually pretty cool), and they just omit the amp model entirely because it'd overload the DSP chip if they used even one, let alone two. It gives you a warning if you've reached the limit of DSP power, so you can't make your unit crash.

I guess that's about it. I dunno how any of those might apply to your Digitech, since the HD500 is pretty unique among multieffects in that you can route your effects in whatever order you want, and you can chain several of the same type of effect together, unlike most multieffects (you can't do this with the lower-end POD HD models, unfortunately), so these tips might not be useful to you at all. Also, a lot of them are specific to the POD HD, so again, I'm not sure how helpful this might be.
#43
wow, they should put that on page 1.

just outta curiosity katana:

Quote by Holy_Kat
Number two, you don't need nearly as much bass as you think you do. At the most, I usually don't have it over 1-o'-clock.


what do you use for monitoring? some kinda full range setup?

one reason i mention is that amp/speaker choice can play a major role in what you are talking about. a guitar with 1, 2 or 4 12" speakers and running at 16 or 8 ohms will have less low end response (do to resonance freq and impedance curves) than a 2 or 3 way HIFI/studio monitor/full range setup running at 4 or 2 ohms.

this is definitely one reason i always have to cut back bass when using modeler units.
punk isn't dead, it's always smelled that way.

"A perfection of means, and confusion of aims, seems to be our main problem."
-ae
#44
Quote by gumbilicious
wow, they should put that on page 1.

just outta curiosity katana:


what do you use for monitoring? some kinda full range setup?

one reason i mention is that amp/speaker choice can play a major role in what you are talking about. a guitar with 1, 2 or 4 12" speakers and running at 16 or 8 ohms will have less low end response (do to resonance freq and impedance curves) than a 2 or 3 way HIFI/studio monitor/full range setup running at 4 or 2 ohms.

this is definitely one reason i always have to cut back bass when using modeler units.

I use headphones usually, sometimes I plug into my amp (which is a Vox Valvetronix) on the Boutique Clean channel, which is bassy as hell. It's supposed to be a model of the clean channel of a Dumble ODS, and it's the most transparent sound I've got. I just run it with everything at 12-o'-clock except for the master volume. Seriously, it's really bassy. It's really boomy if you put the bass over 12-o'-clock, and even then, some low notes make it unusually boomy when I use my neck pickup.

So yeah, I guess it's probably because I already have a lot of bass. And because I prefer trebly tones anyway. Although I like high mids the most. I always have the Presence knob WAY up. I listen to a lot of post-punk and indie rock, and I've taken a liking to the very bright, some would say "ice-pick," tones that a lot of those bands use. They mostly use single-coils, though, and I'm still saving up for my Jazzmaster, and while I have my dad's old MIJ Squier Tele, the pickups on that are all funky and don't always work. I've been meaning to do an overhaul of the hardware on it, probably getting all the stuff from Guitarfetish, since I don't really want to spend too much on it, but I haven't gotten around to that yet, so I have no single-coils. So I try to compensate for the warmer sound of my Ibanez semihollow by EQing the amps differently.

Seriously, though, the JTM-45 model is bassy as hell through its regular cab. I've noticed the Plexi model on my Valvetronix is also extremely bassy. Is this how real Plexis are?
#45
cool.

i was just wondering if guitar amps still get all the bass from modelers, i have never tried using a guitar amp/cab for monitoring my modeling.

thx for indulging me.

PS: i love single coils too. lovely things.

edit:

Quote by holy katana
is this how real plexi's are?


i have a metropolis, custom built JTM45 (i know this isn't THE SLP 1959 plexi, but it is pretty damn close). i run the bass around 2, anymore is too much for me. so "yes", it seems like they are bassy.
punk isn't dead, it's always smelled that way.

"A perfection of means, and confusion of aims, seems to be our main problem."
-ae
Last edited by gumbilicious at Mar 18, 2011,
#46
Quote by Holy Katana
Well, number one, the Tube Compressor is your best friend. It can fatten up your tone very well.

Number two, you don't need nearly as much bass as you think you do. At the most, I usually don't have it over 1-o'-clock.

Three, play around with the cabs. The cab for the JTM-45 is usually too bassy for me (they're supposed to be Greenbacks), so I usually switch to the cab for the Park 75 or the JCM-800. Although a bright mic, like the model of the Sennheiser MD 421, can help with the muddiness (I got a sweet Jeff Beck-style tone with the standard cab loaded with Greenbacks and the 421). I've heard that a lot of people on Sevenstring.org like to disable the cabs entirely and just use impulse responses in their DAWs. I haven't tried this yet, as I haven't actually recorded anything with it yet.

Four, the overdrive, distortion and fuzz pedal models are awesome, and you should use them.

Five, I've gotten the best chorus tones out of the delay with modulation and the flangers. Their model of the Boss CE-1 is great, but it's very dated-sounding. I love using it when I'm playing Rush songs (the Hiwatt model is fucking amazing; combine that with my semihollow and I can get pretty damned close to Alex's tone on Hemispheres/Permanent Waves/Moving Pictures), as well as Police songs (the AC30 model, thankfully, is one of the best ones on the unit), but it's not all that modern-sounding, and sounds very late '70s-early '80s. They only have three choruses, a Roland Dimension D (which is great for '80s sounds), the Boss CE-1, and a Tri-Chorus, which I don't really like much, although I haven't really played with it too much. However, you can get good chorus tones out of the flangers if you play with them enough, and the delays with modulation (both digital and analog) give you good and pretty transparent-sounding chorus.

Six, you can get a BADASS Matt Bellamy-style Fuzz Factory-type fuzz by chaining the Maestro Fuzztone model (which is a very weak fuzz) and one of the heavier-hitting fuzzes, like the Fuzz Face, the Tone Bender, or the Big Muff. The Fuzz Face seems to get the most chaotic one, from my experiments. Another good tip for a MASSIVE fuzz is to run one of the overdrives into one of the fuzzes. I've tried chaining two of the higher-gain fuzzes together, and it doesn't really sound good. The noise gate (which is pretty much a necessity, as Line 6 decided it would be a good idea to implement virtual AC hum into their amp models; you can actually choose whether you want a European 50 Hz or a North American 60 Hz hum, which is kinda cool, I guess) kills the sustain, and the fuzz gets all sputtery, and not in a cool Devi Ever way.

Seven, Line 6's models seem to be slightly higher gain than the real amps, IMHO, so getting a perfectly clean tone can be hard at times, even on the Fender blackface models. If you want a perfectly clean tone, just use a Tube Compressor with a light amount of compression, and then EQ that to taste. Hopefully they'll put a JC-120 model in eventually, either in a firmware update or as part of an optional expansion pack. A lot of people have been asking for it, and since they've already got the chorus from the JC-120 (the Boss CE-1 is, from what I've heard, essentially the JC-120's chorus with more parameters to control), I don't see why they wouldn't put one in. Would it be very hard to do a model of a solid-state amp? They've done the JC-120 before on their earlier PODs. I've just had a bit of trouble getting a modern jazz tone, and I was kinda disappointed that they didn't put any high-quality solid-state amp models in, like the JC-120, the Polytone Mini-Brute, or the more recent Acoustic Image Clarus. I can get awesome fusion tones, and plenty of classic jazz tones (shit, they even have a model of that old Gibson amp from the '30s that Charlie Christian played, which actually can get some really raunchy overdrive that sounds pretty cool and VERY retro), but when it comes to contemporary jazz, I have trouble.

Eight, you can assign virtually any parameter of anything you want to the expression pedal. You can assign as many parameters as you want, as far as I know, to the expression pedal. You should exploit this as much as possible, as it's a great way to get CRAZY sounds out of the unit. I'm still experimenting with this, as there are so many effects and so many parameters that I doubt I'd ever be able to try out every combination.

Nine, you can get some cool sounds by assigning different effects to each stereo channel. Like, for example, on the left channel, you take a delay and put it through an intelligent harmonizer, and on the right channel, you take another delay with a longer or shorter delay time and put it through another intelligent harmonizer tuned to another interval. You can get some cool arpeggios out of single notes with that. The volume swell delay and reverse delay can be cool choices for this, but I tend to prefer the standard digital delay, maybe with modulation. Then you can run that into a nice long reverb post-mixer, and you've got an awesome ambient/post-rock sound. You may or may not be able to use an amp model with this. I think you'd be okay if you just used an amp model, and you didn't put any effects before the amp besides the noise gate and maybe a volume pedal if you want. I'd recommend one of the blackface models for this, of course, although the Voxes are good, too, as long as you're careful with the gain and keep it nice and clean. There are several presets that expand upon this sort of idea, some of which use the guitar synths (there are several, and they're actually pretty cool), and they just omit the amp model entirely because it'd overload the DSP chip if they used even one, let alone two. It gives you a warning if you've reached the limit of DSP power, so you can't make your unit crash.

I guess that's about it. I dunno how any of those might apply to your Digitech, since the HD500 is pretty unique among multieffects in that you can route your effects in whatever order you want, and you can chain several of the same type of effect together, unlike most multieffects (you can't do this with the lower-end POD HD models, unfortunately), so these tips might not be useful to you at all. Also, a lot of them are specific to the POD HD, so again, I'm not sure how helpful this might be.


a) Tube compressor? What the hecks that? What settings do you use on it?
b) I usually have bass on my fav model (Triple Recto) at 11o clock
c) As far as cabs are concerned, I keep coming back to the recto 412 sim.
d) What exactly do you do with the modulated delays? I still havent figured it out.
Also, a couple of the delays on my RP have something called "Ducker Level" and "Ducker Threshold". Wtf's that supposed to be?
e) I cant chain an OD into a fuzz, but I can try using my DF-7 into my RP. Suggested settings?
f) You mean the Gibson GA? GA40 I think......my RP's got one of those too, but I have no use for it
g) One really nice thing I did with my RP is that I set an LFO to control chorus speed, and varied the LFO's frequency with the pedal. It sounds insanely sci fi when going up and down while strumming chords.
h) Sorry, can only use one model. And ive got no DSP overload warning. Mine just locks up altogether when overloaded. Thankfully it happened only once, though I suspect it was more of a voltage fluctuation problem than overload.

Try doing this.
Does the HD have a Voodoo Sparkle Drive model? Or any OD that is a clean bosst and OD in parallel?
If so, run it into a Mesa Triple Rec (diamond plate?)
Do this-
Gain- 40
Clean- 50
Level- 99

On the Rec- Gain- 50-70, depending on how much you want.
Bass- 3.0
Mid- 7.5
Treble- 5-6.
Presence- 0
Use a Recto 412 cab model.

Great rhythm tone, thick and chunky.
EDIT: The JTM probably IS bassy, I can get really nice, very warm Systematic Chaos Petrucci esque tones out of the JTM model on my RP with a bit of chorus and delay, treble on the JTM at 9, mids 6, bass 2. Gain very VERY low, 30 or so, it breaks up with heavy picking.
Last edited by GS LEAD 5 at Mar 18, 2011,
#47
anyone here have a pod hd? i want to know if you can set the looper volume to be controlled by an expression pedal
Originally posted by primusfan
When you crank up the gain to 10 and switch to the lead channel, it actually sounds like you are unjustifiably bombing an innocent foreign land.


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#48
just googled to find out. you can't. hopefully they will make an update for that.
Originally posted by primusfan
When you crank up the gain to 10 and switch to the lead channel, it actually sounds like you are unjustifiably bombing an innocent foreign land.


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#49
Quote by gumbilicious
wow, they should put that on page 1.

just outta curiosity katana:


what do you use for monitoring? some kinda full range setup?

one reason i mention is that amp/speaker choice can play a major role in what you are talking about. a guitar with 1, 2 or 4 12" speakers and running at 16 or 8 ohms will have less low end response (do to resonance freq and impedance curves) than a 2 or 3 way HIFI/studio monitor/full range setup running at 4 or 2 ohms.

this is definitely one reason i always have to cut back bass when using modeler units.

That explains why my RP sounds super flubby through my stereo system.

@Katana: Does the Pitch Shifter on your HD add a lot of extra flub when used to virtually downtune your guitar?
#50
I think you could add some preamp which use DSP without being "modeler/multi effect " . The rocktron voodu valve is a fine piece of gear ... the best ive heard played directly through headphone cause the speaker emulation is just awesome . the Voodu valve is the piece of gear ive been searching for my bedroom after trying a lot of stuff ( vox tonelab st , pod 2.0 , behringer v-amp 2 , vox amplug ) . i like the fact that the voodu valve doesnt try to "model" .. you really start to dial your sound with what you have in mind . all the effect , flange , chorus , delai are just great . weird that it was release in 1995 ( before the big popularity of "modeling " technology ) .


rocktron prophesy should be considered too .

thumb up for my Rocktron Voodu Valve . i havent tried the XLR output to go direct through a P.A or recording console , but so far ive very like the unit . Guitar > voodu valve > Headphones
Bedroom rock star :

- Gibson Les paul Standard 2001 Honeyburst .
- Agile 3200 Slim
#51
Hey!

I currently own a Pod 2.0 and I really thought it would be better! td;lr it sucks. Ive tried running it into the poweramp of my peavey 6505+ and in front of a combo. Just sucks.

Are the Pod X3s a SERIOUS improvement into the high ground? Or would I want to get another product, eg. eleven rack, gsp1101?
I dont want to spend money for an Axe-FX (I dont have the money), but I want to get some kind of a digital system. I was looking at the Eleven Rack, seemed to impress me. Id run it straight into the computer, but also looking forward to run it into a power amp and into a cab. Would a rocktron velocity 300 do justice for it? Some guy said that its better with a SS power amp (instead of tube).


Shortly. Im looking for the best set up money-quality wise. Would and Eleven Rack -> rocktron velocity 300 -> harley benton g212 Vintage (I have the cab, it rocks) be the best as in money-quality wise?
And who says this would kick my peavey 6505+s ass (into the HB G212 Vintage)?

thanks in advance!
Jonathan
Last edited by fc89konkari at Mar 20, 2011,
#53
Quote by fc89konkari
^anyone?

And also, is the Pod X3 PRO any competition for the eleven rack?


The 11R blows away just about everything except the Axe FX.
The Axe ebats the 11 purely on features- feel wise they are similar enough to be indistiguishable.
#54
on youtube, fearedse's comparison on HD300 vs. axe fx which really impressed me on the HD300. It really made me think it rocks. So are you definately sure that the 11R will kick the HD300's (or 500s) ass?

thanks

PS. you really have quite a bit saved for a badass tube amp
#55
Quote by fc89konkari
on youtube, fearedse's comparison on HD300 vs. axe fx which really impressed me on the HD300. It really made me think it rocks. So are you definately sure that the 11R will kick the HD300's (or 500s) ass?

thanks

PS. you really have quite a bit saved for a badass tube amp


Depends on what you use it for.
If youre gonna be playing right on the edge of distortion and be depending a lot on player dynamics for tone, and can do without a bazillion amp models, and if recording to Pro Tools interests you, 11R is the way to go. Only Id reccmend a Carvin TS100 instead of a Velocity 300.
However, if you need clean cleans and heavy gain, the HD might be a better choice- it has far mroe amp models (50 something I think vs the 11's 16) and more effects and flexibilty in general.

Basically its pretty even. What the HD loses out in terms of tubey feel, it makes up for it sheer features. However the 11R makes up for that loss with tis ability to act as a rack based recording interface, and its Pro Tools integration might just tip you over.

I suggest you go to a stre and play both, for a LOOOOONG amount of time.
Axe vs HD500 or 11R/
Axe. Any day.
HD500 vs 11R?
That is a tough one.
You really need to try them out. Both have their respectiv e strengths and weaknesss.
#56
If the only benefit from the HDs would be features, Ill go with the 11R. I just checked the models, and I can definately deal with multiple fender cleans, JCM 800, Plexi, Mark 2C+, Dual recto and SLO.

Im just wondering, can I download more for free (or do I have to pay) or what? And I also understood that I can control all this with a PC aswell.
#57
Quote by fc89konkari
If the only benefit from the HDs would be features, Ill go with the 11R. I just checked the models, and I can definately deal with multiple fender cleans, JCM 800, Plexi, Mark 2C+, Dual recto and SLO.

Im just wondering, can I download more for free (or do I have to pay) or what? And I also understood that I can control all this with a PC aswell.


AFAIK upgrades are usually free.
You can control ANY mfx unit with a PC.
The biggest plus of the Eleven is the ability to record multiple tracks simultaneously with Pro Tools. Doesnt sound like much?
Well, one track is a direct recording. Andother is just a waveform that can be modified as you want- Ie you record something with a Dual Recto, then you decide it would sound ebtter with an SLO. You take the extra track, apply the SLO model to it. Voila!
You can also record individual sections of the effects chain.
Ir you want one channel to haev the full chain, and the other channel to have the chain till the second pedal model (in an OD>chorus>Reverb chain).
Also you get a copy of Pro Tools with the thing- Pro Tools is bloody expensive, and hardware bound, so you cant pirate it.
EDIT: http://emusician.com/hardware/avid_eleven_rack_review/
Read that.
EDIT2: I forgot to mention, its got way fewer effects than the HD's.....2 choruses vs 5, 1 flanger vs 3 etc.
Last edited by GS LEAD 5 at Mar 21, 2011,
#58
Why doesnt everyone with the money play an Axe FX? And the ones with mid-range gear play Eleven Racks?

I just dont get it, is there a catch in those digi things, or havent people just realized, or is it the simplicity of a real amp?
#59
same reason not everyone who can afford a diezel has a diezel. everyone likes different things. and then add to that the fact that lots of people write off modelers because they just tell themselves it'll never sound as good as a real amp. also, sometimes people just want a nice clean amp sound and no effects. for that, an axe fx is overkill.

also, for the pod vs. 11r debate ill say this: i've heard that the 11r sounds really great and some say even better than all the pod amp models. i haven't played one so i can't confirm. the thing that holds me back from buying the 11r is that it is very limited in the effects department. the pod has a bigger variety of effects. and the pods are all in one where the 11r needs a foot controller
Originally posted by primusfan
When you crank up the gain to 10 and switch to the lead channel, it actually sounds like you are unjustifiably bombing an innocent foreign land.


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#60
But still, all the worlds peaveys and mid-range amps are selling (duh). I mean, you have a Peavey XXX, so says your sig. So personally, do you find it better sounding than any modeller up to 11R? Or any specific reasons for holding that over a pod/modeller?
#61
Quote by fc89konkari
Why doesnt everyone with the money play an Axe FX? And the ones with mid-range gear play Eleven Racks?

I just dont get it, is there a catch in those digi things, or havent people just realized, or is it the simplicity of a real amp?


a) Tube snobbery
b) Not everyone can deal with tech
c) Overkill. I doubt Angus Young needs an Axe.

The Axe Fx is perhaps the ONLY modeller out there that DOESNT have any catch, except the price.
EDIT: http://www.youtube.com/watch?v=8jfEjY_75Io
This should prove a point.
Last edited by GS LEAD 5 at Mar 22, 2011,
#63
Quote by fc89konkari
What catch does the 11R have then? And what point are you trying to prove? (to clarify)


The 11R's catch- very few models. 16 of them, vs over 70 for the Axe.
Same with effects. Much less than the Axe.
However the Axe doesnt have the recording related features of the 11.

That video is to show that the model and the real thing sound VERY similar.
#64
well i have a question about setting up an axe fx rig.

first off, how would it sound through good quality studio headphones?

secondly, ive heard alot of bands run their axefx units straight into house PA systems, can you do this? how would you?

ive also heard the axefx sounds pretty bad in mono situations, is this true?
#65
Quote by Seanthesheep
well i have a question about setting up an axe fx rig.

first off, how would it sound through good quality studio headphones?


with all the emulation, it should sound the best on 'flat response' sound systems and studio headphones fall into that category. so i'd say they'd sound pretty good.

Quote by Seanthesheep
secondly, ive heard alot of bands run their axefx units straight into house PA systems, can you do this? how would you?


run the line out to a mixer/power amp/PA and then run that signal to the speaker cabs. it is about as straight forward as running a headphone out.

Quote by Seanthesheep
ive also heard the axefx sounds pretty bad in mono situations, is this true?


i don't have first hand experience, but i doubt it 'sounds bad' in mono situations, but it won't have the depth of stereo and may sound a bit flat in comparison.
punk isn't dead, it's always smelled that way.

"A perfection of means, and confusion of aims, seems to be our main problem."
-ae
#66
would i absolutly need a power amp to run it through a PA? probably so, now that i think about it.

well what kind of power amps work well with the axe? and how powerful should i be looking at? itd only be used for gigs, cuz when im at home id either be playing my amp head or playing the axe through headphones.
for the power on it, keep in mind itd be an alternative for a 120w tube head so itll need to be powerful if id need one.
this is just something im planning out now, because i have a job this summer that paying me 20$/hour so itll be something i can pull off like at the end of summer
#67
Quote by Seanthesheep
would i absolutly need a power amp to run it through a PA? probably so, now that i think about it.

well what kind of power amps work well with the axe? and how powerful should i be looking at? itd only be used for gigs, cuz when im at home id either be playing my amp head or playing the axe through headphones.
for the power on it, keep in mind itd be an alternative for a 120w tube head so itll need to be powerful if id need one.
this is just something im planning out now, because i have a job this summer that paying me 20$/hour so itll be something i can pull off like at the end of summer


Um a pa IS a poweramp.

A PA is basically a giant amp which amplifies miced or direct input.
A decent 100W+ poweramp can easily be gotten for 300 dollars or so.
An SS poweramp would be preferable if you want amp models to be as accurate as possible. Like a PA poweramp. The Crown XLS series is decent, the 399 dollar one outputs 275W a side at 8 ohms.
A tube poweamp will sound good, but amp models will not sound perfectly accurate, unless its a flat one like the Carvin TS100 (50W a side, 500 dollars).
Ideally, a stereo poweramp is preferable as the Axe is a stereo preamp system.
#68
the TS-100 looks pretty interesting, but if a PA system will act as my power amp, then i wont need a power amp, as my only interest is to play it through PAsystems or headphones
#69
for those playing their dsp through P.A ... is a Powered speakers like JBL EON 12 or MACKIE srm 450 or whatever powered speaker .. sound any good for guitar use ????? do they colored the sound ???

without buying a p.a .. for home purpose or medium size purpose .. do they worth .


guitar > ( DSP multi effect ) > powered speaker

** im talking about speaker use by dj

http://www.tropicalmusicpy.com/admin/mackie_srm450.jpg

ive always been told that many multi effect osund better with an uncolored power amp cause of the amp simulation they included .

anyone ever tried their multi effect to one of these powered speaker ???


*** sean the sheep , is there a headphones out on the Axe fx .... i think its what this unit is missing ,
Bedroom rock star :

- Gibson Les paul Standard 2001 Honeyburst .
- Agile 3200 Slim
Last edited by Skysc at Mar 29, 2011,
#70
Quote by Seanthesheep
the TS-100 looks pretty interesting, but if a PA system will act as my power amp, then i wont need a power amp, as my only interest is to play it through PAsystems or headphones


a 'PA system' can mean a few things, but i am guessing if you have a 'PA system' them you have:

-mixer: the mixer takes multiple inputs and allows individual volume control of each input. this usually consists of a preamp and some level, panning and EQ controls for each channel.
-power amp: this takes the signal from the mixer and makes it loud. usually accepts a line level signal as input. there are mono power amps (used on subs often) and stereo power amps (allows you to drive two cabinets to create a stereo field).
-speaker cabinets: for a PA there are multiple ways to do this, but the cheap and easy is to have a pair of 2-way cabs with crossovers for a driver (10, 12 or 15 inch) and a tweeter.

there are lots of variations of this theme (but these all have the required parts mentioned above in various forms):


this is [close to] what i use, it's pretty classic. the mixer and power amp are grouped together. it uses two 2-way cabs with a horn on the tweeter to project further.

this lacks scalability for larger gigs, but is great as a monitor for your own band when using a house PA.



this is another type of 'PA system'. the powered cabinet. these are speaker cabs with the power amp built in. sometimes they'll even have a preamp or 2 as well (that one has 3 channel mixer onboard). so this is a whole self contained unit. beyond the 1-piece convenience there are also some technical advantages to this method (dealing with active vs. passive crossovers, etc).

these are becoming more popular with gigging musicians that play 1 person gigs with just an instrument and voice.



this is a more complete and accurate story of the pro PA. public address and personal monitoring in one. this one has a power mixer, that is more of a table top mixer with a power amp built in.



all in one PA's. popular at open mic nights and sometimes i even see them at karaoke nights.
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/end list
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of course you could just get a unpowered mixer and rack up a couple power amps and then you can do fun stuff, like run a separate power amp for the sub, or a separate power amp for monitor and main functions.



this is worth a mention. these are studio monitors, they are similar to a PA, except their main purpose is to create a listen environment with a flat response, and it is more oriented in near field listening. these make quite ideal playback sources.



also note, these are computer speakers. they are made for making music you hear on the radio and audio from TV and movies sound better. they aren't all that great for guitar though. same thing with HIFI home stereo systems. they sound alright, but i usually find way to much low end on these systems.

i just wanted to break this down, cuz there seems to be some confusion here about certain aspects of 'amplifying modeling effects'. i want to make it clear, if you are hearing the guitar signal any louder than a whisper level (and certainly if it is at loud vocal level) than a power amp is involved. and all power amps jobs are to do the same thing: amplify a signal as much as possible with as little distortion as possible. the only power amps that regularly/at times 'color' the signal are ones used for 'signal sourcing' of an instrument. do not confuse this with power amps made for 'signal reproduction' that will sound quite horrible if made to distort.

this should answer skysc's question too. yes, the speaker powered speaker should sound fine.
punk isn't dead, it's always smelled that way.

"A perfection of means, and confusion of aims, seems to be our main problem."
-ae
#71
ok, that was relly helpful, to clarify, the kind of PA systems id be running it through are the tradition ones used at venues, where its already set up
#73
I just bought a 4x12 cab knowing that I was going to get a 6505 head later down the line. I'm interested in the Axe now though after playing a friends. I'm just kind of confused as to how they work. Is it basically AXE > Power amp > Cab? Would that be all I need to make it work correctly?
Ibanez RGR421EXFM >> Maxon OD808 >> BOSS NS-2 >> Peavey 5150 212
#75
For high gain metal, which power amp would be better? Tube or SS? What's the wattage I should be looking at getting?
Ibanez RGR421EXFM >> Maxon OD808 >> BOSS NS-2 >> Peavey 5150 212
#76
Quote by DroptuneD
For high gain metal, which power amp would be better? Tube or SS? What's the wattage I should be looking at getting?


For all of these a really transparent SS is best.
#77
Quote by DroptuneD
For high gain metal, which power amp would be better? Tube or SS? What's the wattage I should be looking at getting?


Something with a flat frequency response.
Whats your budget?

Wattage- at least 150W for SS, 50W for tube.
Ideally, 100W tube, and tbh there is no limit for SS. The further away you are from an SS amp's clipping stage, the better.

would just reccomend getting a massive 1500W amp like a Carvin DCM and using the power percentage monitor on it to keep it from overpowering your speakers ie if your cab is 150 W , dont use more than 10% power setting.
#78
Coming from Ola Englund, one of the best ears for tone ever, most poweramps will get you there will the Axe.. Expensive tube power amps require less tweaking for that tube "umph", but you can get it with lower end SS power. A stereo power amp into a stereo 4x12 is a pretty awesome setup. It gives plenty of flexibility.

The only thing you need to be concerned about going direct into a PA is if they have a crappy PA or crappy speakers its going to hurt your sound a lot.
/rig
#79
Quote by mespinos
Coming from Ola Englund, one of the best ears for tone ever, most poweramps will get you there will the Axe.. Expensive tube power amps require less tweaking for that tube "umph", but you can get it with lower end SS power. A stereo power amp into a stereo 4x12 is a pretty awesome setup. It gives plenty of flexibility.

The only thing you need to be concerned about going direct into a PA is if they have a crappy PA or crappy speakers its going to hurt your sound a lot.



well isnt that always a worry with PAsystems? because even if im running a normal tube amp through a miced cab it can still hurt your sound, right?
#80
Quote by Seanthesheep
ok, that was relly helpful, to clarify, the kind of PA systems id be running it through are the tradition ones used at venues, where its already set up


if that is the case, then the monitoring system becomes more crucial; else you'll have no way to hear yourself on stage.

Quote by droptuneD
I just bought a 4x12 cab knowing that I was going to get a 6505 head later down the line. I'm interested in the Axe now though after playing a friends. I'm just kind of confused as to how they work. Is it basically AXE > Power amp > Cab? Would that be all I need to make it work correctly?


that is pretty much how it works. mind you, you prob won't wanna use cab emulation on Axe-Fx if you are doing this

if you want to use a tube or SS tube amp, the choice is yours. i'll be honest, when power amps are operating in the 'linear' ranges they sound about the same. the is a bit more attack in a SS amp, and a bit more a or a 'compressed' quality as it gets pushed louder and harder; SS power amp distortion is usually agreed to sound pretty bad. tube power amp distortion is much more gradual and introduces distortions that are usually agreed to sound acceptable for particular 'effect' (like older rock music).

so if you are thinking about buying a tube or SS amp, you take those considerations into account and realize you aren't gonna notice too much of a difference until you run the amp near it's limits. also, your axe-fx simulates this power amp distortion anyway... and you have more models of power amps to choose from in axe-fx than when you commit to one power amp...

well the choice becomes more obvious that a 100/100 SS stereo power amp will be about all you need for your personal use (practice and live monitoring, small gigs). i wouldn't really consider a 500/500 stereo amp overkill though. both cases i am considering you are running axefx in stereo with a couple 2-way cabs.
punk isn't dead, it's always smelled that way.

"A perfection of means, and confusion of aims, seems to be our main problem."
-ae