#1
Been wanting to get a new amp for the longest time, I have a Roland Cube 60 (the 1st cube series) and was originally planning to upgrade. However, after playing around on my friend's Line 6 Spider III with the Shortboard MkII footswitch, I'm not so sure I want to get the Roland. According to this video, (http://www.youtube.com/watch?v=erKaCn2wgLw, and I'm pretty sure these guys know what they are talking about) the Cube XL came in second and the Spider came in last. But is their opinion more of a reflection of the general consensus?

I play mostly metal stuff, (ranging from Lamb of God to System of a Down and everything in between), but I do like to have versitility (like prog band, Dream Theater, Foo Fighters). Which amp is going to make me happier in the end?

As a side note, I know that anything line 6 related is usually highly criticized online, so hold your flaming to a minimum please. Also, I would more appreciate your input if you have actually tried both of these amp. Specifically, I'm looking at the Cube 80 XL and the Spider IV 75. I'm also factoring in the possibility of add-on purchases like footswitchs, etc. Mostly, I would use this amp for practicing and recording, but would like for it to be able to sound good in a small live venue.
#2
I actually own a Spider IV 15 watt. I love it. I don't really get the hate.
Buuuut I can't really give a solid opinion cause I haven't personally tried out the Roland.

I've gotta say though, I use the Spider as my main amp. The distortion settings are great for a digital modelling system.

inb4 'Line 6 sucks, go with anything, just not Line 6'... grow up kids.
#3
First of all, you dont want to play any show with the Spider IV because the tone is pretty poor. Secondly, a budget and location would be very helpful. Used is probably your best bet. The Cube is better than the Spider on almost any level. The Cube will make you happier in the end, but the Vypyr will make you even happier in the end.

You can find a better amp used for the money, but look into a Peavey Vypyr if you insist on buying new.
Guitars
Ibanez Prestige RG1570
Schecter Omen 6
ESP LTD Viper 400
Dean Dime From Hell

Amp
Peavey 5150
#4
It's not that Line 6 sucks - it's that SPIDERS suck. I'd love a POD HD Pro or something.

I'm gonna say that in the $350-400 range I might spend the extra cash to get the Peavey Vypyr Tube 60 (which is $450 and well (WELL) worth the additional cost).
Current Gear:
LTD MH-400 with Gotoh GE1996T (EMG 85/60)
PRS SE Custom 24 (Suhr SSH+/SSV)
Ibanez RG3120 Prestige (Dimarzio Titans)
Squier Vintage Modified 70s Jazz V
Audient iD22 interface
Peavey Revalver 4, UAD Friedman BE100/DS40
Adam S3A monitors
Quote by Anonden
You CAN play anything with anything....but some guitars sound right for some things, and not for others. Single coils sound retarded for metal, though those who are apeshit about harpsichord probably beg to differ.
#5
Spider gets a lot of shit. Probably because all of their channels are named after songs, and sound nothing like the song they're replicating.
#6
Quote by zomgguitarz1234
Spider gets a lot of shit. Probably because all of their channels are named after songs, and sound nothing like the song they're replicating.

Or they just sound like crap.

Vyper tube if you can afford it. Even a SS Vyper will be better for what you want. Out of the two you mentioned, the Cube hands down - Roland actually know how to build a SS power amp that doesn't sound like a piece of crap. Line 6 have proven that they have no idea. They make some really good modelling front ends but once they are mated to one of their SS power amps it all goes to hell in a handbag.
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
#7
Quote by Cathbard
Or they just sound like crap.

Vyper tube if you can afford it. Even a SS Vyper will be better for what you want. Out of the two you mentioned, the Cube hands down - Roland actually know how to build a SS power amp that doesn't sound like a piece of crap. Line 6 have proven that they have no idea. They make some really good modelling front ends but once they are mated to one of their SS power amps it all goes to hell in a handbag.

That, actually.
Current Gear:
LTD MH-400 with Gotoh GE1996T (EMG 85/60)
PRS SE Custom 24 (Suhr SSH+/SSV)
Ibanez RG3120 Prestige (Dimarzio Titans)
Squier Vintage Modified 70s Jazz V
Audient iD22 interface
Peavey Revalver 4, UAD Friedman BE100/DS40
Adam S3A monitors
Quote by Anonden
You CAN play anything with anything....but some guitars sound right for some things, and not for others. Single coils sound retarded for metal, though those who are apeshit about harpsichord probably beg to differ.
#9
I played in cover bands for many years and never tried to replicate the exact sound of the song I was covering - that doesn't mean it sounded like crap. Different and bad are two unrelated things.
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
#10
Best bet would be to get a Line 6 HD500 and play it through the cube set to clean. Or play it direct through a house PA.

Don't waste your money on the Spiders. And it's been a number of decades since I've been a kid, so I'm not being childish here or jumping on a bandwagon. I do regret buying a 30 watt Marshall MG before I knew better, so want to warn others that the low end of the lines for Line 6, Roland, and Marshall are crap compared to some comparable options from Fender, VOX, and Peavey.

I've got nothing against Roland either; got their keyboards and drums; just stay away from the Cubes. They're not a great value in any of their amplification products. Their jazz amps are great, but overpriced for what they are IMHO.

I got an all-tube Marshall half-stack, but usually I just leave it at home and play through an old Digitech GNX4. The HD500 can do that as well.

At one venue I plugged it into a Spider and it was God-awful. I've been going strait into the board there ever since. I was using a VOX DA5 as a stage monitor, but now I'm going to take the plunge w/in-ear monitors, 'cause I'm tired of getting feedback from the vocal mic and not getting a good mix in the floor monitors where the venues have those. I have the same monitoring issues with the half-stack, too. I haven't been playing all that long, so I really struggle if I can't hear myself and the vocals. Plus when the vocalist can't hear herself, she stresses out her voice, and we can't have that.
#11
i use a line 6 spider IV and i love the tone people on the internet bash spider amps and i was pretty biased against them till i actually played it at the store and loved it
#12
Quote by jetwash69
Best bet would be to get a Line 6 HD500 and play it through the cube set to clean. Or play it direct through a house PA.

Don't waste your money on the Spiders. And it's been a number of decades since I've been a kid, so I'm not being childish here or jumping on a bandwagon. I do regret buying a 30 watt Marshall MG before I knew better, so want to warn others that the low end of the lines for Line 6, Roland, and Marshall are crap compared to some comparable options from Fender, VOX, and Peavey.

I've got nothing against Roland either; got their keyboards and drums; just stay away from the Cubes. They're not a great value in any of their amplification products. Their jazz amps are great, but overpriced for what they are IMHO.

I got an all-tube Marshall half-stack, but usually I just leave it at home and play through an old Digitech GNX4. The HD500 can do that as well.

At one venue I plugged it into a Spider and it was God-awful. I've been going strait into the board there ever since. I was using a VOX DA5 as a stage monitor, but now I'm going to take the plunge w/in-ear monitors, 'cause I'm tired of getting feedback from the vocal mic and not getting a good mix in the floor monitors where the venues have those. I have the same monitoring issues with the half-stack, too. I haven't been playing all that long, so I really struggle if I can't hear myself and the vocals. Plus when the vocalist can't hear herself, she stresses out her voice, and we can't have that.

I don't understand. You have a good rig and you don't take it to your gigs? Are you off your nut?

Quote by J T C
i use a line 6 spider IV and i love the tone people on the internet bash spider amps and i was pretty biased against them till i actually played it at the store and loved it
Give it a month of actually using it and like everyone else you too will want to throw it from a moving truck. A lot of amps sound decent when you first hear them - it means naff all.
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
Last edited by Cathbard at Mar 31, 2012,
#13
Quote by Aays
I actually own a Spider IV 15 watt. I love it. I don't really get the hate.



I actually read that and thought it was my post.
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#14
Quote by Cathbard
I played in cover bands for many years and never tried to replicate the exact sound of the song I was covering - that doesn't mean it sounded like crap. Different and bad are two unrelated things.


Sounding nothing alike and sounding different are two different things though.
#15
Quote by zomgguitarz1234
Sounding nothing alike and sounding different are two different things though.

In the Spider's case it's not just that they sound different, they sound bad.
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
#16
Quote by Cathbard
Or they just sound like crap.

Vyper tube if you can afford it. Even a SS Vyper will be better for what you want. Out of the two you mentioned, the Cube hands down - Roland actually know how to build a SS power amp that doesn't sound like a piece of crap. Line 6 have proven that they have no idea. They make some really good modelling front ends but once they are mated to one of their SS power amps it all goes to hell in a handbag.


Cathbard knows what he's talking about.

Even their modeling front ends can have implementation issues. The original Spider Valves didn't sound much different from a regular Spider unless you really cranked the Master Volume. Plus it was just a pain if you used the factory patches because one would be quiet and the next would just blast out. I bet they've caused a few heart attacks in guitar stores--I've seen people jump out of their skins over that several times. You could fix that, but it would be a big pain. Maybe the new HD Spider Valves are better.
#17
Quote by Cathbard
I don't understand. You have a good rig and you don't take it to your gigs? Are you off your nut?


You name it, and I've played my GNX4 through it.

My MG makes it sound like crap unless I'm using the JVM head instead of the built in MG amp. Spiders mess it up, too.

On the other hand, it sounded especially good through an Egnater Tweaker (mic'd), a Fender tweed tube amp (unmic'd), and assorted other Fender tube amps.

Through the VOX DA5, it sounds good enough as a monitor and can be heard over drums on stage, but it doesn't have the oomph to be the only amplification for a show--maybe if I mic'd it, though. Not surprising since it's only 5 watts and has a 6" speaker. I've run the line out on it to the house before, but that was a waste because it sounds better going straight out the GNX4 into the house. I hadn't mic'd the DA5 because it's easier & I know it's good enough just going direct from the GNX4 to the PA.

The GNX4 does sound great coming through my good rig, but it also sounds almost as good direct into a PA. I even tried running it through a Studio 12AT7 tube preamp before going into the PA, but it didn't really need it. I often have that on hand, but it's not enough of a difference to justify the extra time for setup/teardown. Rather use that to warm up the vocals a bit.

Bottom line: I go through the rig if we need to bring drums to the show. 'Cause then I need to bring the trailer pulled by the pickup truck anyway. Otherwise I take the 2-seater and save 20mpg. The difference in tone isn't worth the difference in gasoline or the extra hour it takes fetching/putting away the trailer and loading/unloading it at home and at the show. Or the extra setup time at the show.

Plus we're not doing really big shows. I'm not trying to do this instead of my day job or anything.

Make more sense now?
#18
Ah, so it's all about transport concerns. OK, I'm on board now. I've resorted to using my JCM900 combo for that reason occasionally too.
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
#19
Quote by Cathbard
Ah, so it's all about transport concerns. OK, I'm on board now. I've resorted to using my JCM900 combo for that reason occasionally too.


Roger that. Before I got the 2-seater, I'd bring the JVM head along and leave it in standby, and run the line-out to the board, but even that's not better enough to justify 20mpg with the Mustang instead of 30. Especially for weekly shows 50 miles away. Plus, want to keep the miles down on the 'Stang--might be worth something in another 30 years. The truck, too, for that matter.

Surprisingly, it's hard to tell the difference between the JVM line out into a good PA and the JCM900 Lead 1960a cab mic'd w/an SM57 into the PA. Except the half stack looks a lot cooler.
#20
I'm a feedback *****. It takes a lot of inconvenience before I'll go without my full rig with its 1960A. The JCM900 combo is ok if you get it off the ground but there is no substitute for a wall of speakers if you want nice controlled feedback. The sound hitting the audience is only half of the story. It's actually a balancing act - loud enough to get good feedback but quiet enough that you don't drown out the PA.
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
#21
Quote by Cathbard
I'm a feedback *****. It takes a lot of inconvenience before I'll go without my full rig with its 1960A. The JCM900 combo is ok if you get it off the ground but there is no substitute for a wall of speakers if you want nice controlled feedback. The sound hitting the audience is only half of the story. It's actually a balancing act - loud enough to get good feedback but quiet enough that you don't drown out the PA.




I know what you mean. I like guitar feedback, too, just not vocal mic feedback.

I like it enough that I put a Sustainiac in one of my guitars. But it's got a Floyd and it's in Drop-D, so I don't take it to shows. Plus it won't fit in the 2-seater--only my Strats fit in that tiny trunk.

I played a bar in the middle of nowhere a couple of nights ago, but they got a great PA with awesome stage monitors. The sound guy wasn't getting enough vocals in the monitors, but there was enough guitar that I was getting great subtle feedback while sustaining notes with one of the patches on the GNX4. Then I switched to a another patch for an Offspring song and the bridge pup went totally microphonic! I'm talking instant squealing, even on 1/8 rests. I used the volume pedal to keep it in check between the time time I switched to that patch and when we got started, but that sure made it a white knuckle ride through the song every time a rest came up. Guess I coulda switched to the neck pup (Duncan Jazz) or played around with the S-1 controls, but it was squealing as long as the volume knob was high enough to not roll off the distortion. The bridge pup is a Duncan Design and is slightly microphonic, but it hasn't gone rogue on me like that on stage since the first time I used it live, like around 2 years ago.

I can dial in enough compression in the GNX4 in the appropriate patches to get manageble feedback tones on all my guitars at most of the places I've played, even when I'm having trouble hearing myself in the mix due to sub-optimal monitors/mixes. Maybe you have something in your rack you can use a MIDI control to set so you can get that awesome feedback we're all addicted to even when your only amplification at the gig is your combo...
#22
There's feedback and then there's feedback. When doing it properly in front of a decent set of speakers angling your guitar slightly will change the tone of the feedback. You just can't get all the nuances with effects. You need big amp and lots of speakers to do it properly.
When I use the combo (which isn't very often, it's just my backup amp really) I can get away with it by getting the amp high enough off the ground, a milk crate is almost enough, good enough in a pinch.
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
#23
cath we're americans. once we've lugged our rigs around enough we want to use something simple.

and by simple i mean it's as easy to carry as a bong.
I wondered why the frisbee was getting bigger, then it hit me.
#24


Actually, I don't mind bringing the rig when it's worth it. And all it takes to be worth it for me is to play a place that doesn't have house drums. Lately we've been playing mainly places that do have house drums. When we have a long enough set one of these days, we'll probably play more places that don't and it'll be worth it because then we need to bring the trailer anyway.

It would be nice to get to Cathbard's level someday, but for now I just need to focus on building a longer set list and the proficiency to play it.

The nice thing about carrying a Strat and a GNX4 around is it's legal in all 50 States...even without a prescription. And there's no way to spill it.
#25
House drums? Never come across that before. Are these "open mike" sorta places?
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
#26
Quote by Cathbard
House drums? Never come across that before. Are these "open mike" sorta places?


Close enough. I've been teaching myself guitar over the last 6 years (I started in my 30s). I've been playing with others for about 2 years. We've been invited to play some paying gigs, but we need to double our setlist before we can live up to our end of that. Other commitments are making that take longer than I'd like...

I'm definitely more of a gear hound than a musician, but I'm progressing steadily, though the new tricks are tough for this old dog to learn.