Page 1 of 2
#1
Anyone know about these amps?

Do any of them have master volumes?

Would any of them be particularly good for modern rock tone (AFI, Coheed, Shiny Toy Guns)?

I've been led to believe that the GH series are basically modern takes on the JCM800... I've also heard that about the Pro Tube/AOR. How similar are they? Did the GH replace the Pro Tube?
Spin 'round carousel when your horse isn't screwed in.

My band:
Fractured Instinct
(For fans of Death/Groove/Prog Metal)

Ibanez RGA42E
Ibanez S420
LTD H-301
Ibanez RG520
Peavey Predator USA
Douglas Grendel 725
Line 6 Pod HD500X
#2
You have to be careful with AOR's. They had shit tube sockets. You have to punch them. If a socket is dodgey it will make a noise. Unless you are prepared to swap out the sockets one day, go for a GH.

On the plus side, you can often pick up AOR's with faulty sockets really, really cheap. If you are capable of changing them you can score yourself a fine amp for peanuts. It's a bit of a gamble but can be worth it.
Gilchrist custom
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Atomic Amplifire
Marshall 1960A
Boss GT-100


Cathbard Amplification
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Last edited by Cathbard at Jul 7, 2013,
#3
Quote by Offworld92
Anyone know about these amps?

Do any of them have master volumes?

Would any of them be particularly good for modern rock tone (AFI, Coheed, Shiny Toy Guns)?

I've been led to believe that the GH series are basically modern takes on the JCM800... I've also heard that about the Pro Tube/AOR. How similar are they? Did the GH replace the Pro Tube?


The only one I have played is the AOR, I owned one for about two weeks. I liked it, but the tone controls were pretty crappy, they had little effect, and the boost features made the boosted frequency waaaaay overbearing, but if you like the base sound it was good.

Master volume on that one, though it sounds pretty crappy at non-jamming volume. Very classic oriented amp, would not recommend it for a modern sound at all. I don't think the AOR is what you are looking for.
I'm just a kickin' and a gougin' in the mud and the blood and the beer.
#4
Alright, just gonna rule the Pro Tube out then.
Spin 'round carousel when your horse isn't screwed in.

My band:
Fractured Instinct
(For fans of Death/Groove/Prog Metal)

Ibanez RGA42E
Ibanez S420
LTD H-301
Ibanez RG520
Peavey Predator USA
Douglas Grendel 725
Line 6 Pod HD500X
#5
I like my GH50L, and so does Dave IIRC. The only thing is, it can be a little noisey at times. But you've got a noise suppressor, correct? And really, the noise is only in effect if you use a shitload of gain with the boost engaged. if you run the amp mid gain with just a little bit of gain on the boost (or use an external pedal as a boost) it's not so bad. I love my Laney. Great classic British sound for a bargain!
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#6
Quote by LaidBack
I like my GH50L, and so does Dave IIRC. The only thing is, it can be a little noisey at times. But you've got a noise suppressor, correct? And really, the noise is only in effect if you use a shitload of gain with the boost engaged. if you run the amp mid gain with just a little bit of gain on the boost (or use an external pedal as a boost) it's not so bad. I love my Laney. Great classic British sound for a bargain!

Have you tried a JJ ECC803 in V1? That should tame the noise a bit.
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
I most likely won't have much gain at all on it. Just enough so I can go between clean and dirty with picking dynamics. Gonna pedal it up most likely, old school.

If Cath is correct about Marshall layouts, then the DSL is on the table as well, and possibly a JCM900 MkIII or SL-X.


So it's more like DSL100 vs. GH100L now.

I like the single channel, simple aspect of the GH, I like the "Marshall" of the DSL. The amp I really want is a 2203, but it's just not in the budget right now. I'm pretty sure their prices have gone up recently.
Spin 'round carousel when your horse isn't screwed in.

My band:
Fractured Instinct
(For fans of Death/Groove/Prog Metal)

Ibanez RGA42E
Ibanez S420
LTD H-301
Ibanez RG520
Peavey Predator USA
Douglas Grendel 725
Line 6 Pod HD500X
Last edited by Offworld92 at Jul 7, 2013,
#8
Quote by Cathbard
Have you tried a JJ ECC803 in V1? That should tame the noise a bit.


Not yet. I did a swap with a former co-worker and the tubes I borrowed from him (I think some kind of Ruby) made a huge difference. I think I have no-name 12AX7s in there now. I'll spring for some new pre's soon.

Quote by Offworld92
I most likely won't have much gain at all on it. Just enough so I can go between clean and dirty with picking dynamics. Gonna pedal it up most likely, old school.

If Cath is correct about Marshall layouts, then the DSL is on the table as well, and possibly a JCM900 MkIII or SL-X.


So it's more like DSL100 vs. GH100L now.

I like the single channel, simple aspect of the GH, I like the "Marshall" of the DSL. The amp I really want is a 2203, but it's just not in the budget right now. I'm pretty sure their prices have gone up recently.


Well, IMO, the GH is pretty Marshally...not 100% obviously, but it's there. I've yet to play a DSL, but if you want to pedal up, go with the GH. I run a Sparkle Drive, a Musket, a Pharaoh and a Rat2 through it. Love it. But I'm also somewhat biased.
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#9
As far as the X100b is concerned, it actually does a pretty good 90s death metal styles pretty well, not that that's what you're looking for. With a boost or an EQ I'm the loop though, it does a modern death metal sound pretty damn well. A guitarist from Carnifex jams at our studio now and he was jamming on one with a Maxon 808 and it was pretty brutal. Its really bassy, but Carvin always gives you plenty of options to tweak your tone. And yes, it has a master volume.

If you can try one out, definitely see how you like it, but they aren't all that common, and doesn't really do anything that many other amps can't do.
#10
I would also suggest looking for a Peavey VTM, they are in that vein as well.
Quote by barden1069
A "tubescreamer" is a person paid by a guitarist to stand behind the amp and scream at the tubes. This terrifies the tubes into overdriving and delivers a thick, harmonic-rich tone.
#11
Quote by ExDementia
As far as the X100b is concerned, it actually does a pretty good 90s death metal styles pretty well, not that that's what you're looking for. With a boost or an EQ I'm the loop though, it does a modern death metal sound pretty damn well. A guitarist from Carnifex jams at our studio now and he was jamming on one with a Maxon 808 and it was pretty brutal. Its really bassy, but Carvin always gives you plenty of options to tweak your tone. And yes, it has a master volume.

If you can try one out, definitely see how you like it, but they aren't all that common, and doesn't really do anything that many other amps can't do.


I'm not going for death metal at all this time around, I'm planning on using a POD for that. This is strictly for... basically everything else. Blues to Thrash, I would say.

Thanks for the info though. Not a lot of info out there on those amps.

Quote by RealGuitarHero
I would also suggest looking for a Peavey VTM, they are in that vein as well.


They have been on my mind, but... they're so frickin UGLY! Aesthetics do matter to me.
Spin 'round carousel when your horse isn't screwed in.

My band:
Fractured Instinct
(For fans of Death/Groove/Prog Metal)

Ibanez RGA42E
Ibanez S420
LTD H-301
Ibanez RG520
Peavey Predator USA
Douglas Grendel 725
Line 6 Pod HD500X
#12
Quote by ExDementia
As far as the X100b is concerned, it actually does a pretty good 90s death metal styles pretty well, not that that's what you're looking for. With a boost or an EQ I'm the loop though, it does a modern death metal sound pretty damn well. .


I've had an X100B (actually, the XV112B) since about 1989. It's the old rug-covered version, a 1x12 combo that originally came with a Brit-voiced 100W speaker. I've had an EV-L and an Eminence Delta ProA in it recently.

The old X100Bs are different from the current models; there was a period where they didn't make them, and the newer "reissue" design is significantly different. The transformers are smaller, for one, the output is a bit reduced and the reverb is digital (not a bad thing; it's actually a better reverb than the standard springer, IMHO). Some of the original speakers in extension cabs for the new ones were Rocket 50's, which are low-efficiency cheapo Celestions. Not good.

My X100B is a monster. Heavy, at around 75 pounds, for a lousy 1x12 combo. Louder than hell on its own, I've disconnected the internal speaker and run a pair of 4x12s off it and blown Marshall stacks off the stage. Mine has a switch that will drop it to 50W and to 25W, but honestly, that really doesn't reduce volume as much as it gives you a bit earlier breakup.

It will remind you of an early Model 1/2 Mesa Boogie in a lot of ways, including looks. The controls are active, not passive. Big difference. There are parametrics, master volume, all that, plus a five-band assignable graphic EQ and lots more. It's worth downloading the user manual from Carvin to find out what all is in there if you're considering one. The cleans are really really good, and surprisingly good for an amp with as much horsepower as this one commands. Dirty, the active controls can get you pretty much anywhere you want to go, but sometimes a good pedal from Wampler is just an easier solution <G>. As a used amp it's an incredible deal; I've seen a lot of the originals (including my combo) going for somewhere in the $350 region. If you get one in great shape and have it gone through by a good tech before you do something like blow up caps <G>, you'll have an amp for the ages.
Last edited by dspellman at Jul 8, 2013,
#13
Ffff. Active EQ is a PITA. The graphic EQ is really cool though. If I go the X100B route, I will absolutely be getting an original pre-carpet model. I don't like the logo on the re-issue, and if it's actually worse as you say, there's no point considering it at all.
Spin 'round carousel when your horse isn't screwed in.

My band:
Fractured Instinct
(For fans of Death/Groove/Prog Metal)

Ibanez RGA42E
Ibanez S420
LTD H-301
Ibanez RG520
Peavey Predator USA
Douglas Grendel 725
Line 6 Pod HD500X
#14
yeah the gh is pretty marshally i think. as mike says it can get noisy with the gain boost engaged.

master- it depends on what you mean by a master volume. when i say "master" i just mean it has separate preamp and overall volume controls (i.e. you can dial in preamp distortion at low volumes). but from things i've seen you post elsewhere, i think you mean an overall global volume control. I'm not sure if the GH has that- it's only single channel, so i guess it is global. but you can't adjust the volume level of the gain boost.
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Quote by K33nbl4d3
I'll have to put the Classic T models on my to-try list. Shame the finish options there are Anachronism Gold, Nuclear Waste and Aged Clown, because in principle the plaintop is right up my alley.

Quote by K33nbl4d3
Presumably because the CCF (Combined Corksniffing Forces) of MLP and Gibson forums would rise up against them, plunging the land into war.

Quote by T00DEEPBLUE
Et tu, br00tz?
#15
Quote by Dave_Mc
yeah the gh is pretty marshally i think. as mike says it can get noisy with the gain boost engaged.

master- it depends on what you mean by a master volume. when i say "master" i just mean it has separate preamp and overall volume controls (i.e. you can dial in preamp distortion at low volumes). but from things i've seen you post elsewhere, i think you mean an overall global volume control. I'm not sure if the GH has that- it's only single channel, so i guess it is global. but you can't adjust the volume level of the gain boost.


Yeah... I say master to mean, a volume control after everything in the preamp, right before the output/power section.

This seems to be common sense, but as I've learned, a lot of amps were apparently designed by people with no common sense.


I'm not too worried about noise. I won't be running any sort of on board boosts or anything. As I mentioned I'll most likely set the pregain up so it's right where I can play clean or dirty with my picking dynamics.
Having a global master isn't absolutely important per se, but some kind of volume control placed after the FX loop is absolutely critical.
Spin 'round carousel when your horse isn't screwed in.

My band:
Fractured Instinct
(For fans of Death/Groove/Prog Metal)

Ibanez RGA42E
Ibanez S420
LTD H-301
Ibanez RG520
Peavey Predator USA
Douglas Grendel 725
Line 6 Pod HD500X
#16
Then go with the GH50L. It also has the option to switch out EL34/6CA7s or 6L6/6550s, series/parallel/no effects loop and just an all around awesome amp.
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#17
I had wanted to go for a 50W initially for the lower breakup point, but now I'm going to get a 100W. I'm cutting corners as much as possible, not doing the rack thing, but running an HD500 into the return of the amp for my modern metal sound, and then just using the amp normally for everything else. So I want a 100W for the headroom, basically.

It's a shame I can't seem to find the new ones with the side handles anywhere. That would be a massive bonus to me, the side handle design on the heads is one of the reasons I'm really warm to Laney at all. Genius.
Spin 'round carousel when your horse isn't screwed in.

My band:
Fractured Instinct
(For fans of Death/Groove/Prog Metal)

Ibanez RGA42E
Ibanez S420
LTD H-301
Ibanez RG520
Peavey Predator USA
Douglas Grendel 725
Line 6 Pod HD500X
Last edited by Offworld92 at Jul 8, 2013,
#18
Quote by Offworld92
I had wanted to go for a 50W initially for the lower breakup point, but now I'm going to get a 100W. I'm cutting corners as much as possible, not doing the rack thing, but running an HD500 into the return of the amp for my modern metal sound, and then just using the amp normally for everything else. So I want a 100W for the headroom, basically.

It's a shame I can't seem to find the new ones with the side handles anywhere. That would be a massive bonus to me, the side handle design on the heads is one of the reasons I'm really warm to Laney at all. Genius.


They are nice. But I have one of the mid-90s (maybe 1996?) ones with the top handle and I opened it up and it's got some giant transformers. Not sure if they changed parts at all on the new ones.

Here's one locally:
107663131
GUITAR AMP
USED LANEY GH100L 100W GTR HEAD
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Guitar Center San Marcos
San Marcos, California 92069
760-735-8050
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#19
Man, all you guys find GH50s so easily.

I've been trying to find one for months in my area, and absolutely nothing.

(not really contributing because Cath and Mike already nailed it).
--

How do you say "I'm okay" to an answering machine?

--
#22
Quote by stratman_13
Man, all you guys find GH50s so easily.

I've been trying to find one for months in my area, and absolutely nothing.

(not really contributing because Cath and Mike already nailed it).


There's also a GH100L on the GC website in MA, also for $450.

Quote by 311ZOSOVHJH
Splawn


I'm just saying the GH50L because they are literally half the price. Not quite as harmonically rich, but just as awesome for the price. For example, my GH50L sounds great, but it barely stood up to my former co-worker's ProMod.
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#23
Yeah, I have that one in San Marcos bookmarked.

Wish I had thought to try it when I was there. Going south destroys my gas for some reason. I can literally go the same distance north for half the gas. Probably cause it's uphill going south?
Spin 'round carousel when your horse isn't screwed in.

My band:
Fractured Instinct
(For fans of Death/Groove/Prog Metal)

Ibanez RGA42E
Ibanez S420
LTD H-301
Ibanez RG520
Peavey Predator USA
Douglas Grendel 725
Line 6 Pod HD500X
#24
Quote by Offworld92

Having a global master isn't absolutely important per se, but some kind of volume control placed after the FX loop is absolutely critical.


the master seems to be before the loop in the gh100l. i don't have the schematic of the 50 but i'm guessing it's the same.
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Quote by K33nbl4d3
I'll have to put the Classic T models on my to-try list. Shame the finish options there are Anachronism Gold, Nuclear Waste and Aged Clown, because in principle the plaintop is right up my alley.

Quote by K33nbl4d3
Presumably because the CCF (Combined Corksniffing Forces) of MLP and Gibson forums would rise up against them, plunging the land into war.

Quote by T00DEEPBLUE
Et tu, br00tz?
#25
Quote by Dave_Mc
the master seems to be before the loop in the gh100l. i don't have the schematic of the 50 but i'm guessing it's the same.


**** are you serious?




So DSL it is then?
Spin 'round carousel when your horse isn't screwed in.

My band:
Fractured Instinct
(For fans of Death/Groove/Prog Metal)

Ibanez RGA42E
Ibanez S420
LTD H-301
Ibanez RG520
Peavey Predator USA
Douglas Grendel 725
Line 6 Pod HD500X
#26
yeah i just checked the schematic

you'd want to check the schematic of the dsl just to be sure it's after the loop on it. i don't have the schematic of the dsl.
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Quote by K33nbl4d3
I'll have to put the Classic T models on my to-try list. Shame the finish options there are Anachronism Gold, Nuclear Waste and Aged Clown, because in principle the plaintop is right up my alley.

Quote by K33nbl4d3
Presumably because the CCF (Combined Corksniffing Forces) of MLP and Gibson forums would rise up against them, plunging the land into war.

Quote by T00DEEPBLUE
Et tu, br00tz?
#27
Spin 'round carousel when your horse isn't screwed in.

My band:
Fractured Instinct
(For fans of Death/Groove/Prog Metal)

Ibanez RGA42E
Ibanez S420
LTD H-301
Ibanez RG520
Peavey Predator USA
Douglas Grendel 725
Line 6 Pod HD500X
#28
Quote by Offworld92
I most likely won't have much gain at all on it. Just enough so I can go between clean and dirty with picking dynamics. Gonna pedal it up most likely, old school.

If Cath is correct about Marshall layouts, then the DSL is on the table as well, and possibly a JCM900 MkIII or SL-X.


So it's more like DSL100 vs. GH100L now.

I like the single channel, simple aspect of the GH, I like the "Marshall" of the DSL. The amp I really want is a 2203, but it's just not in the budget right now. I'm pretty sure their prices have gone up recently.

I know my opinion is unpopular on this forum, but I did not care for the GH at all. It has a lot more gain than the 800, but it doesn't have the balls. It really doesn't sound like an 800 at all to me. The 800 with a boost eats it for breakfast.

I liked the DSl alright. I also have seen some Krank Chadwicks and 1980 JR. 50 watters for around 500 on eBay. The 1980 will definitely satisfy your 2204 craving for the money you spend.
Last edited by patriotplayer90 at Jul 8, 2013,
#29
^^ the pots don't seem to be on that schematic I'm guessing they're where the connectors thingies are but obviously i'd just be guessing which is which, lol.

i have to sign off for the night but i'll take a look tomorrow for a schematic. remind me if i forget
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Quote by K33nbl4d3
I'll have to put the Classic T models on my to-try list. Shame the finish options there are Anachronism Gold, Nuclear Waste and Aged Clown, because in principle the plaintop is right up my alley.

Quote by K33nbl4d3
Presumably because the CCF (Combined Corksniffing Forces) of MLP and Gibson forums would rise up against them, plunging the land into war.

Quote by T00DEEPBLUE
Et tu, br00tz?
#30
This is from the same site, maybe it goes along with it? I have no idea.

Spin 'round carousel when your horse isn't screwed in.

My band:
Fractured Instinct
(For fans of Death/Groove/Prog Metal)

Ibanez RGA42E
Ibanez S420
LTD H-301
Ibanez RG520
Peavey Predator USA
Douglas Grendel 725
Line 6 Pod HD500X
#31
The master volume on the GH is after the fx loop on mine and the fx level/mix is before it, so you can turn the master volume up & keep the fx level low to reduce the preamp volume. The Slave out is after the master volume I think or together with it, I never use those anyways, but I tried using the Slave In as fx return & found it to be quite noisy compared to fx return

This amp is bright though(too much sometimes with certain pickups or guitars), you will need darker tubes or speakers to go with it. It has ton of balls with 6L6s or 6CA7s, but not enough midrange for me, which i fixed with running JJ throughout the preamp.

I guess 4CM is the main goal with it? It should work fine for it, may want to go directly to the fx return & bypass its preamp the way Opeth used to with Boss GT3 or something.
#32
Quote by dahelunover

I guess 4CM is the main goal with it? It should work fine for it, may want to go directly to the fx return & bypass its preamp the way Opeth used to with Boss GT3 or something.


That is exactly my intention. No 4CM this time.
Spin 'round carousel when your horse isn't screwed in.

My band:
Fractured Instinct
(For fans of Death/Groove/Prog Metal)

Ibanez RGA42E
Ibanez S420
LTD H-301
Ibanez RG520
Peavey Predator USA
Douglas Grendel 725
Line 6 Pod HD500X
#33
Then you should have no issues with it.

Running it that way will give you three individual volume controls, first at the external unit, second at the fx level(back of the amp) & third at the volume/master (in front of the amp). The gain & drive knobs will only increase the amount of hiss at this point(which will be extremely low), while the B/M/T will have have barely any effect, you will have to rely on the external unit for that. The fx loop on it is not completely transparent, but not obtrusive either. It will add some warmth to the preamp models of the pod/boss/etc.

When using the amp by itself for cleanish/blues/rock you will need to turn the amp up somewhat, say 4 on the volume dial. The 100W sounds stiff & fizzy sort of at low volumes and tends to get loud really quick, but on the plus the range of dynamics is significatly increased at mid-high volumes, like you can go from clean to dirt to nasty by either your picking strength or pickup switch.
#34
I'm not sure. with all those separate connectors and different boards that's a pain in the ass to try to interpret (especially for someone like me who struggles to read even a simple schematic correctly ).

you'd better get cath or someone like that to take a look.
I'm an idiot and I accidentally clicked the "Remove all subscriptions" button. If it seems like I'm ignoring you, I'm not, I'm just no longer subscribed to the thread. If you quote me or do the @user thing at me, hopefully it'll notify me through my notifications and I'll get back to you.
Quote by K33nbl4d3
I'll have to put the Classic T models on my to-try list. Shame the finish options there are Anachronism Gold, Nuclear Waste and Aged Clown, because in principle the plaintop is right up my alley.

Quote by K33nbl4d3
Presumably because the CCF (Combined Corksniffing Forces) of MLP and Gibson forums would rise up against them, plunging the land into war.

Quote by T00DEEPBLUE
Et tu, br00tz?
#36
Quote by 311ZOSOVHJH
Won't you be bypassing the mid heavy Marshally goodness you are after? You might as well just get a power amp.


If I get a poweramp/rack, then I'll have to use the POD HD for EVERYTHING. Instead I can get a head, bypass the preamp for some things where a digital setup is more appropriate (my brand of modern metal), and use the amp itself where it really counts, low-mid gain applications.

The preamp isn't an issue anymore. I feel like the traditional amp setup just isn't efficient enough for my specific needs. I mean, if it was, none of this thread would exist. I have the "holy grail" for modern metal already sitting behind me. I'd rather leave the simple aspects of the tube amp setup for music that relied heavily on that, and leave what I'm trying to do on the progdeath front in digital hands.
Spin 'round carousel when your horse isn't screwed in.

My band:
Fractured Instinct
(For fans of Death/Groove/Prog Metal)

Ibanez RGA42E
Ibanez S420
LTD H-301
Ibanez RG520
Peavey Predator USA
Douglas Grendel 725
Line 6 Pod HD500X
#37
^ I get that.

I'm sure you will hit me for asking this as I should know but what does the POD do for you again? I mean what effects are you really using? I get the switching part. I'm assuming the Vypyr 120's effects are just not good enough? I get that too. What about just using two amps and ABY? That seems more simple. You could probably find a used Marshall or Peavey Classic power amp for the POD and then just keep the 6505 that you've been searching for for so long.

(I'm sure I'm neglecting some aspect so feel free to disregard)
Last edited by 311ZOSOVHJH at Jul 10, 2013,
#38
Offworld- remind me what the hell you were doing with the volume pedal in the loop.

Are you having problems GT into FX return and volume all the way down can still hear picking?

I can't remember anymore.
Quote by DeathByDestroyr
See, it's important that people clarify when they say "metal", because I pretty much always assume they are a Cannibal Corpse fanboi.
#39
Quote by 311ZOSOVHJH
^ I get that.

I'm sure you will hit me for asking this as I should know but what does the POD do for you again? I mean what effects are you really using? I get the switching part. I'm assuming the Vypyr 120's effects are just not good enough? I get that too. What about just using two amps and ABY? That seems more simple. You could probably find a used Marshall or Peavey Classic power amp for the POD and then just keep the 6505 that you've been searching for for so long.

(I'm sure I'm neglecting some aspect so feel free to disregard)


No, the Vypyr FX are fine. My biggest problem with it is it's WYSIWYG layout. I need deeper customization. I need to be able to route my signal how I want. I need to be able to have more than 2 FX on at the same time. I need a more complicated footswitch, so I don't have to between manual and automatic modes just to turn an effect off or on. I really like the Vypyr, as you well know. It's just too simple for me.

The POD will give me everything that the Vypyr Tube lacks, with comparable, if not superior sound quality. A tube poweramp, either from a rack or into the return of a head will give me the warmth to not make the POD mediocre (I'm hoping).

I wouldn't need an ABY. I make music for 4 different projects. 3 of them use approximately the same sounds, but the 4th is not metal at all, it's a mid gain modern rock type deal. I want the actual amp for that. Using a POD for the ultra high gain stuff doesn't bother me as much, because I'm using such (relatively) insane amounts of gain, I don't feel that having a full tube preamp isn't as important there as it is for rock and everything in orbit around those sounds.

The 6505 is an absolute beast, but it's a bit untame. It's loud (noisy), it doesn't play well with others (FX).

I guess what I feel, that I may not want to say, is that now that I finally have the "holy grail", I'm disappointed. It's not the instant ultra modern metal tone machine that I may have envisioned it was. I mean, it was made in the 90s, doesn't exactly make sense for it to be. I want something that is smooth and absolutely works, with no conflicts of design. A POD is completely self contained, it will absolutely work within itself - just running it out to a poweramp will give me no problems, I don't have to worry about all the components that go into the 4 Cable Method, and how an amp designed a certain way can make the 4CM suck. It has to be a serial loop, it has to have a master volume to work well, the loop has to be placed before the master volume... it's just a lot of shit that most amps don't check every checkbox on.

I've been down a long road of learning and experience. I've done the straight in thing, I've done the pedals and footswitch thing, I've done the completely digital thing, I've done the digital/analog coexistence thing. The next step is digital/analog hybrid in a different way, with a completely digital front into an analog hybrid. As with every step I've taken... maybe this one will be the solution. And in any case, I will certainly learn something.


Quote by R45VT
Offworld- remind me what the hell you were doing with the volume pedal in the loop.

Are you having problems GT into FX return and volume all the way down can still hear picking?

I can't remember anymore.


With the volume all the way down on the pedal, or with an EQ in the loop with the level slider all the way down, signal still bleeds through past the FX loop to the output. I want the volume pedal in the loop, because I want to do volume swells. In front of the amp, volume pedals work like the volume knob, which is useless to me. It rolls the gain off, which just makes the amp (for what I'm using it for) sound like shit, instead of smoothly rolling the volume off like I want to do.

The GT into the FX return works, I could run something into the FX return only and use the amp that way, like I'm planning to do with the new amp, but I don't like how it doesn't have a master volume. I have to control the volume completely with the MFX, and I just don't like it. It doesn't give me a sense of control that I like. I would prefer to keep the level on the MFX on max, and then control the volume on the amp.
Spin 'round carousel when your horse isn't screwed in.

My band:
Fractured Instinct
(For fans of Death/Groove/Prog Metal)

Ibanez RGA42E
Ibanez S420
LTD H-301
Ibanez RG520
Peavey Predator USA
Douglas Grendel 725
Line 6 Pod HD500X
#40
I think TS you should look into a Poweramp->Cab setup or FRFR, the former will be cheaper. You should also consider the 11R instead, they go for $400 used on evilbay. Pro tools is needed with it for patch editing/transfer on PC only AFAIK. The HD500X is already showing on musiciansfriend for $499 although yet to begin shipping, you should wait for awhile. Pod already has low gain/bluesy sounding models on it, the need for tube preamp doesn't seem necessary if you ask me when you can just switch to a different patch, although the Pod HD lacks spillover so the dual chains come in handy, but then the DSP limit starts kicking in early too... The description of the HD500x says the dsp power is increased, that should be good if it allows a more elaborate dual chain setup.
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