Mr. Foxen

[quote name='silddx' timestamp='1334409902' post='1615842'] But please, don't be giving it large with that sh*t about insulting audiences by using modelling rigs, or that they sound inferior to the 'real' thing, because that is just ignorant and misguided. Cheers. [/quote] The important part is I was saying 'my audience', vs. telling people about their own audience, as in 'your audience won't know the difference', I know my audience, personally for the most part, they can tell. I've been saying loads of time: more to it than sound. Your audience doesn't come for your rig, mine does, if I went without rig, it is equivalent to you going without sitar player, I just used you as an example because I have that information to hand. This is what I mean by not all gigs are the same.

[quote name='charic' timestamp='1334406728' post='1615765'] Although if someone released an amp that could sound exactly like a mesa, engl, marshall and orange amp (randomly picked off the top of my head, insert your top fave amps here ). It would almost certainly fly off the shelf. [/quote] Problem with that it relies on you having a really common favourite amp, and wanting to sound the same as everyone else.

[quote name='charic' timestamp='1334404575' post='1615723'] A "better" mic purely means picking up more frequencies and flatter. IIRC (I can't be bothered to go back and check), the engineer even said she wouldn't sound as good although this is more than likely because it is much harder to dial in frequencies that are not there rather than cut frequencies that are. All 5imons statement was saying is that a 58 would suit her voice well from his experience. [/quote] Microphones is a whole other tone thing, Another transducer with accompanying limitations, which you work with, hence recording engineers having a collection of mics, the more you can use the limitations to your advantage when recording, the less post recording manipulation you have to do, which is the boring and expensive bit. Mostly "better" = more suited to the situation, which flat response may not be.

[quote name='silddx' timestamp='1334399276' post='1615613'] Because the gear for Foxen's band is more important than the music? [/quote] It is the music. It is all one thing. This is that disconnected thing people use as a criticism of digital gear. You are thinking or your equipment as an obstacle not a means of expression. [quote name='Beer of the Bass' timestamp='1334400740' post='1615639'] I've not seen Mr F's band, but I get the impression that the stacks of mismatched and obscure old valve gear favoured by the Doom lot are kind of like an art installation in themselves. So their presence is part of the performance, even if it might be possible to create that sound by other means. There's nothing wrong with that, it's just a different approach from many other performances. [/quote] Dunno what you mean by mismatched. But the dynamic sound field (as in sound changes as you move, and the dynamic of the instrument is also dependent on the position of the player) presented by multi amp and speaker setups is very much part of the live experience both as a listener and a player. Obviously some are happy to pile up tons of amps and be good to go, but a bunch of time spending soundcheck wandering about an finding the places where feedback happens and doesn't is something I find a necessity. Sunn O))) have an 8 hour sound check for the purpose. also, the smell of hot valves is a commented feature, which can't be simulated, although I keep my amps very clean for reliability, so they don't tend to smell as much as I do at a gig. I think it is silddx in the band with the sitar player? I have got the impression, possibly mistaken, that she and her instrument are the main focus of the music. Going without real amps would be like maybe her rocking a variax on sitar setting, or one of those electric sitars, or maybe being a recording.

Because they aren't stupid, and didn't come to my gig to have their intelligence insulted. Maybe its a theme of my somewhat specialist genre, not having contempt for your audience.

People at my gigs would know. Not all gigs are the same.

The way this is arranged, any potential import issues are between the sender, who doesn't care, as Her Majesty isn't to do with them, and the receiver, who is a theoretical person at this point. Where the instruments currently reside, the symbol on the headstock is just a shape, as meaningless as hanzi character are to most people here. Hence the significance of the misrepresentation of item location.

Call it 'via Ebay', but not directly through.

[IMG]http://i17.photobucket.com/albums/b69/Incarante/burmanGX3001.jpg[/IMG] [IMG]http://i17.photobucket.com/albums/b69/Incarante/burmanGX3002.jpg[/IMG] [IMG]http://i17.photobucket.com/albums/b69/Incarante/burmanGX3004.jpg[/IMG] [IMG]http://i17.photobucket.com/albums/b69/Incarante/burmanGX3006.jpg[/IMG] Still figuring how it works with other amps, there are lots of switches and no manual. Works pretty well with the bridging channels trick, but through this, to give lots of gain into the bright channel with bass going straight through the clean, using the Sound City 200, but its not up there with the sound of the two heads together. Seems a bit thin straight into the power amp section alone, might be a setting though.

Gear is a pretty big deal at my gigs. Not all gigs are the same. There is more to gear choice than the relationship between input waveform and output waveform. Some of that is entirely relevant to their use for gigging equipment.

If there is nothing to a gig except sound, then it is an utter failure as a live performance.

Hmm, when there is a nice bass like that, and they obviously know its value, I usually suggest they come post it on BC before it gets pulled. Might not have been as good an idea as I thought.

That's the thing about low voltages.

Dodge, but probably regarding it like saying 'precision bass'.

In theory, with a solidly made cab like that, shouldn't make loads of odds because it won't be contact with the floor making the floor vibrate. But raising it and pointing it at you means you can practice quieter as more complete output is reaching your ears. Also bear in mind those cabs can kick out some lows and you might be in a null in a small room so not be able to hear them as well as people elsewhere.

sound a bit like you are defending listening to a CD rather than seeing a band live. More to it than waveforms. Also I don't know where this 'all sound engineers hate volume' thing comes from. I've only been asked to turn up, and I'm far from Mr. Subtle with volume. I think you only get that if your sound basically sucks and has too much bottom to the point where it interferes with things, part of the source of sealed 8x10s being nice for sound engineers.

I made one for amp testing work: [url="http://ampstack.wordpress.com/2012/01/07/assembling-the-dummy-load/"]http://ampstack.word...the-dummy-load/[/url] there is some mojo about inductive loads and stuff, which make a difference to 'tone'. How much that matters is a whole other thing. Being 30w, it isn't a huge deal to get a guitar one. loads about, no idea what is good, as with all guitar stuff, the internet is full of too much BS to learn much useful.

[quote name='musophilr' timestamp='1334334454' post='1614828'] I'm sure that what sounds good at home won't sound good live. But that is also true of real analogue and "proper" valve amps. So what's the big deal with getting a good live sound out of a modelling amplifier? [/quote] You have massively greater range of adjustment with the modelling amp. Valve amp eq is hugely unresponsive, and whole compression thing they get as you turn up means there is an extent to which they adjust themselves to greater volumes, whereas the digital amp will tend toward the same but louder, depending on how smart the program is, but the mere fact there has to be a conscious decision to do that is the killer. With modelling, it should be as a preamp, feed it to the hosue an let the volume be done there, if you are using one of those modelling combos, that's where the trouble is. Bit like people deciding SS is crap because their first practice amp was SS and sounded much worse than the proper valve amp they got later.

Crap ton? The extra 'e' makes it say something pretty different. The LB has a DI out from the output transformer, so you get the power section colour too, kind of important.

[quote name='Wil' timestamp='1334332034' post='1614770'] As far as I can work out the standby switch on the AC30 is there so you can mute your guitar and cook eggs on the amp at the same time. [/quote] I warmed pasties on my head. Tastes better than microwaving them.

[quote name='silddx' timestamp='1334330738' post='1614743'] But also how many bassists (or guitarists) have no idea what a standby does for a valve amp. and how to use it, or understand the resistance of cabinets to heads, or that resistance is needed to stop a valve amp self destructing ? Give almost all musicians a 4 way parametric with Q to play with and they will look at you like you've just asked them to sh*t in their grandma's eye. [/quote] Or the difference between resistance and impedance and which is relevant to matching. And no-one knows what the standby is for, fairly good position for it being pretty pointless except for a mute. Although they make working on amps easier.

Anything for guitarists needs to be idiot proofed. A million adjustable parameters is not an example of this. Yesterday a band came round to collect an amp for their bassist. The guitarist stood next to two head high stacks of amps, and asks 'do you have any guitar amps?'

[quote name='silddx' timestamp='1334327230' post='1614653'] And a guitar with a transducer and circuitry, going via a cable into a bunch of effect pedals, more cable to a pre-amplifier full of circuitry and valves connected to a power-amplifier full of circuitry and valves connected to a wooden cabinet with some loudspeakers, with a microphone in front of them relaying the sound from those speakers (and your feet tapping, trousers flapping, and all the other racket on a stage) via another long cable into a channel strip full of circuitry and out through another amp via a bunch of outboard, into more even bigger loudspeakers, IS NATURAL? [/quote] Yes it is, because it isn't going via being data. Tangible substance and force throughout, no analogue to theoretical data and back step.

Just skimmed over the new posts. What just occurred to me is that the most expensive latest digital modelling is being compared to cheaply made old kit. Going 'yeah, my Fender twin..' cs. 'my digital sim thereof' is a bit like bigging up your awesome simulator of driving around a Ford transit, because you don't have to put fuel in and stink up the place with fumes and find a parking space. I'll take a space flight sim cheers.

[quote name='walbassist' timestamp='1334325610' post='1614598'] Thanks for all the replies folks. Well, I love the tone from my LB30, so perhaps the Drophead 200 would be a better match for me than the BTA anyway.... [/quote] Cheap out option for more volume same tone is a dummy load and running the DI out into a power amp. But yeah, the BTA is the one for ABM options on a valve power section. There is one in the line with the simple preamp an valve power though.