I've rewatched /listened to this three times. I never get the spot where you actually talk. I just keep going back and listeneing to this track. So Great! Love your sense of melody.... and your feel. Going back for replay number 4!
He is addicting like that. When he reviewed Jake Loosemore's Custom Shop Telecaster. I watched that one maybe 40 times now, the TONE is WOW. The 2 Greeny les paul ones were stellar too watched alot. he has a couple others the Opps video, and Your Sweet Eyes instrumental cover of EJ, are lots of watches too. And some of the lesson videos. As well as a few of theFRACTAL videos, when he did the Carol Ann Tucana and some of the other best of Amps. for Cleans and overdrivens. I call him the HELIX WIZARD. LOL.
I like Modelers and Headphones. I don't have to muck around with Amps, Load Boxes, Mics, sonic treatment of a recording room, external noise, when I want to play or record, not disturbing the neighbors, etc. What I had deal with was learning how to use my Modeler to get a really good sound, and that took longer than I thought, but was worth it.
Yeh I think now that we are down the rabbit hole, it's worth it? But I do like the idea of a tube amp every so often, and I think this methodology will mean I get more consistent results when I do choose to crank an amp?
I use these method for 2 years now with my amps. A Two notes captor with wall of sound and an appropriate speaker and of you go. Some tweaking inside the wall of sound plugin makes it a great recording tool. Sometimes a use Tonex with or without wall of sound, or Sgear/Neural DSP for convenience which are giving me also lot of options. Nowadays these modelers/profilers are adequate representing an amp if you dial them in properly. In the end I prefer a real amp. It gives me something I can't explain. The most organic I suppose.
I've been through all of the modelers and a good number of the higher end attenuators. Had and sold the UA Ox, Tone King Ironman and the Boss Tube Amp Expander among others. The Two Notes Captor X is the one I kept. The right functionality with excellent satisfying sound through my Adam Audio A7's. I still have the AxeFX III and an HD Stomp and the Axe does get used a bit, but mostly Bad Cat Black Cat via the Two Notes is the ticket. I have that setup via an amp switcher, 5 amps and 4 cabs but almost 100% just go Black Cat > Two Notes with the attenuation at the highest level, and stick with the monitors. It's taken years of experimentation to finally get back to real amps in a way that doesn't kill my hearing and sounds fantastic. I'd go so far as to say it sounds better than a speaker in the room because..... no room issues to deal with!
I tried and tested most of the modellers, sold some and some were returned, as a result, I bought a Matchless Laurel Canyon. Digital modelling is an imitation, why would one want to settle with a bad copy when it can have the original? I understand if one doesn't have a leg or an arm... Amazing playing, John!
Yep! I think it's a journey we all are own and it's basically a matter of finding the right balance for yourself between convenience and the ideal tone you are after (whatever that is). I think it's easier for players who have just known the modeller/plugins way. For us (usually older) players who have known the feel of playing through tube amps and cabs, the transition can be harder. At home it's easier for me. Playing quietly in headphones is quite fine although sometimes, playing at low volumes with a real amp and cab is nice too. But for recording, I love my Helix or playing through Native or S-Gear without the need to deal with microphones and loud volumes.. It's in a band context (rehearsal and live) that it's been a harder adjustment for me because it took me ages to get used to in-ears. I still hate them (and I have quality ones) but I'm slowly learning to like them.. I really miss the feel of all live instruments on stage with wedges, walking the stage and the "mix" changing, the rumble of the bass amp and kick you can feel through the stage, the guitar cab/speakers interacting with the pickups. Our bass player went modeller long before me (he has an LT, I have a floor) and the drummer and keyboard player both prefer in-ears as does the singer. I'm adapting slowly. Our next gigs will be Helix only so I'll see how I adapt to that but it does sound great in my headphones and in-ears :)
I don't have much experience (nearly 1 year) with this but the Suhr Reactive Load has been the way to go for home recording for me. I have a little daughter and wife and neighbours who would never forgo the sound levels at home never mind the inconsistencies of gear movements and placements trying to play with backing tracks. I use my amp with my board like I would live into the load and add wet effects in post to my liking as you said it is more flexible and streamlines the creative process. Henderson uses Soundtoys for his Delays and Reverbs at home so they must be good enough and therefore I picked them up.
I’ve been using my amp into a two notes device then the DI signal from that into my audio interface for a few years 👍 Soo much easier than miking and really is the way to go if you don’t have a big sound proofed room. It’s a lot better for when there’s multiple people in the house that don’t want to hear you! 😂
I have a similar flow but with one difference I think is noteworthy: I send the load box signal back into my helix and use the helix as the interface. This is has been great as I can then direct monitor the sound on the helix without sending it through a plugin, I get drives of the helix in front, post effects after the amp, get to balance level with the sound coming out of the DAW, and lastly I am always set up to record the DI tracks of the Helix at the same time. I'm also set up for easy reamping should I decide to do that.
I’ve run most of the gamut for recording. I currently have a 2 Notes Captor X, UA plugins, Helix Native, HX Stomp, several tube amps and mics, and most recently the holy grail for me for recording… the Fryette power station (funny enough the most expensive “amplifier” I own). The Fryette is worth its weight in solid gold… but lately, I’ve been having the most enjoyable time recording low watt amps with a 10” speaker. They honestly don’t sound great in the room… lacking low end and can be rather boxy sounding since they tend to come in small cabs… but I’ve found a good eq pedal and some appropriate compression solves this problem and can really “clean up” a small amp surprisingly well… I’ve put some “small amp cleanup” patches together on the hx stomp and I’m still amazed at how a good eq in the right spot in your chain can make a dull boxy lifeless low watt amp instantly sound way more expensive. It seems to be all in using eq to offset what’s lacking in the speaker, cab, and room you’re in… and it doesn’t need attenuation for volume and or SPL levels for your mics… so it just sounds more natural. I was inspired by Jason Isbel talking about recording with a Champ. I have a pair of VHT Special 6 handwired combo amps I picked up used for like $150 a piece. Talk about a great at home/studio stereo rig. Depending on what your style is, they are pretty bare bones tonally, and the circuit is very similar to an old champ, just volume and tone with a push pull boost, no reverb or effects, but for a low volume pedal platform they are killer for the price. Once I get my tone eq’d in I just stick a ribbon in front and sounds lovely and I don’t have to pad my mics. Now I’m on the path to experiment with better 10” speaker extension cabs to try and get better around the boxiness of the stock combo cabs for recording. Cheers 🥂
I have an original Two Notes Captor (8 ohm) and have used it a fair amount. I still mic amps on occasion, but often find just using S Gear gets things happening easily and quickly. It sounds so good and everything is recallable in DAW. I have considered trying a Suhr Reactive load because of the impedance curve thing you mentioned...
@johnnathancordy Thank you for your highly informative videos. I have a quick question: In your experience, if I primarily play at home using headphones and occasionally small monitors, would it be worthwhile to invest in a real amp with a load box, or should I consider purchasing a high-quality computer for using plugins? Considering the monitoring setup I mentioned, would I potentially miss out on any aspects of feel or sound by opting for a digital setup? Thank you
I think, ultimately, when recording something for a serious piece (not just scratch ideas or demo things), using a combination of a real amp/cab with a mic....a loadbox feed....and a DI/re-amp track to feed a modeler or plugin, gives you the best options for a “bases covered” take. Being able to get decent tones in all 3 techniques is an invaluable skill in terms of workflow and efficiency.
Isolation boxes definitely not the way to go. It's a lot of faff/cost/space. And then overheating/ventilation problem is even worse and I think it sounds worse than reactive loads/modelling. I think the way you are doing it makes good sense. I especially like the idea of using the cabinet and speaker modelling ITB, since a basic Two Notes Captor 8/16 is quite cheap. But, there is another way, which is what Mick and Dan were exploring on That Pedal Show a while back. Basically applying multiple small steps along the chain to try to edge closer to drive amp. So, things like running the amp preamp a bit hot, but the power not so high. Using more tube amp like pedals in front of that, I like things like EHX Hot Tubes. Maybe using a reactive load, but just a touch, finding a level that the power amp is cooking on gas a bit, but not full kilter (let's say at about 3-4 on my Vox AC15) but only to take it down to slightly more manageable levels (e.g. -10db). Then making use of devices in the effects loop to more simulate pushed power amp sound, (tube?) compressor for compression, equaliser for shaping. There might be devices that can be used in the effects chain to simulate sag; and if there aren't there should be, and probably will be soon.
I think the loadbox route is great if you already have an amp that you love and want to play it silently. But if you’re already in the modeling realm, how different do you think a model/capture/profile of let’s say a deluxe reverb is vs an actual deluxe reverb thru a load box using the same IR?
If you're able to cope with the modelling, personally I think you've already made the leap that a tube purist might not, and you can be TOTALLY satisfied that there are great tones and experiences to be had. In my own experiments, with the same amp (e.g. Mesa Lonestar) there's really almost nothing in it between Fractal/Helix and the real thing, especially once you introduce the loadbox and IR rather than the actual amp in the room thing
I don't mind using headphones which is a big help and I have space and an understanding family where I can crank an amp during the day. That said I've got all the tools and they each serve a purpose. The amp I record with a mic the most is a Fender 57 Custom Deluxe because none of the models come close to it and it's also relatively reasonable volume wise. A lot of people don't like it, but my favorite guitar mic is the Sennheiser e906.
I'd definitely recommend having at least one dynamic and I think the e906 is a good one. I prefer it to a 57 but a 57 is a classic for a reason. @@johnnathancordy
I use Two Notes Captor X the dry signal is running into daw and using the Wall of Sound IR plugin definitely it is a time consuming to fiddle with real amp but it is also more rewarding when you finally get a usable tone in the mix after spending the time.
My ridiculous home setup is my benson and ac20 going into a fractal x-load and Fryette ps2, then both going into my hx stomp for ir's and post amp reverb and delay. The feel is certainly different than any modeler I have tried. I keep trying to go back to the stomp or fractal models, but it is just so much less inspiring to play. I wouldn't worry about running the amps hot either, I've put thousands of hours on my bassman cooking through the x-load and I am still using the same tubes. Also, ps-2 is not quite as good at just being a loadbox as the fractal, but the attenuator/re-amping is the best I have used.
All sounds sensible if I were to want to record tube amps again. In the meantime a couple of tips for the clicks problem learned from vocal recordings. Firstly I always change the click to an 808 kick or something equally bottom heavy. This tends to bleed less, can be filtered out with EQ and, to me anyway, gives a much greater feel than a sterile click. Secondly if you do get stuck with a click it can often be removed by copying a single bar of the click solo onto a separate track, copy and pasting it for the length of the recording and then reversing the phase of this track. This should then cancel our the click on the guitar (or vocal) track.
I drive the crap out of my 6V6s to the point where it's damn near abusive, into a Suhr Reactive IR then line out. 6V6s were made to be abused and they love it!. And yeah I go through a set of tubes relatively frequently but it's worth it. I don't record but I reamp the line out with a small low watt clean amp to drive my 2x12 cab.
The Boss Tube Amp Expander has what it calls Presence-Z and Resonance-Z controls, which effectively give you 16 different impedance curves with their reactive load.
John have you tried the UA Ox Box? This does the same thing but then adds their own digital speaker emulation that is far greater than typical IR's. Would love to hear your thoughts..
I think it’s a good time to say this…Sound is ALL subjective, especially in the navel gazing range of what guitar players discuss. My standard for good tone is this: If a person who knows NOTHING about guitars or even music walks up to me at a gig and says, your guitar sounds really good/nice/cool/awesome/inspiring, I take that as the highest compliment. Combine that with my own experience and satisfaction when I’m playing, that’s good tone.
i've recently switched to UA ox stomp + dream 65. This video makes me want to swap to amp + suhr RL + ox stomp. Could this be worth it? I have the same volume issues you're facing...
im more mythed why fractal hasn't gone down the affiliate route (like two notes with revv). Offering something with a valve amp manufacturer like say Hughes and kettner would be awesome, H&K Redbox systems (how I record atm) is a bit out dated and the ability to put in post effects from a fractal system would be the natural way to upgrade the principles of the grandmeister series of amps and intergrate into a premium package for something like the triamp. with Most bands using outputs to front of front of house & ease during studio recording it would be a no brainer.
I've got a Revv G20 with the built-in Two Notes Torpedo and Internal Load switch that turns off the speaker. No one actually hears anything I record... it's just for me, but I quite like this setup. The only problem I've had is with Customer Support with each company pointing me to the other when I had questions. If they're going to partner like this, they need to work out who is going to support the Two Notes Torpedo built into the amp. Ideally, they both would, but 🤷♂.
@@MyBestNameHere fractal support is great I had to download the software for a friends AX8 and I had a reply within a few hours. I just see more of these hybrid amps becoming a thing. The markets open for amp manufacturers to work with neural/kemper/fractal so we see more of these amps like revv and to a lesser extent the new Astra by Soldano with its own method of interfacing direct.
modelers and ir's make everybody sound the same. real tube amps and speakers are different . if you can't record an amp at home get an iso booth or go to a studio.
I've rewatched /listened to this three times. I never get the spot where you actually talk. I just keep going back and listeneing to this track. So Great! Love your sense of melody.... and your feel. Going back for replay number 4!
He is addicting like that. When he reviewed Jake Loosemore's Custom Shop Telecaster. I watched that one maybe 40 times now, the TONE is WOW. The 2 Greeny les paul ones were stellar too watched alot. he has a couple others the Opps video, and Your Sweet Eyes instrumental cover of EJ, are lots of watches too. And some of the lesson videos. As well as a few of theFRACTAL videos, when he did the Carol Ann Tucana and some of the other best of Amps. for Cleans and overdrivens. I call him the HELIX WIZARD. LOL.
The intro playing on this vid is just absolute class! Would genuinely love a full breakdown and tabs of your intros!
I like Modelers and Headphones. I don't have to muck around with Amps, Load Boxes, Mics, sonic treatment of a recording room, external noise, when I want to play or record, not disturbing the neighbors, etc. What I had deal with was learning how to use my Modeler to get a really good sound, and that took longer than I thought, but was worth it.
Yeh I think now that we are down the rabbit hole, it's worth it? But I do like the idea of a tube amp every so often, and I think this methodology will mean I get more consistent results when I do choose to crank an amp?
Ox takes Like no time and for me its more what guitar and How It Reacts and Record … no time at All … All tubes , same tubes for decades …
I use these method for 2 years now with my amps. A Two notes captor with wall of sound and an appropriate speaker and of you go. Some tweaking inside the wall of sound plugin makes it a great recording tool. Sometimes a use Tonex with or without wall of sound, or Sgear/Neural DSP for convenience which are giving me also lot of options. Nowadays these modelers/profilers are adequate representing an amp if you dial them in properly. In the end I prefer a real amp. It gives me something I can't explain. The most organic I suppose.
I've been through all of the modelers and a good number of the higher end attenuators. Had and sold the UA Ox, Tone King Ironman and the Boss Tube Amp Expander among others. The Two Notes Captor X is the one I kept. The right functionality with excellent satisfying sound through my Adam Audio A7's. I still have the AxeFX III and an HD Stomp and the Axe does get used a bit, but mostly Bad Cat Black Cat via the Two Notes is the ticket. I have that setup via an amp switcher, 5 amps and 4 cabs but almost 100% just go Black Cat > Two Notes with the attenuation at the highest level, and stick with the monitors. It's taken years of experimentation to finally get back to real amps in a way that doesn't kill my hearing and sounds fantastic. I'd go so far as to say it sounds better than a speaker in the room because..... no room issues to deal with!
I have a Captor 8 on the way!
I use the Suhr Reactive Load IR. Simple, fast and sounds great.
I just ordered a Two Notes Captor 8! Can't wait, and I'm moving to a smaller place with close neighbours so...yeah. necessary.
I tried and tested most of the modellers, sold some and some were returned, as a result, I bought a Matchless Laurel Canyon. Digital modelling is an imitation, why would one want to settle with a bad copy when it can have the original? I understand if one doesn't have a leg or an arm... Amazing playing, John!
Or if one lives in an apartment with close neighbours and thin walls..I have a Captor 8 on the way.
Yep! I think it's a journey we all are own and it's basically a matter of finding the right balance for yourself between convenience and the ideal tone you are after (whatever that is). I think it's easier for players who have just known the modeller/plugins way. For us (usually older) players who have known the feel of playing through tube amps and cabs, the transition can be harder.
At home it's easier for me. Playing quietly in headphones is quite fine although sometimes, playing at low volumes with a real amp and cab is nice too. But for recording, I love my Helix or playing through Native or S-Gear without the need to deal with microphones and loud volumes..
It's in a band context (rehearsal and live) that it's been a harder adjustment for me because it took me ages to get used to in-ears. I still hate them (and I have quality ones) but I'm slowly learning to like them.. I really miss the feel of all live instruments on stage with wedges, walking the stage and the "mix" changing, the rumble of the bass amp and kick you can feel through the stage, the guitar cab/speakers interacting with the pickups. Our bass player went modeller long before me (he has an LT, I have a floor) and the drummer and keyboard player both prefer in-ears as does the singer. I'm adapting slowly. Our next gigs will be Helix only so I'll see how I adapt to that but it does sound great in my headphones and in-ears :)
I don't have much experience (nearly 1 year) with this but the Suhr Reactive Load has been the way to go for home recording for me. I have a little daughter and wife and neighbours who would never forgo the sound levels at home never mind the inconsistencies of gear movements and placements trying to play with backing tracks. I use my amp with my board like I would live into the load and add wet effects in post to my liking as you said it is more flexible and streamlines the creative process. Henderson uses Soundtoys for his Delays and Reverbs at home so they must be good enough and therefore I picked them up.
I’ve been using my amp into a two notes device then the DI signal from that into my audio interface for a few years 👍 Soo much easier than miking and really is the way to go if you don’t have a big sound proofed room. It’s a lot better for when there’s multiple people in the house that don’t want to hear you! 😂
I have a similar flow but with one difference I think is noteworthy: I send the load box signal back into my helix and use the helix as the interface.
This is has been great as I can then direct monitor the sound on the helix without sending it through a plugin, I get drives of the helix in front, post effects after the amp, get to balance level with the sound coming out of the DAW, and lastly I am always set up to record the DI tracks of the Helix at the same time.
I'm also set up for easy reamping should I decide to do that.
I’ve run most of the gamut for recording. I currently have a 2 Notes Captor X, UA plugins, Helix Native, HX Stomp, several tube amps and mics, and most recently the holy grail for me for recording… the Fryette power station (funny enough the most expensive “amplifier” I own). The Fryette is worth its weight in solid gold… but lately, I’ve been having the most enjoyable time recording low watt amps with a 10” speaker. They honestly don’t sound great in the room… lacking low end and can be rather boxy sounding since they tend to come in small cabs… but I’ve found a good eq pedal and some appropriate compression solves this problem and can really “clean up” a small amp surprisingly well… I’ve put some “small amp cleanup” patches together on the hx stomp and I’m still amazed at how a good eq in the right spot in your chain can make a dull boxy lifeless low watt amp instantly sound way more expensive. It seems to be all in using eq to offset what’s lacking in the speaker, cab, and room you’re in… and it doesn’t need attenuation for volume and or SPL levels for your mics… so it just sounds more natural. I was inspired by Jason Isbel talking about recording with a Champ. I have a pair of VHT Special 6 handwired combo amps I picked up used for like $150 a piece. Talk about a great at home/studio stereo rig. Depending on what your style is, they are pretty bare bones tonally, and the circuit is very similar to an old champ, just volume and tone with a push pull boost, no reverb or effects, but for a low volume pedal platform they are killer for the price. Once I get my tone eq’d in I just stick a ribbon in front and sounds lovely and I don’t have to pad my mics. Now I’m on the path to experiment with better 10” speaker extension cabs to try and get better around the boxiness of the stock combo cabs for recording. Cheers 🥂
I have an original Two Notes Captor (8 ohm) and have used it a fair amount. I still mic amps on occasion, but often find just using S Gear gets things happening easily and quickly. It sounds so good and everything is recallable in DAW. I have considered trying a Suhr Reactive load because of the impedance curve thing you mentioned...
I just ordered one. Captor 8.
The Scuffham S gear seems to offer a good balance for someone with option paralysis like myself. I have been really mulling that one over.
Can use full featured trial for 10 days.@@johnandre5558
@johnnathancordy Thank you for your highly informative videos. I have a quick question: In your experience, if I primarily play at home using headphones and occasionally small monitors, would it be worthwhile to invest in a real amp with a load box, or should I consider purchasing a high-quality computer for using plugins? Considering the monitoring setup I mentioned, would I potentially miss out on any aspects of feel or sound by opting for a digital setup? Thank you
I think, ultimately, when recording something for a serious piece (not just scratch ideas or demo things), using a combination of a real amp/cab with a mic....a loadbox feed....and a DI/re-amp track to feed a modeler or plugin, gives you the best options for a “bases covered” take. Being able to get decent tones in all 3 techniques is an invaluable skill in terms of workflow and efficiency.
Isolation boxes definitely not the way to go. It's a lot of faff/cost/space. And then overheating/ventilation problem is even worse and I think it sounds worse than reactive loads/modelling. I think the way you are doing it makes good sense. I especially like the idea of using the cabinet and speaker modelling ITB, since a basic Two Notes Captor 8/16 is quite cheap. But, there is another way, which is what Mick and Dan were exploring on That Pedal Show a while back. Basically applying multiple small steps along the chain to try to edge closer to drive amp. So, things like running the amp preamp a bit hot, but the power not so high. Using more tube amp like pedals in front of that, I like things like EHX Hot Tubes. Maybe using a reactive load, but just a touch, finding a level that the power amp is cooking on gas a bit, but not full kilter (let's say at about 3-4 on my Vox AC15) but only to take it down to slightly more manageable levels (e.g. -10db). Then making use of devices in the effects loop to more simulate pushed power amp sound, (tube?) compressor for compression, equaliser for shaping. There might be devices that can be used in the effects chain to simulate sag; and if there aren't there should be, and probably will be soon.
I think the loadbox route is great if you already have an amp that you love and want to play it silently. But if you’re already in the modeling realm, how different do you think a model/capture/profile of let’s say a deluxe reverb is vs an actual deluxe reverb thru a load box using the same IR?
If you're able to cope with the modelling, personally I think you've already made the leap that a tube purist might not, and you can be TOTALLY satisfied that there are great tones and experiences to be had. In my own experiments, with the same amp (e.g. Mesa Lonestar) there's really almost nothing in it between Fractal/Helix and the real thing, especially once you introduce the loadbox and IR rather than the actual amp in the room thing
I don't mind using headphones which is a big help and I have space and an understanding family where I can crank an amp during the day. That said I've got all the tools and they each serve a purpose. The amp I record with a mic the most is a Fender 57 Custom Deluxe because none of the models come close to it and it's also relatively reasonable volume wise. A lot of people don't like it, but my favorite guitar mic is the Sennheiser e906.
I think I could make some use of an e906 - the condenser is a bit too sensitive I think...Would you recommend?
I'd definitely recommend having at least one dynamic and I think the e906 is a good one. I prefer it to a 57 but a 57 is a classic for a reason. @@johnnathancordy
Hi John, Love the playing and video. Was wondering what the difference of the k-line you have in the vid and the strat version have? your thoughts?
I use Two Notes Captor X the dry signal is running into daw and using the Wall of Sound IR plugin definitely it is a time consuming to fiddle with real amp but it is also more rewarding when you finally get a usable tone in the mix after spending the time.
My ridiculous home setup is my benson and ac20 going into a fractal x-load and Fryette ps2, then both going into my hx stomp for ir's and post amp reverb and delay.
The feel is certainly different than any modeler I have tried. I keep trying to go back to the stomp or fractal models, but it is just so much less inspiring to play. I wouldn't worry about running the amps hot either, I've put thousands of hours on my bassman cooking through the x-load and I am still using the same tubes.
Also, ps-2 is not quite as good at just being a loadbox as the fractal, but the attenuator/re-amping is the best I have used.
I used to have a Fryette to make a Marshall Bluesbreaker sort of playable at home! Hope you're well Jonny!
All sounds sensible if I were to want to record tube amps again.
In the meantime a couple of tips for the clicks problem learned from vocal recordings.
Firstly I always change the click to an 808 kick or something equally bottom heavy. This tends to bleed less, can be filtered out with EQ and, to me anyway, gives a much greater feel than a sterile click.
Secondly if you do get stuck with a click it can often be removed by copying a single bar of the click solo onto a separate track, copy and pasting it for the length of the recording and then reversing the phase of this track. This should then cancel our the click on the guitar (or vocal) track.
I drive the crap out of my 6V6s to the point where it's damn near abusive, into a Suhr Reactive IR then line out. 6V6s were made to be abused and they love it!. And yeah I go through a set of tubes relatively frequently but it's worth it. I don't record but I reamp the line out with a small low watt clean amp to drive my 2x12 cab.
I didn't even realise what this thing could sound like! When it's cooking the feel and compression is just right!
The Boss Tube Amp Expander has what it calls Presence-Z and Resonance-Z controls, which effectively give you 16 different impedance curves with their reactive load.
Helix Wizard goes AMPing!!!! Intro is Great!!!
tried a few modellers, not a chance of matching a tube amp imho.
John have you tried the UA Ox Box? This does the same thing but then adds their own digital speaker emulation that is far greater than typical IR's. Would love to hear your thoughts..
I think it’s a good time to say this…Sound is ALL subjective, especially in the navel gazing range of what guitar players discuss. My standard for good tone is this: If a person who knows NOTHING about guitars or even music walks up to me at a gig and says, your guitar sounds really good/nice/cool/awesome/inspiring, I take that as the highest compliment. Combine that with my own experience and satisfaction when I’m playing, that’s good tone.
Great playing as always man!
Cheers Jeff!! Hope you're well!
Or you get a all-tube REVV amp which has a built-in load plus a DynIR. So, an all-in-one solution.
I watt amp with USB and speaker emulation. BlackStar htr 1. Done.
Sounds like the way to go. What guitar were you playing? If anyone knows, id appreciate it
i've recently switched to UA ox stomp + dream 65. This video makes me want to swap to amp + suhr RL + ox stomp. Could this be worth it? I have the same volume issues you're facing...
Yeah those CHUBE amplifiers sure sound good!
Can you buy Fractal new from a dealer in the UK? ordering direct from the US looks a wee bit tricky?
G66 are the European distributor for Fractal, and they now have a UK subsidiary, too - the service they provide is excellent.
well it did sound great . so .....
im more mythed why fractal hasn't gone down the affiliate route (like two notes with revv). Offering something with a valve amp manufacturer like say Hughes and kettner would be awesome, H&K Redbox systems (how I record atm) is a bit out dated and the ability to put in post effects from a fractal system would be the natural way to upgrade the principles of the grandmeister series of amps and intergrate into a premium package for something like the triamp. with Most bands using outputs to front of front of house & ease during studio recording it would be a no brainer.
I've got a Revv G20 with the built-in Two Notes Torpedo and Internal Load switch that turns off the speaker. No one actually hears anything I record... it's just for me, but I quite like this setup. The only problem I've had is with Customer Support with each company pointing me to the other when I had questions. If they're going to partner like this, they need to work out who is going to support the Two Notes Torpedo built into the amp. Ideally, they both would, but 🤷♂.
@@MyBestNameHere fractal support is great I had to download the software for a friends AX8 and I had a reply within a few hours.
I just see more of these hybrid amps becoming a thing. The markets open for amp manufacturers to work with neural/kemper/fractal so we see more of these amps like revv and to a lesser extent the new Astra by Soldano with its own method of interfacing direct.
My father would give me a good hiding if I wore that T shirt, and I’m 60…
Put a volume pedal in the tube amp’s effects loop. Problem sorted.
NIce 'There's Something About Mary' hair 😉
modelers and ir's make everybody sound the same. real tube amps and speakers are different . if you can't record an amp at home get an iso booth or go to a studio.