Artist (Aust Company, Chinese made) make a Gigmaster $369 AU & honestly blow the Squier away. I'm not saying it's gonna it's melt that lovely ES 175...but for the money, they're gd.
Sorry, I did not get it, how you play without an guitar amp? Because your whole video you constantly show your Fender guitar amp. You haven't shown where your cable goes instaed. So what do you use instead of an amp?
it's really refreshing to see your take on this Jens. Really a virtual amp, or a plugin makes things much easier, effects are so much more easier to tweak and it's more budget friendly for guitarists
Absolutly. And you can actually play, even when your kids are sleeping. I have two Marshalls in my basement, but I never use them. I use Amplitube 5 on my PC inside my DAW Ableton Live. For each setup I have an extra audio track (for example: Clean Fender, Crunch Marshall, Heavy Mesa Boogie or an Orange Amp with OD Pedal, Chorus, Reverb and Delay for some 80's vibes). I can easily switch between those setups just by clicking on the tracks. No cable unplugging, no fiddling with the knobs to find the right tone every time. It's just so easy. And the virtual sounds nowadays are so good.
Truly one of the most intelligent, nuanced descriptions of the journey every good musician makes. What is particularly of interest is your willingness to think outside of the box. That is not an easy thing to do. Thanks so much!
Of course the sound guys love it! Faced with that or having to mic a dual rectifier Mesa Boogie on a stage the size of your living room. Thats the trade off. Full control verses trying to tame the asshole guitarist that keeps turning on some secret boost pedal that hes not told you about. LOL Cheers
Sound guys love DIs because they do all the work for them...🤣🤣🤣 And the reason a lot of us so-called asshole guitar players turn our amps up is because the useless sound guys don't have enough volume in the stage monitors for us to hear what the fuck we're doing and they're too busy playing grab-ass with the waitresses to catch our cues from onstage to turn the fucking monitor up...😉
Interesting approach, Jens. I'm a guitarist who is also an engineer that started making amps due to not being happy with the usual Fender, Marshall, etc offerings. I have a need for an amp a few feet behind me and monitors that don't close off my ears. I started using a 25 watt tube amp that seems to easily keep up with even overzealous drummers (No I don't do metal). I find that expecting the sound guy to give you what you want to hear from a floor monitor or occluding in-ears is asking too much. Stage volume is a big problem and using smaller amps like the Polytone Minibrute does help considerably. I also find most mass produced amps have insufficient bass and midrange and rely on my amp to give me that. Relying on in-ears or a single floor monitor mix while the drummer flails away makes the situation worse in my mind. (A more sensitive drummer is probably the answer LOL)
Thank you for posting this. I completely understand. About ten years ago I started doing as many gigs as I could with my pedals and a DI. You're completely right - good sound engineers "got it" and basically gave me the sound I wanted, as loud as I needed it, and even the looping worked most of the time. Then, sadly, I'd get a bad sound person and they'd take liberties with the sound and it felt like two steps back. I also started using the Boss octave for bass sounds and I felt they "needed" a true bass amp on stage to really get the effect and help the house system "handle" the low end. I split the difference now - I now often bring out TWO amps though the bass amp has an XLR out and the guitar amps (Roland Cube 60s) have line outs that I run to a DI. To your point I make a point to make sure I'm giving the sound people DIs and not microphones. Especially on large stages and outdoor stages those crappy microphones pick up wind, noise, and other weird artifacts and while I realize so many musicians still use tube amps that don't have line out or DIs I still just can't fathom the idea of taking the very heavy yet beloved amp sound and making it sound far away and out of context several feet behind you on a weird stage. Anyway, I appreciate this - I'm still happy with my Roland Cubes and I assume they'll last for years. I'm also thinking about getting a Katana head of some sort for backline situations... though real talk one day I hope I get my hands on an AX FX ULTRA as so many of my favorite guitarists of all genres have used them. Anyway, thank you for your videos - always appreciate your perspective, Jens.
Excellent video. I love how your pacing and clarity deliver the information in a way that is engaging, well supported, and never boring. The world would be a better place if all YT videos were this well done. Many thanks.
Hello Jens - I'll try this again because it came across the wrong way... there is the right gear for every occasion and I get why a lot of people prefer modeling rigs. I use them for recording at night sometimes and have played tours with them, when an in-ear-situation was required. in fact, when using in ear monitoring, a modelled sound can be more pleasing and a miced amp is sometimes quite horrible. however, I never have felt comfortable with them playing my own music and I resent the fact that more and more of my students turn out never to have had any experience with a real tube amp rig. imho the tube amp is part of the instrument if we're talking electric guitar and should be at least the starting point. despite the advance in technology and the authentic sounds that can be had, I feel the response and interaction with the guitar is still not quite on par. like hearing back a perfectly recorded and mastered signal, but without the initial "elastic" response a tube amp gives You while playing. or like hugging Your lover wearing raincoats, haha! and that's cool, depending on the situation. I've settled on this comparison: it's like playing keyboard/synth versus a grand piano. both are different animals and have their advantages. if we're talking Jazz Guitar Greats, I totally can see Kurt Rosenwinkel using modellers with his expansive sound approach, whereas it's hard to imagine Julian Lage or Peter Bernstein doing it. but who knows? thanks for Your work, I love Your channel.
Totally agree! Modellers are great for more advanced setups and in-ear monitoring. But playing a small club or rehearsal, I much prefer to have a personal point of audio source in the room. Where I place my amp is the 1st step of how I'm hearing myself vs the whole band. If I have to have all the band and myself coming from a single wedge or even only the PA, it's like playing mono in-ears, the whole band sits in a single plane and it's very difficult to distinguish different instruments.
The thing I liked the most about your video was the fact that you spoke of things that inspire us, not even a 10K amp will work for you if it doesn’t inspire you to pick up your instrument and play. Nothing is wrong or right in music amplification, just do what suits you best. Great video!
The no-amp scenario of course depends greatly on the quality of the PA, the quality of the monitors and how well everything is set up and run. When I do perform it's always solo or duo with an acoustic or archtop and then I like to use two small amps - a bass amp and an acoustic or electric fed by a split signal from my guitar. I run the bass clean and put any effects on the mids/treble going to the other amp. I've used a crossover on the signal before the amps with good success but sometimes I just turn up and down the individual EQ's to remove unwanted components from each amp. I'm talking small amps, but this way I can get a fat clear bass and have control over feedback in the room. With any reverb delay etc effects on just the treble side, I avoid a lot of mud. Mostly I just use this scenario for enjoying playing at home but like I say, it's great for small coffee shop gigs.
I really like having a bass amp via crossover paired with a guitar amp. Although my personal preference is to tri-amp. Stereo left/right guitar amps, with the bass amp via crossover. That's what I used to do back in the day, till my crossover got stolen. I stupidly never wrote down what it was or anything, it was just a lucky find at a pawn shop, and worked perfectly for what i wanted. (pre-internet days, pre-smart phones so no pics) I picked up another crossover, assuming one would be as good as another... Nope ~~;.;
@@chrischaf actually I'm stereo as well because I like to use a smidge of stereo delay/reverb and a half smidge of chorus on the upper split. I use the Rolls SX21 Tiny Crossover.
@GarFlips Ooooh, okay. I think I understand better now :) I had the impression that you were essentially using a splitter, then running effects just on one amp. I bet it sounds nice :) Do you have any videos of you playing on it? I took a peak at that crossover you mentioned. looked nice :D compact. I took 1 step into the world of downsizing. I went from using the 5150 I'd been playing on as my main amp for almost 30 years, to a 6505mh (mini head), and have been pretty happy with that. But so far I've just been playing it dry, no effects at all except for a little of the built in reverb. Not that I wouldn't *like* effects lol but I suffered some brain damage about 20 years ago, and since then I haven't been able to re-learn how to program effects processors. So i'm limited to messing with factory presets, which never seem to work with my amp. doh! And since I cant set up an effects processor, I haven't been using the 2nd or 3rd amp (except for the occasional experiment), so I haven't looked into downsizing those. If I could figure out how to get virtual amps to play on my pc *in real-time* (without lag), then I could attempt to build the other 2 amps virtually or something... i dunno I attempted to describe my old amp setup in detail, but youtube said it was too long lol I guess I'll take that as a signal that it was too much info ;P I might try to write a shortened version later, but I already spent, like, an hour or more writing the first version, so I'm kinda typed out for now lol
@@Garflips After looking at some old crossovers, I'm beginning to think the one I had was a loft. The Loft 403-M Crossover pics I looked at, are the closest thing I've seen to my ancient memory of it. Although I could swear it had a black face with a baby blue case (instead of the usual silver/alluminum color). But the power button looks right, and seems to be distinctive. the slot style adjusments (instead of knobs) seems right, and the little white push-button next to the adjustments seems right, although I thought there were more than one of those push buttons. maybe one for each channel? I dunno, but this looks the closest I've seen in all the times I've tried to figure out what it was. I know nothing about the loft brand, but I guess I'll look it up now and find out :) **Edit** Okay, after a lot of searching, I'm not sure it was that particular model, but I'm about 95% certain that it was a Loft. AKA "loft modular devices" AKA "LMT" AKA "LOFT professional audio products" AKA "Phoenix Audio Laboratory" I didn't find a lot of direct info about their crossovers, but from what I did see, they were apparently professional/studio (possibly boutique-grade) Audio Equipment. Which might explain why there seemed to be some sort of "magic" in it, that didn't seem to be in the yamaha crossover I got to replace it after it was stolen. Oh well, at least now I know what I'm looking for. I saved some searches on ebay and reverb. maybe some day somebody will let one go cheap. There sure didn't seem to be any *cheap* ones around now, even though they are 80's gear
Instead of a crossover, look at a getting a two channel sonic maximizer. I love using two amps and a stereo rack in my home. I run a peavey nashville 400, and a nashville 1000. 510 watts total, but it's more about tone than anything. Nashvilles have 5 band eq sections with mid shift and presence knobs. The problem I had, was I would have a perfect sound, and then hit my chorus pedal, and the low oscillation would drown out the highs, and the lower strings were way louder than the high string on my pedal steel. I fixed it with a sonic stomp. It balanced the volume of my lows and highs and made it shimmer. Since then I've gone to the two channel rackmount version. The only time I turn it on is when I run effects other than reverb or delay. It balances the two amps quite well, and gives the effects a tone control.
Thanks for your take on this sound issue. I've personally been thru numerous effects pedal boards and always come back to my 4 Roland Cube 80 XL system, daisy chained together, with different effects dialled into each. They have awesome effects built into them. This system sounds huge.
Great video! Right now, I'm in a situation where I don't quite know what I want. The thing is, I've used a Music Man 112RP One Hundred for seven years, but I really prefer recording through my Focusrite Scarlett 2i2 and a simple software. The Music Man amp never sounded right for me, no matter how hard I tried to turn the knobs. Going through the Focusrite, I have way more control over my sound. I haven't played in live situations in years, but when it comes to playing at home, this is what I do. When I record bass, I might even go through the Scarlett right into a recording software without any plugins and whatnot. The sound is pretty good!
Great vid Jens! I never use amps either. For recording videos it's just so impractical and the convenience and quality of plug-ins and/or floor units like Kemper, Axe-Fx, Quad Cortex these days make those options a no-brainer.
I went for years of pop cover gigs using either just an acoustic guitar through a PA, or my Godin Multiac Jazz SA with a handful of effects into a PA; so I am used to dialing in PA EQ on channels. In that time I have also gotten into multi-effects, specifically the TC Helicon line of products which give processing attention focus to vocals and also allow you some modicum of guitar/instrument treatment. The TCH stuff has never left my rig, but all kinds of guitar effects (including 13pin synth/MIDI gear) has come and gone and come back again. In the last 3-4 yrs I have added a Strymon Iridium and slowly learned to enjoy simulated amp tones again. I prefer mostly clean tones, but have also discovered that adding tweed amp overdrive effects pleases my ear as well. My trick on utilizing all the aforementioned tonal options is to run parallel signal paths. The Godin allows me to run separate outputs for its humbucker, bridge/piezo outputs and 13pin divided pickup synth output; so each of those has it's own channel on my mixer. I blend the piezo output the highest/hottest, and then the sometimes heavily effected humbucker tone path (which is where the Iridium comes in) and underneath all of that are the ethereal or sub-modulated synth tones. It makes for a huge soundscape for me to sing atop. My system will undoubtedly cycle back down at times to just a single guitar tone and vocal track. But for now I am enjoying my sonic death star. Love your tones and channel!
I love messing around with IR’s. Within the amp modelers. I purchased the ampero stomp 2 and finally dialed in the tones I was getting from my Marshall. It’s a game changer. Previously I tried using line 6 and bias fx and just couldn’t get what I wanted. I struggled to get something close. The ampero solved it. It’s a big level up and the price is really great.
This is a new territory for me. I had never paid too much attention to amps as I was mainly focused on playing good, because I've always believed when you play good you can make pretty much anything sound good. The rest comes later. Now more into choosing my tone a little bit. Recently I was faced with the dilema of having to gig without being able to carry my super humble Boss Katana (which I bought three years ago because I needed something affordable to gig alone). So I've been looking into cab simulators and pedal effects that are versatile because I'm playing different styles. After weeks of research and going crazy with the choices, the mixed reviews, the prices, etc., just bought a Line 6 Helix Stomp. Part of me still wants a proper Fender tube amp, but I'll see how I do with the new toy.
I think amp sims are fucking cool as hell, I encourage everyone I know to get one and play with it. If you put on your eye patch and play pirate, you can essentially have every amp and effect in your hands, for 100ish bucks, the price of a DI (like focusrite scarlet). Grab that, pirate an ampsim and get a free DAW' and boom broski, get some used or mid-level 150$ studio monitors and there ya go However, I also am a big big fan of tube amps. I believe everyone should pick the one they like the most and keep one forever. Some people like Fender tubes, some people prefer Vox ACs and there are a couple others but they can fuck off cause Fender and Vox are the only tube amps worth a shot that aren't boutique custom wallet emptiers. I honestly have a hard time choosing which of those two tubes I like better, so I have a Fender Blues Jr and a Vox ac15. Both dank, both have their own unique sound when the tubes get a cookin
Thanks Jens for a much needed Amp vs Modeler Perspective. Lately, at 73, I’m feeling like Joe Pass when it comes to moving amps around …. Even those under 30 lbs(ie. Boss Katana MkII). Back around 2010, I bought a Zoom G3 and tried it as a pedal(s) replacement going into the front of my Tech21 Trademark 60 on live gigs. It felt overly complicated at the time, so I put it in storage and started using a Boss BD-2, since all I really needed was a good Solo Boost for my basically clean rhythm tone. Modelers now seem to be the thing, so I pulled the Zoom G3 out and took it to a practice session and tried it through the PA via XLR. After playing around with some settings on the G3 and the PA, I was surprised to get a tone I liked and that blended well with the keyboards and singer. I guess that was just beginner's luck because on the next practice session we had trouble getting a decent sound … No changes on the G3 … so it must have been the PA … we don’t have a sound engineer. So, I’m back to my Boss Katana MkII, but not giving up on the Zoom G3 since I can get some good clean patches at home into my Audio Interface for recording & practicing. I also get to try some other Amp & Cabinet models(ie. Matchless, Two Rock) which I know are only approximations of the real thing, but even with the real thing, I’m sure it would take a while to nail down my “Working Tone” whatever that would be. The Zoom G3 is over 10 years old and discontinued, so I will be scouting out its replacement for when it dies. Since it’s all experimental I want to keep things affordable. A Fractal, for me, would be way Over-Budget. So, the potential candidates right now are the NUX MG-400 and Valeton GP-200LT.
I’m good with the Strymon Iridium for recording, because of simplicity. I also use their Timeline and Big Sky. Works fine for me. Live I still perfer a Suhr Badger. But that may change, who knows? Thanks for your video. I enjoy them🎸
I enjoy playing through amps and cabs... But I'm also my own recording engineer for my own projects so that adds to it lol. But I can totally see the appeal of going ampless. I've considered it a few times but I just love my tube amp so much.
@@JensLarsen No one cares less about their sound than relying on the house PA and sound guy, ALONE. No bassist and drummer laughs harder than when they hear a guitar player cry, 'my amp is heavy and hard to carry'.
i do too. i dick around at "ampless" home recording but when i play a local party i don't carry much baggage, it's usually the Blues jr & a Fender "M80"(backup amp),a Bugera 4 X 12 cabinet, a cooler of brewskis,a Tele & the PRS. opps! & my pedalboard,power cables,mics,stands & few local housewives who need a ride to the party....*i travel light* ha ha
@@kennethc2466 you'd have to know who you were working with to trust their sound.it's probably why so many musicians use the physical equipment that works for them. I'm not a professional but i'f i was...*I'd never take a chance on anyone until they proved themselves, hence the "usual setup"...
@@MrZootalores Really? Who doesn't know the sound guy at a paid gig? You are FORCED to work with them, rehearsal, and show. Who ALL SAY the vocals get the most bandwidth. Do you have ANY idea of the size of the club who lets a GUITAR PLAYERS amp through the PA? Do you think all venues have an adequate, or even feasible PA, for EVERYONE? Do you play arenas, or just listen to youtube BULL? My 5150II and 1987x, via a 412, has NEVER needed a mike to play an crowd indoor crowd of 150-190 people.
I will keep my tube amps. Been playing them for almost 60 years. I use a Shure 57 to mic it live and an AKG C3000 to record. If you can't get your sound with a 57 you need a different sound man. I used a Carvin 3 pickup tele through a Carvin Nomad for years and got many compliments on my sound. I went to a hand wired Allen Accomplice that sounded even better. I played a highly modded Blues Jr with the Carvin tele and a couple of Strats with Fender Noisless pickups(one with Vintage Noiseless and one with Hot Noiseless(my favorite)) and still got lots of compliments. I played the Blues Jr last week at Church and am taking the Allen back to play. The Blues Jr sounds great but the handwired Allen it the cream of the crop. Best amp I ever plugged into. Modeling amps just sound dead to me.
I'm just working up towards playing live again after many years' lay-off, so your video was very timely and useful. By way of preparation, I blocked out a track for a long-time friend on drums to work with, and he straight off commented on how good the guitar sound was. That was very encouraging, because I hadn't used any of my conventional amps and had instead tried the UAD Dream '65. I'll be delighted if it allows me to get reliably good results while travelling ultra-light!
Blasphemy...Amps are amazing. I love to feel the air they push. The vibrations, the difference between one amp and another. The difference between different tubes. Using 2 or 3 amps at once.
You really can't replace an amp pushing air and being able to tweak the eq and gain to the room. And being limited to the PA and monitors during a gig is a gamble that can absolutely ruin your night. Speaking from experience.
Great video! Thanks for great insight as usual. I used to own a Fender Twin reissue (tube) with celestion speakers. I lived in NYC at the time, in an apartment with no elevator. The closest subway stop also had no elevator. I think I used that beautiful amp about 4 times in 10 years.
I got to see Joe Pass in Cincinnat in the 90s at the old Emory Theater. They tried for several minutes to get the front of the house pa to work and no luck. He simply plugged into his amp and grooved. Great memory of a great show!
Great video Jens! I recently had to make some tough decisions about upgrading my setup, because I'm not getting any younger and am getting sick of hauling heavy amps around. I almost went with modeling, but was intimidated by the new ecosystem I'd have to learn (FRFR speakers, endless menus, etc). Plus, I live in a small area and was uncertain about the reliability of house sounds. Just yesterday I received a Blackstar St. James tube amp, which is only 24 lbs (11 kg)! I'm excited to try it out when I have time, but I will say that I still hear the siren's call of ampless rigs. At the end of the day, all options bubbled up to the same price point, and I just wanted to go with baby steps here :) Really enjoy your channel!
Thanks for sharing your experiences! I'm an acoustic player working on going electric and getting amps into the show is a hassle but I got an HXStomp and I'm enjoying the flexibility and convenience. Cheers Jens!
There is NOTHING like that 🤩 diming any of my amps be it tweed 5E3, JTM45 BB hw, or old 1987 or DR103s - it is a religious experience... because only THEN you know how your guitars really sound.. how it was meant to be. And you can always tame them by rolling off the Volume pot on your guitar .. and they still sound great
I believe every guitar needs to go through an amp and you find the best mic for the tone you seek. There is a interaction between the guitar and amp which is lost going direct in.
Its already discussed in the video which you didn't watch or try to watch. The amp put out noise and is degraded with equipment such as a mic in a live setting. This doesnt happen with modular sims. He doesnt care about amps like most amp simps. He cares about tone. Which an amp is for noob guitarists isnt about tone but how much money you got in your wallet to spend on things that dont matter to a "real" professional artists.
I very much agree with exploring new technology and using your ears as a guide. From a live recording point of view many in house PA systems and poor acoustics suck though mainly because of the speakers which are often the poor relation. Hi Fi's often have lots of speakers with separate frequency filtration to render the sound more accurately but PAs seem to lack much separation of the sounds being played and come out 'loud and muddy'.
I personally use a Fender Tonemaster Deluxe Reverb, which gives me a sort of hybrid. I'm a blues player and I think being able to practice with a live amp (opposed to the sound of a miked cab), allows me to react and play more dynamically. But the tonemaster is lightweight and offers a direct out and attenuation, so that solves my problem as far as volume and recording.
Just picked up a Tonemaster Deluxe myself after years of using tube amps onstage. I had made the move to modeling plugins for recording since 2016 but until now not for stage. Fender has a great product with the Tonemaster series. Gets you the interaction onstage with amp,but has XLR out with cab and mic IR to house sound when needed. Works great in the studio as well. And being really lightweight is the icing on the cake
I went ampless with a DSM Humboldt Simplifier Mk2 and so far, I love it. Gonna commit to doing it for a year and see how my perspective changes. No, it's not the same as using an amp, but it's definitely a good for a lot of reasons. I'm looking forward to gigging full time with it and finding ways to tweak and adjust my sound as I go.
Great presentation!!! My sound is a small Polytone type, Roland Jazz Chorus 22. I do not use distortion and only put a pedal with it if I need an effect for songwriting. I don’t like most amps, but this one I do…plus it is small.
It’s difficult for me as a guitarist to admit but I do think modelers and some VST plugins are starting to get into territory where it just makes more sense to use them. I’m speaking mostly for home use or home recording, but something like the Nembrini Audio Faceman is a surprisingly inspiring choice. Especially when still using pedals for added gain or fuzz
I’ve never been able to get a good jazz tone without an old-school all tube amp. I have literally never been able to get the sound I want on a solid-state amp so I am extremely skeptical that I would be able to do so using all digital plug-in technology on a computer. Also what do you do when there’s no PA? There will always be a need for some kind of amp in some situations but I can see the appeal of not needing to bring one to a gig when there’s already a House PA.
Same experience ... In my band, we are two guitar players, and we both switched to Mooer GE-250, plugged into mixing desk. We never have a cleaner and detailed sound before. No problems with excessive mud in the sound, both guitars are perfectly separed in the overall band sound. Sound quality is very good, and there is also great portability as benefit of this solution. Maybe some feel of boomy sonic pressure is missing - but these frequencies are not relevant for guitar in the band, and sound guys always set low cut to guitars during the production. And, without this mud, this is lot better for the vocalist on the stage, if she hear herself. Less noise on the stage give more chance for better quality of band performance, and also for better sound for the people.
Well explained with context and a logical approach. As a jazz bassist (upright and electric) I enjoy your videos and appreciate the parallels in studying jazz. Much respect!
Hi Jens. Thank you for the video explaining your use of modelling units in recording and live work. It was informative and useful. Your relating issues that you experienced, both at live gigs and in the studio, was especially compelling. Regards.
Jens, this is fantastic info. Here's a question: when you're in a venue and plugging your non-amp rig directly into the sound system what do you do in terms of regulating your guitar's volume as you hear in onstage? You have to depend on a monitor and a decent sound person, right? That's one of the things I like about having an amp onstage: a certain amount of autonomy in setting up an "acoustic" balance onstage with the rest of the band, and making sure I like the level I'm hearing from my instrument.
Thanks! Mostly I bring a QSC K10, and then I have that as my own monitor, but it really depends on the situation. In a lot of places I don't have to because they have decent monitors.
Just a quick comment on the Delay pedal being a gateway effect. You are 110% correct! I’ve been playing guitar since I was about 7-8 years of age. So since 1997, 1998. And I spent all of that time, composing music, recording records, playing gigs without ANY effect pedals. Until, my 21st birthday. I was gifted a Flashback Delay. And now, I’ll rarely record or gig, even compose without a pedal. I have quite a few. Too many to name. I find them to be great tools for inspiration. And they’re fun! But man. That rabbit hole is deep! I used to play shows with 15-16 pedals or more on my board (3-4+ being different delays). I’ve since scaled back to 6-7. Pedals can bankrupt you if you’re not careful 😂! And it almost always starts, with a delay. Almost always. Great video! Very informative and entertaining. I appreciate your content! Take care 🙌🏼
I got a Helix and realized I loved that clear rich "studio quality" tone as much as fat cranked amp tone. I like all the new HD modelers I've tried. Got a Headrush MX-5 and it is stellar!
What about using a small lightweight amp that you like that has a line out? That's what I do. That way you have more control over your sound so that you can hear yourself the way you want to sound onstage, and the sound person is getting a direct line straight out of your amp (not miked)
I used a JTM-60 112 for a while. It had the option of a speaker sim line out before master volume, so, you could do FOH soundcheck first (with mastervol turned down), then raise the amp volume to fit the room, and be done in 10 minutes!! Great solution, but the amp was unstable and had to go. But is was a nice solution while it worked... FWIW
You explained your quest very well. When I'm not mistaken Guthrie Govan went the same route, mainly because a floor unit like the AX8 is easy to transport by plane. Nevertheless, I am impressed with his current stage sound. I still take my Orange RV to stage, but went for a ported 1x12 cab, which is more friendly for my back. I would like to try the AX8 but one has to dive deep into programming and the universe of options. I might be a little too lazy for that. )
Spot on Jens! I can relate to your great history of the live/studio guitarists eternal "search for tone." I have many of the same shark bite (SM-57) scars!
I have owned too many amps to count and still do own several nice amps and I honestly feel that I can get the same sounds out of my Helix or amp modeling software/plug-ins. In short, I don't need an amp, but I like them. 🙂
I sold my Helix, Kemper, and Fractal, and kept all my amps, that retained their resale value, and even increased it, as I lost money on all the DSP boxes. I honestly feel NO ONE can get theirs to sound like my 59 Bassman, or 5150II, etc. NO ONE who hears them live would say otherwise. In short, I need my amps, because DSP CAN NOT reproduce those sounds, and NEVER CAN. PS, do you even know how DSP works? What 'modeling' do you think it does beyond a frequency chart? Do you know the DSP chips are an AT&T invention, made for cellular phones, and have NOT CHANGED in their function? If DSP is the same/better, why don't valve amps 'model' an original tone from these DSP boxes? Easy answer.
@@kennethc2466 You are simply wrong. Many blind tests are done where experienced sound engineers could not tell the difference between good vst plugin and actual amp.
@@VanjaSpirin You are simply wrong, and the only tests worth a damn a DOUBLE BLIND. Now, you keep one pretending a DSP chip can do what a valve amp can, as all the valve amps are now 'modeling' the molders superior tone, right? DSP boxes keep their resale value, right? WRONG. Enjoy what PEER-REVIEWED audio journals have to say, unlike your 'modeling pros'. The two professional societies that have the most to say on this subject are the IEEE (Institute of Electrical and Electronics Engineers) and the AES (Audio Engineering Society). Both of these professional societies publish peer-reviewed journals, with articles written by engineers and scientists who work in the professional and consumer audio industry, as well as in cutting-edge academic research. Here are some of the more interesting quotes from the AES and IEEE: “Our extensive checking has indicated two areas where vacuum-tube circuitry makes the most definite audible difference in the sound quality: microphone preamplifiers and power amplifiers driving speakers or disc cutters. Both are applications where there is a mechanical-electrical interface. This can not be replicated by transistors." “Overloading an operational amplifier produces such steeply rising edge harmonics that they become objectionable (hearing study 2b) within a 5-dB range. Transistors extend this overload range to about 10 dB and tubes widen it to 20 dB or more.” and finally “Vacuum-tube amplifiers differ from transistor and operational amplifiers because they can be operated in the overload region without adding objectionable distortion. The combination of the slow rising edge and the open harmonic structure of the overload characteristics form an almost ideal sound- recording compressor. Within the 15-20 dB "safe" overload range, the electrical output of the tube amplifier increases by only 2-4 dB, acting like a limiter. However, since the edge is increasing within this range, the subjective loudness remains uncompressed to the ear. This effect causes tube-amplified signals to have a high apparent level, which is not indicated on a volume indicator (VU meter). Tubes sound louder and have a better signal-to-noise ratio because of this extra subjective headroom that transistor amplifiers do not have. Tubes get punch from their naturally overloaded characteristics. Since the loud signals can be recorded at higher levels, the softer signals are also louder, so they are not lost in recording background hiss, and they effectively give the tube sound greater clarity." Those are called peer-reviewed, academic FACTS. Argue against them at the detriment of your own education and knowledge.
@@kennethc2466 Simply, use tube amps if you want, and dont't use prugins. Use your ears for listening, not other organs, and stop being scholastic. Just listen and choose freely what6 you like more. As simple as that.
@@VanjaSpirin Please stop begging me to believe your mouth over science, like a cult member. It's boring, juvenile, and ridiculous, by definition. Yet, thanks for PROVING MY POINT, by denying peer-reviewed, double blind studies, to make the logical fallacy of the appeal to personal credulity, over said work. Again, Those are called peer-reviewed, academic FACTS. Argue against them at the detriment of your own education and knowledge, but don't cry to me about them ANY MORE. Deny the FACTS on your own time, in your own forced ignorance. I'll stick with PEER-REVIEWED SCIENCE, over your quaint platitudes and desperate 'please believe me' drivel. Your cowardice to address the cited science makes you beneath my time, but not my contempt.
Great article! I recently purchased a 'Brute Eq', handmade in Denmark! It's the preamp section of a Polytone, which has a particular way of tone-control that gives it its specific beautiful sound. Of course I still need reverb, and a DI if I'd want to get onto a stage, but for now I'm not using an amp because i'm only practicing!
I like to play everything from blues and 50's rock and roll to 80's hair metal and 90's grunge. I've tried a lot of different things but only a tube amp reacts like a tube amp. Nothing I've tried gives me the dynamics of a tube amp. I have a little 1969 Pepco 12 watt tube amp head that I modified to a fender 5e3 circuit that sounds heavenly. The head only weighs a little over 13lbs and the speaker cabinet weighs 16lb with a single 12" Celestion Greenback. My Vigier Excalibur guitar and case combined weigh 16 lbs. I have a peddle board that weighs 21lbs with a fuzz into a wha, into an analog buffer, into an analog overdrive, into an analog noise suppressor, into an analog phase, into an analog delay, into an analog reverb, into another analog buffer, all controlled by a Chain Gang programmable analog effects looper-controller. The looper-controller allows me to true bypass all or whatever combination of pedals and/or buffers in the chain I choose. I also have a Beyerdynamic M 160 microphone for micing the speaker cabinet. I like to setup the amp so it's just stating to breakup with my guitar volume full up and bypassing the pedals and buffers. Nothing else I've tried can give me the feel and control I get from this rig. Don't get me wrong I'm not knocking anyone for not using an amp, it's just not for me as my little tube amp is part of my tone that I can't seem to get any other way.
I love the dynamics that you get on a real tube amp. I have a hx stomp and a Kemper, they sound both very nice, and I’m very happy to go on stage with them cause it’s flexible and more affordable than a complete pedalboard with a good amp. I keep my good amp at home, and for the studio (with a choice of good mics for tracking and D.I’s
Dynamics and touch feel is it. In case of best amps - it is unforgiving 😊 ... like an acoustic guitar.. Exactly that is what I like most about them... other than they can get LOUD 😅
I'm also had a long way from different amps to different modeler and back. My problem with tube amps are, that they often sound beautiful in their own range, but I play different styles of music and for me the variety for sounds are very inspiring for getting in the mood of new songs I write. The Kemper was the first modeler, that really fits and satisfying me soundwise, I use it for many years and like it a lot. Since about one year I've changed to the Quad Cortex, because of it's size and way to operate, so much more intuitive than any other device I use before. Unfortunately I never had the chance to try an AxeFX, but I'm happy with my gear so what, and other parents also have nice children ;-)
I’ve been on the fence for a long time. I’m now finishing the recording of an album with a real amp (EVH 5150 III) but that’s been a bit of a hassle with the loudness and finding ideal times to record (I’m in a small home studio). I’m also using that amp live and the stage volume can sometimes present issues, as you know. I may be making this leap soon! Thank you for this video.
Great video. I did the same thing for many years i used vst plugins and line 6 pod . Lately i bought an amp back for the pleasure of jamming at home and realise it actually sound better playing on my old jc120 of the 80s. I do more recording these days then play live . I enjoy your video! 🤙
The sound man at the board can and does decide what a musician should sound like according to HIS needs and not the musicians needs. The Sure SM57 is just a convenient way to change what is good for you to what is good for the sound man.
Good to hear your opinions, as always Jens. Modelers: no thanks-I'll stick with my Princeton Reverbs. When I need to mic, I bring my own Sennheiser 906 and have no problems. 😎 However, unfortunately sound men are usually a problem; most of them should be working in construction, not in music.😖 Jackhammers, chainsaws are usually their true domain.
There's no denying the quality of tone you're getting with your current setup, even though folks will harp on about tube amp sound, warmth, responsiveness, etc. Your logic seems perfectly reasonable to me. It's a wonderful feeling to nail that sound that's in your head; to be able to reliably get it in live situations is a huge bonus. I just settled on a nice-sounding setup for myself, and it makes practice such a pleasure. BTW, I enjoyed the picture of the mic'd head, lol!
I'm not a jazz guy, or at least, I don't think I am, but I've never listened to much of it. I'm going to give it a chance because of your playing on this video. It's... compelling and soothing. Very interesting. The algorithm brought me here because I'm looking for information on amps and just started looking at modeling. I haven't picked up a guitar in 25 years so I have a lot to learn and re-learn and I'm grateful to have found your channel. Liked and subbed. Thank you.
I like your testimony. I have a PRS SE Hollow Body. It's very playable. I do find I prefer the neck pickup over bridge or combo. I send the signal directly into a FocusRite Scarlett. This gives me so many options. The Scarlett is connected to an M1 MacBook Air with Logic. So why do I need an amp/cab at all? I can just use sims. It works very well. Mind you, I am only an amateur. I'm still amazed that I can "re amp" the guitar just by changing software settings. I also have a MIDI keyboard controller going into the same Scarlett. I don't have to worry about room effects while recording.
Dude, I absolutely love you. True musician. True artist. Hell ="An electrified dry recording of a banjo." And, yes, an initial dry recording opens up a multitude of possibilities in mixing.
As long as it sounds good out front, whatever works, works. That said... I saw a wedding band recently that had no amps, and the sound was poor. Everything going through two 12" speakers, so there was no bass. Also, the overall balance was bad, but the musicians didn't know because their in-ear mix was fine for them. Another factor to consider is the guitar's physical response to the sound waves that hit it. With a silent stage, you lose that aspect. For quiet jazz gigs that's perhaps not an issue, but even with a slightly louder pub band, the amp interacts with the guitar, making the overall experience better. So, although it may mean carrying more gear, I'm inclined to stick with real amps.
I played gigs both with and without an amp, and you've made some great points in this video. It is easier (A LOT easier in some venues) on the sound engineer, but from my personal experience, I found that playing without an amp always works out best when I'm in an acoustic duo or strictly clean tone/jazz big band situation. Given that my "regular sound" when I play with my regular band is a hybrid of Pat Metheny clean to Allen Hinds "somewhat overdriven" sound, I personally prefer the full, warm tone of my Fender DeLuxe ToneMaster amp, which has the very useful mic input in the back panel, eliminating any front-speaker feedback or other accidents. Hope this helps the conversation, keep up the great work, Jens! 🙂
@@drewg3087 The Fender Tone Master series uses massive digital processing power to achieve a single remarkable sonic feat: faithfully modeling the circuitry, warm tone and power output of an original Deluxe tube amp. I've been using it for years in both live and studio performances and I honestly can't tell the difference from my older Fender DeLuxe tube amps (I have 3 of those too). I'm also thinking of upgrading to the 100W Fender Twin ToneMaster amp, to play in bigger venues with bigger stages.
@@vampiroangelico tone is subjective but a 12w-50w tube amp is THE sound. Digital processors can't come close to that sound no matter how good it gets. 100w solid state maxes powers and compresses too much as it gets louder. The tube starts low and then stays that level while development of the pushed tubes and db increases. To each their tone.
I have to say I was skeptical. I've used nothing but tube amps since the '80s, including Marshall and Peavey 5150 stacks, then I switched to Fender DeLuxe combo tube amps, and I was hostile to the idea of "digital modeling" of tube sound, as my performance style is very dynamic, anywhere in between jazz-fusion and classic rock. My ears were trained in tube sound, but after playing the Fender ToneMaster DeLuxe I was shocked at how warm and dynamic the tone was, perfectly adapting to versatility. I have been using it for 4 years now, and I haven't regretted it once. Also the light weight factor didn't hurt. 😉
I really love my Yamaha thr30. For my uses (annoying my neighbours from my sleeping room) it is perfect anf it sounds amazing. Live I would use it too, but with a mic over the band stereo.
The mugshot of John McLaughlin made me crack a good laugh hahaha. Great Video Jens! I was also kind of a must-have-amp guy but I'm kind of looking for an amp in a pedal that will make things easier for the transportation, and most importantly, the sound and I think you're making a great point here! Thanks for the video!
Great explanation. I’m primarily a bass player so I’m used to go direct. On guitar gigs (or when recording guitar) I use a Two-Notes CAB-M, I find that cab simulation works well in most situations but in a traditional Jazz context, especially with flatwounds I prefer to bypass it all together. The cab sim gets more needed with increased gain and saturation and to tame the harshness of round wound strings.
Interesting knowledge. I do use A software modeler for recording at times, but I also love using my polytone and my Marshall JVM 50 watt combo with 2 12" speakers (though it is quite heavy). I do most of my playing in a rehearsal studio (for jazz). There is a wealth of experience and knowledge in your video (all of em!) so thanks for what you share with us.
I get very pleased with a Tech21 Flyrig RK5. I use it like a modeler to plug both on backline amps and/or DI's. It always amazes me on how good it sounds. And it's an analog modeler (not that I find this VERY important).
Been a tube amp snob since the late 90s.... I tried some early modelers that *almost* got me there, but went back to tube amps about a year later. Recently, I had back surgery and needed to go to a light weight set up...Not to mention the ongoing trend of lower stage volume at venue's we play at. After some flopping around, I settled on the BOSS GX-100 and love it more than I thought I would. I still have a few tube amps and even a Quilter, but lately I've preferred my modeler for a more "consistent" tone from gig to gig. They take more time to dial in, especially if using various levels of gain and effects, but once you get them dialed in they are more reliable (in getting the tone you want) and make it to where you get a better mix out front. I'm not selling my tube amps just yet, I did that my last bout with modelers in the early 2000s and had to start over again....But, I find myself using them less and less all the time.
You should be able to record both wet and dry simultaneously. This would allow you to listen to yourself the way to like while recording, while also recording a blank slate for re-amping and effect experimentation post-recording.
I switched to using a Kemper profiler many years ago. I initially purchased the Kemper for recording, although I soon found it to be far superior to any amp I have owned due to the reasons you have mentioned. I do use an AER when playing acoustic gigs, but for function band, my jazz trio and quartet, shows, studio work and everything else... Kemper is awesome. 😀
@@jamesrmorris1952 For what the Kemper does, not at all! The Profiler Stage with bag is now £1,106.01 in the Kemper store. One decent tube amp will be more than this and the Kemper covers pretty much any amp and effect you will ever need. If you use IEM when playing live, it will have gigs and recording totally covered.
I bought a Kemper about three and a half years ago. Within six months I had sold most of my tube amps and don't play the few that remain. It's an amazing device as are the AxeFX and the Quad Core and other modeling solutions. It gives me a consistent tone that I love and I have amassed a library of some of the greatest tube amps known to man. All in a little box that weighs thirteen pounds.
Thanks. Good story of your journey. I have two solutions: a Fender Blues Junior for live smallish gigs, and for larger ones, a small AER 40W that has XLR out that goes into the P/A. In the 2nd I use the AER as a monitor for myself and I trust the sound guy to get whatever he/she wants for the P/A. All I care about is what I hear :). Thanks. P.S. I had a POD, but for jazz just want clean sound with some reverb.
One of my favourite sounds now is my Audient with its built in DI. Sometimes I don't even use amp modelling and just shape the sound with a little eq, compression, reverb etc
OK, Jens. The problem with the Fender Twin Reverb is two speakers. Have you heard of comb filtering? Comb filtering changes how your guitar sounds at different location in a room. You should use a single speaker amp if you want the same sound throughout the room. I do like the Twin Reverb but put it in a box with one speaker. Sometimes you see guitarists moving around to get the sound they want to hear (wow that is a clear indication of a problem) But the PA system has ??? so many speakers. Well the mix will give you an idea of the balance (where you stand in the mix). Also, I think that a "stereo" sound of the guitar can be produced at the mix board better. Talk to you technician! I use an Roland AC-60. I like it because it's clear sounding and very light. The second channel has a microphone XLR input. I play rock,folk, country and I even try playing Jazz. But, the most important thing is a really clean sound when I need it. I don't often like an overd-riven sound. I think it is over used.
A great video on a difficult topic. I feel the problem is more about certain sound technicians dont understanding the genre and/or your artistic expression. If guitarists and bassists now collectivily move away from micing up amps, the sound guys will get less practice with mics and get even worse. I think the amp certainly (and especially tube amps) has something more organic and acoustic feel to it than modelers, but yeah its hard to control in every enviroment. I love your (Mr. Jens) sound btw, so the fractal obviously works for you!
100% with you... I still think that QuardCortex is super cool device. But in fact I think they can think to provide like small and limited version of 1 box with simplified control for 1/5 of price just to have 1 amp, reverb and delay. I'm not ready to pay 2000$ to get ALL this things I do not need.
Well, when the laziness and exact decibels take precedence over the SOUND, you have a problem. If your 'pedalboard' and effect take precedence over your TONE, you have a problem. No one wanted to hear EVH through a damn modeler. NO ONE. Nor would anyone want to hear Jeff Beck play through some DSP toy. Modelers are for lazy people, who 'need' more sounds than songs they play. Also, when a guitarist cries about 'my amp is heavy and hard to carry', every bassist and drummer laughs their tails off.
@@kennethc2466 There's fewer old men who yell at clouds in the guitar world every year. So in a way, you can consider yourself one of the last of the Mohicans. Meanwhile, mythology and superstition are on their way out as younger generations prefer listening objectively and preferring practicality.
@@honigdachs. No one's yelling at the clouds, beyond your off topic rant. Your hyperbole and fictions are the cult like ramblings of a person who can't address a topic.
Nice to see that this long journey has come to a good end 🙂 The former 2nd guitarist in our band also had an AxeFX which sounded good. However, I found it extremely complicated to use - especially compared to the Kemper, which I have been playing for a long time for the same reasons as the author. However, that was 5 years ago and probably Fractal Audio's current preamp is much more intuitive to use now.
I changed back to "real" amps, because I was just scrolling through presets and different options on Axe Fx. Sounded pretty good, but didn't feel like a real amp.
This is one of the reasons I got the specific Jazzmaster model I did, 4 way switch and tone knob gives me all the dynamics. The amp I do play through is 9 watts, 1 knob (volume) 6L6 and 2 12ax7s. It’s not as plain as a DI box but it essentially is!
Finding something that inspires you and having fun with it is key. When I'm in a funk and not the good funk but more like a rut, I find new gear will always pull me out. I hate that because I loathe being a consumer but it's just a necessary part of the process that keeps me from losing my mind.
I remember seeing a very good band some years ago at a very big outdoor festival where one of the guitarists seemed to be using just one tiny amp, possibly a Champ, with an SM 58 hanging in front of the speaker. He used no pedals and seem to control the sound with just the pots on his Tele. All the other band members where using large amps but his sound seemed to be as good as the other guitarist’s.
How about...bringing your own mic to the gig? That’s what I do at least 😅 Knowing how to position your favourite microphone in front of your amp is definitely worth it! 👍
I would love to know your FM3 settings. I use it mostly for fly dates that feature pop music (and my tele or strat) and use my old Polytone for smaller jazz gigs. Any advice about using the FM3 for jazz tones (I also use a semi hollow 335) would be super appreciated!
I recorded an album with a band in 1981 with a Gibson Les Paul standard. I was using a Peavey Classic Mk 2 at that point. The first thing the engineer said to me was, 'That amp is crap!' The studio called Alvic in West London had a small Fender Princeton which we used for a lot of the tracks. I didn't realize then that this amp has almost cult status now! I really agree with Jens on the delay/ reverb combination.
Hi, enjoyed your talk on playing and recording, sound is so important especially if you playing clean. I too like a little verb with delay mixed in and use a Blackstar 20amp head because of its clean tone, thanks again
I can definitely see Amp Simulations and alternatives to be coming for us in the future! I still use real, brick-and-mortar amps, but I am open to anything really! Cheers!
I disagree. There are way too many people that still love amps. I hate playing guitar through the PA. It ends up sounding thin and weak. I use a Blues Deluxe and it sounds fantastic. I like having the control over my tone. Running into a PA which I have done, sounds horrible running from my pedal board into a direct box and then into the PA just didn't sound right.
I would love to see a video from a sound engineer's viewpoint on this. My initial reaction as a guitarist is "how dare they think they can decide how I should sound!?!", but I know little enough about sound engineering to know that there must be more to it than that. Often it'll be the difficulties of having to cope with every snowflake guitarist (in the sense they're all different, not in the new modern meaning of the word) coming into the studio and having to work out how to accommodate them.
Well, if I am in LA then I will try to set something up with Warren Huart 🙂 For the rest you have to ask a sound engineer about it. I actually get a lot of it, and part of this is also just me choosing to tell the story about incompetent people I have come across and I have also met a lot of very competent sound engineers.
Great video, Jens. I moved to the Fractal products 7 years ago at the recommendation of Derryl Gabel. I was very skeptical at first since I was an old-school tube amp guy but over time I've been thrilled with the decision. My friends ask a lot of times what it's like to play through one and I basically say "It's what a guitar sounds like after it's come out of a studio mix, you have total control what the end product sounds like and it's agnostic of what type of venue you play at". The diverse range of sounds I can get from the Fractal products and I can play at bedroom levels without annoying my wife or neighbors is another huge plus!
I used to have tube amps and tons of pedals in the past, going to practice was a headache, now I’m just using a Hx stomp, with a wah in front and an expression pedal for distortion to bring gradually when necessary, and I bought a line 6 power cab with a speaker simulators, this has a XLR output that i send to the sound guy and let him know to keep the eq flat, it’s been a time and money saver this setup
I play at church with the Pod Go and the Power Cab as well. I have been doing it over a year now and it really works. I leave my pedal with the same settings week to week which makes it easy on our sound guy and I mainly use the Power Cab as a monitor and keep it just loud enough so I can hear myself. Small church with the typical stage volume issues... I did recently buy the UA Dream 65 Deluxe Reverb pedal. I am going to try using that with the Andy Timmons Halo pedal in front of it tomorrow instead of the Pod Go. I am happy with the sound on my Pod Go, but still really don't know my way around it. The UA Dream has the physical knobs like a real amp... no menus to jump through. Maybe it will be more to my liking. More hands on. I think that is why a lot of people like their pedalboards. God bless you and all you love.
Glad I didn’t go all out and buy a 2x12 when I started playing. I am in the same boat I do not like to lug around a heavy amp and it’s very impracticable. Started playing electric but fell in love with acoustic guitars best of both worlds.
Helix LT user here and love every bit of it -- and mostly same reasons as you. I love showing up and plugging in, just about anywhere and know what my tone will sound like. Also, I am in a cover band that does everything from clean, acoustic - all the way to Hendrix, Metallica and everything in between -- I am able to set up configure presets that let me switch from playing a country cover to playing ACDC to playing slayer with stomp of a button. Also -- Helix just came out with 3.5 version update and their cabinets have been improved tremendously -- they already sounded great, but now you can change mic placement -- distance, placement on the speaker, cone, edge... etc... angle etc.. and choose between any mic on the market. They have most amps you can imagine ... my main 5 presets are build off of an Orange Rockverb, Friedman BE100, Sunn Model T, Bogner Ubserschall, and a Cartographer (a model of an amp, that was a rebuild of a 1977 Traynor) -- I can cover so much ground, and it fits in a back pack. For when I need on stage sound, I run it through a Mission Gemini 2 FRFR. With the Gemini 2, you can dial it to be full FRFR (pure sound out of the Helix), full CAB (where it behaves like a real cab) or anywhere in between by dialing the knob. The Mission Gemini also sound good when someone plugs a tube amp into it. Thanks for the post..
![The Best Guitar Amp In The World [And Tips On Using Pedals With It]](/img/n.gif)
How I replaced my vintage Gibson with a $400 Guitar:
ua-cam.com/video/bIQiWfeWLA4/v-deo.html
@messenger ministries never tried one 🙂
Artist (Aust Company, Chinese made) make a Gigmaster $369 AU & honestly blow the Squier away.
I'm not saying it's gonna it's melt that lovely ES 175...but for the money, they're gd.
Sorry, I did not get it, how you play without an guitar amp? Because your whole video you constantly show your Fender guitar amp. You haven't shown where your cable goes instaed.
So what do you use instead of an amp?
@@botrax Plenty of ways to get sound recorded w/o an amp & miç mate.
Oh btw, my money's on U lot to win the next war mate.
@@baabaabaa2293 That simply isn't a Jazzmaster. The body shape and scale length are the only things close.
it's really refreshing to see your take on this Jens. Really a virtual amp, or a plugin makes things much easier, effects are so much more easier to tweak and it's more budget friendly for guitarists
Thank you! Glad you like the video 🙂
@@JensLarsen Always love your vids, and you replied aah 😍😭
Absolutly. And you can actually play, even when your kids are sleeping.
I have two Marshalls in my basement, but I never use them. I use Amplitube 5 on my PC inside my DAW Ableton Live. For each setup I have an extra audio track (for example: Clean Fender, Crunch Marshall, Heavy Mesa Boogie or an Orange Amp with OD Pedal, Chorus, Reverb and Delay for some 80's vibes). I can easily switch between those setups just by clicking on the tracks. No cable unplugging, no fiddling with the knobs to find the right tone every time. It's just so easy. And the virtual sounds nowadays are so good.
And it's just a replacement...not the real thing.
Bla Bla Bla Bla....
Truly one of the most intelligent, nuanced descriptions of the journey every good musician makes. What is particularly of interest is your willingness to think outside of the box. That is not an easy thing to do. Thanks so much!
You're a great storyteller, Jens. My sound has nothing to do with jazz, but I really appreciate your content.
Ditto
Spot on
agree
@@geoffgurney88l
@@gravitydrums1391😢😢😢k
Craziest part is that now the sound guys LOVE a direct out! I have the Line 6 Helix and it is an absolute freelance workhorse for almost any genre.
Of course the sound guys love it! Faced with that or having to mic a dual rectifier Mesa Boogie on a stage the size of your living room. Thats the trade off. Full control verses trying to tame the asshole guitarist that keeps turning on some secret boost pedal that hes not told you about. LOL
Cheers
Hey Simon! 😂
Sound guys love DIs because they do all the work for them...🤣🤣🤣
And the reason a lot of us so-called asshole guitar players turn our amps up is because the useless sound guys don't have enough volume in the stage monitors for us to hear what the fuck we're doing and they're too busy playing grab-ass with the waitresses to catch our cues from onstage to turn the fucking monitor up...😉
@@kayakbandits9894 Trouble sounds guys usually can't play guitar, and don't care about what you're plaiyng.
What do you do at gigs with no sound guy or PA?
I've got a fender reverb deluxe, added 4 little wheels to the bottom of it. And now the amp follows me everywhere like a good dog.
Interesting approach, Jens. I'm a guitarist who is also an engineer that started making amps due to not being happy with the usual Fender, Marshall, etc offerings. I have a need for an amp a few feet behind me and monitors that don't close off my ears. I started using a 25 watt tube amp that seems to easily keep up with even overzealous drummers (No I don't do metal). I find that expecting the sound guy to give you what you want to hear from a floor monitor or occluding in-ears is asking too much. Stage volume is a big problem and using smaller amps like the Polytone Minibrute does help considerably. I also find most mass produced amps have insufficient bass and midrange and rely on my amp to give me that. Relying on in-ears or a single floor monitor mix while the drummer flails away makes the situation worse in my mind. (A more sensitive drummer is probably the answer LOL)
Thank you for posting this. I completely understand. About ten years ago I started doing as many gigs as I could with my pedals and a DI. You're completely right - good sound engineers "got it" and basically gave me the sound I wanted, as loud as I needed it, and even the looping worked most of the time. Then, sadly, I'd get a bad sound person and they'd take liberties with the sound and it felt like two steps back. I also started using the Boss octave for bass sounds and I felt they "needed" a true bass amp on stage to really get the effect and help the house system "handle" the low end. I split the difference now - I now often bring out TWO amps though the bass amp has an XLR out and the guitar amps (Roland Cube 60s) have line outs that I run to a DI. To your point I make a point to make sure I'm giving the sound people DIs and not microphones. Especially on large stages and outdoor stages those crappy microphones pick up wind, noise, and other weird artifacts and while I realize so many musicians still use tube amps that don't have line out or DIs I still just can't fathom the idea of taking the very heavy yet beloved amp sound and making it sound far away and out of context several feet behind you on a weird stage. Anyway, I appreciate this - I'm still happy with my Roland Cubes and I assume they'll last for years. I'm also thinking about getting a Katana head of some sort for backline situations... though real talk one day I hope I get my hands on an AX FX ULTRA as so many of my favorite guitarists of all genres have used them. Anyway, thank you for your videos - always appreciate your perspective, Jens.
Excellent video. I love how your pacing and clarity deliver the information in a way that is engaging, well supported, and never boring. The world would be a better place if all YT videos were this well done. Many thanks.
Thank you Rob! I really appreciate that 🙂
Hello Jens - I'll try this again because it came across the wrong way... there is the right gear for every occasion and I get why a lot of people prefer modeling rigs. I use them for recording at night sometimes and have played tours with them, when an in-ear-situation was required. in fact, when using in ear monitoring, a modelled sound can be more pleasing and a miced amp is sometimes quite horrible. however, I never have felt comfortable with them playing my own music and I resent the fact that more and more of my students turn out never to have had any experience with a real tube amp rig. imho the tube amp is part of the instrument if we're talking electric guitar and should be at least the starting point. despite the advance in technology and the authentic sounds that can be had, I feel the response and interaction with the guitar is still not quite on par. like hearing back a perfectly recorded and mastered signal, but without the initial "elastic" response a tube amp gives You while playing. or like hugging Your lover wearing raincoats, haha! and that's cool, depending on the situation. I've settled on this comparison: it's like playing keyboard/synth versus a grand piano. both are different animals and have their advantages. if we're talking Jazz Guitar Greats, I totally can see Kurt Rosenwinkel using modellers with his expansive sound approach, whereas it's hard to imagine Julian Lage or Peter Bernstein doing it. but who knows? thanks for Your work, I love Your channel.
Totally agree! Modellers are great for more advanced setups and in-ear monitoring. But playing a small club or rehearsal, I much prefer to have a personal point of audio source in the room. Where I place my amp is the 1st step of how I'm hearing myself vs the whole band. If I have to have all the band and myself coming from a single wedge or even only the PA, it's like playing mono in-ears, the whole band sits in a single plane and it's very difficult to distinguish different instruments.
The thing I liked the most about your video was the fact that you spoke of things that inspire us, not even a 10K amp will work for you if it doesn’t inspire you to pick up your instrument and play. Nothing is wrong or right in music amplification, just do what suits you best. Great video!
Exactly! Thank you 🙂
Your guitar must inspire you even unplugged.. if that doesnt work, you only get an amplified turd.
Honestly, I’ve come to the point where I don’t really believe in amps anymore. I don’t think they exist.
Seems like the only logical conclusion 😁
Heathen a-ampeist! You are of the devil! Lol
Awesome, more for me!!
😄
What’s an amp? A measurement of electricity or something?
The no-amp scenario of course depends greatly on the quality of the PA, the quality of the monitors and how well everything is set up and run. When I do perform it's always solo or duo with an acoustic or archtop and then I like to use two small amps - a bass amp and an acoustic or electric fed by a split signal from my guitar. I run the bass clean and put any effects on the mids/treble going to the other amp. I've used a crossover on the signal before the amps with good success but sometimes I just turn up and down the individual EQ's to remove unwanted components from each amp. I'm talking small amps, but this way I can get a fat clear bass and have control over feedback in the room. With any reverb delay etc effects on just the treble side, I avoid a lot of mud. Mostly I just use this scenario for enjoying playing at home but like I say, it's great for small coffee shop gigs.
I really like having a bass amp via crossover paired with a guitar amp.
Although my personal preference is to tri-amp. Stereo left/right guitar amps, with the bass amp via crossover.
That's what I used to do back in the day, till my crossover got stolen. I stupidly never wrote down what it was or anything, it was just a lucky find at a pawn shop, and worked perfectly for what i wanted. (pre-internet days, pre-smart phones so no pics) I picked up another crossover, assuming one would be as good as another...
Nope ~~;.;
@@chrischaf actually I'm stereo as well because I like to use a smidge of stereo delay/reverb and a half smidge of chorus on the upper split. I use the Rolls SX21 Tiny Crossover.
@GarFlips Ooooh, okay. I think I understand better now :) I had the impression that you were essentially using a splitter, then running effects just on one amp.
I bet it sounds nice :)
Do you have any videos of you playing on it?
I took a peak at that crossover you mentioned. looked nice :D compact.
I took 1 step into the world of downsizing. I went from using the 5150 I'd been playing on as my main amp for almost 30 years, to a 6505mh (mini head), and have been pretty happy with that. But so far I've just been playing it dry, no effects at all except for a little of the built in reverb.
Not that I wouldn't *like* effects lol
but I suffered some brain damage about 20 years ago, and since then I haven't been able to re-learn how to program effects processors. So i'm limited to messing with factory presets, which never seem to work with my amp. doh!
And since I cant set up an effects processor, I haven't been using the 2nd or 3rd amp (except for the occasional experiment), so I haven't looked into downsizing those.
If I could figure out how to get virtual amps to play on my pc *in real-time* (without lag), then I could attempt to build the other 2 amps virtually or something... i dunno
I attempted to describe my old amp setup in detail, but youtube said it was too long lol
I guess I'll take that as a signal that it was too much info ;P
I might try to write a shortened version later, but I already spent, like, an hour or more writing the first version, so I'm kinda typed out for now lol
@@Garflips After looking at some old crossovers, I'm beginning to think the one I had was a loft.
The Loft 403-M Crossover pics I looked at, are the closest thing I've seen to my ancient memory of it.
Although I could swear it had a black face with a baby blue case (instead of the usual silver/alluminum color).
But the power button looks right, and seems to be distinctive. the slot style adjusments (instead of knobs) seems right, and the little white push-button next to the adjustments seems right, although I thought there were more than one of those push buttons. maybe one for each channel?
I dunno, but this looks the closest I've seen in all the times I've tried to figure out what it was.
I know nothing about the loft brand, but I guess I'll look it up now and find out :)
**Edit**
Okay, after a lot of searching, I'm not sure it was that particular model, but I'm about 95% certain that it was a Loft.
AKA "loft modular devices" AKA "LMT" AKA "LOFT professional audio products" AKA "Phoenix Audio Laboratory"
I didn't find a lot of direct info about their crossovers, but from what I did see, they were apparently professional/studio (possibly boutique-grade) Audio Equipment.
Which might explain why there seemed to be some sort of "magic" in it, that didn't seem to be in the yamaha crossover I got to replace it after it was stolen.
Oh well, at least now I know what I'm looking for. I saved some searches on ebay and reverb. maybe some day somebody will let one go cheap. There sure didn't seem to be any *cheap* ones around now, even though they are 80's gear
Instead of a crossover, look at a getting a two channel sonic maximizer. I love using two amps and a stereo rack in my home. I run a peavey nashville 400, and a nashville 1000. 510 watts total, but it's more about tone than anything. Nashvilles have 5 band eq sections with mid shift and presence knobs. The problem I had, was I would have a perfect sound, and then hit my chorus pedal, and the low oscillation would drown out the highs, and the lower strings were way louder than the high string on my pedal steel. I fixed it with a sonic stomp. It balanced the volume of my lows and highs and made it shimmer. Since then I've gone to the two channel rackmount version. The only time I turn it on is when I run effects other than reverb or delay. It balances the two amps quite well, and gives the effects a tone control.
Thanks for your take on this sound issue. I've personally been thru numerous effects pedal boards and always come back to my 4 Roland Cube 80 XL system, daisy chained together, with different effects dialled into each. They have awesome effects built into them. This system sounds huge.
Great that you have something that works for you! :)
Love this! Much needed discussion in 2022. Find the solution that works for you.. and more importantly finding things that inspire you. Well said! 🙌
Thank you 🙂
Great video! Right now, I'm in a situation where I don't quite know what I want. The thing is, I've used a Music Man 112RP One Hundred for seven years, but I really prefer recording through my Focusrite Scarlett 2i2 and a simple software. The Music Man amp never sounded right for me, no matter how hard I tried to turn the knobs. Going through the Focusrite, I have way more control over my sound. I haven't played in live situations in years, but when it comes to playing at home, this is what I do. When I record bass, I might even go through the Scarlett right into a recording software without any plugins and whatnot. The sound is pretty good!
Great vid Jens! I never use amps either. For recording videos it's just so impractical and the convenience and quality of plug-ins and/or floor units like Kemper, Axe-Fx, Quad Cortex these days make those options a no-brainer.
Thanks Ross! Flattered you checked it out! Keep up the good work 🙂
@@JensLarsen You too my man
For me, playing through a real tube amp is about my personal enjoyment. I use a modeller for recording and quiet practicing.
Exactly. however, I.m just a drummer wanting to play with a real kit with real guitar production.
I went for years of pop cover gigs using either just an acoustic guitar through a PA, or my Godin Multiac Jazz SA with a handful of effects into a PA; so I am used to dialing in PA EQ on channels. In that time I have also gotten into multi-effects, specifically the TC Helicon line of products which give processing attention focus to vocals and also allow you some modicum of guitar/instrument treatment. The TCH stuff has never left my rig, but all kinds of guitar effects (including 13pin synth/MIDI gear) has come and gone and come back again. In the last 3-4 yrs I have added a Strymon Iridium and slowly learned to enjoy simulated amp tones again. I prefer mostly clean tones, but have also discovered that adding tweed amp overdrive effects pleases my ear as well. My trick on utilizing all the aforementioned tonal options is to run parallel signal paths. The Godin allows me to run separate outputs for its humbucker, bridge/piezo outputs and 13pin divided pickup synth output; so each of those has it's own channel on my mixer. I blend the piezo output the highest/hottest, and then the sometimes heavily effected humbucker tone path (which is where the Iridium comes in) and underneath all of that are the ethereal or sub-modulated synth tones. It makes for a huge soundscape for me to sing atop. My system will undoubtedly cycle back down at times to just a single guitar tone and vocal track. But for now I am enjoying my sonic death star. Love your tones and channel!
I love messing around with IR’s. Within the amp modelers. I purchased the ampero stomp 2 and finally dialed in the tones I was getting from my Marshall. It’s a game changer. Previously I tried using line 6 and bias fx and just couldn’t get what I wanted. I struggled to get something close. The ampero solved it. It’s a big level up and the price is really great.
This is a new territory for me. I had never paid too much attention to amps as I was mainly focused on playing good, because I've always believed when you play good you can make pretty much anything sound good. The rest comes later. Now more into choosing my tone a little bit. Recently I was faced with the dilema of having to gig without being able to carry my super humble Boss Katana (which I bought three years ago because I needed something affordable to gig alone). So I've been looking into cab simulators and pedal effects that are versatile because I'm playing different styles. After weeks of research and going crazy with the choices, the mixed reviews, the prices, etc., just bought a Line 6 Helix Stomp. Part of me still wants a proper Fender tube amp, but I'll see how I do with the new toy.
@lauracrimsonmusic Now a few months later, how has it been?
I think amp sims are fucking cool as hell, I encourage everyone I know to get one and play with it. If you put on your eye patch and play pirate, you can essentially have every amp and effect in your hands, for 100ish bucks, the price of a DI (like focusrite scarlet). Grab that, pirate an ampsim and get a free DAW' and boom broski, get some used or mid-level 150$ studio monitors and there ya go
However, I also am a big big fan of tube amps. I believe everyone should pick the one they like the most and keep one forever. Some people like Fender tubes, some people prefer Vox ACs and there are a couple others but they can fuck off cause Fender and Vox are the only tube amps worth a shot that aren't boutique custom wallet emptiers.
I honestly have a hard time choosing which of those two tubes I like better, so I have a Fender Blues Jr and a Vox ac15. Both dank, both have their own unique sound when the tubes get a cookin
Thanks Jens for a much needed Amp vs Modeler Perspective.
Lately, at 73, I’m feeling like Joe Pass when it comes to moving amps around …. Even those under 30 lbs(ie. Boss Katana MkII). Back around 2010, I bought a Zoom G3 and tried it as a pedal(s) replacement going into the front of my Tech21 Trademark 60 on live gigs. It felt overly complicated at the time, so I put it in storage and started using a Boss BD-2, since all I really needed was a good Solo Boost for my basically clean rhythm tone. Modelers now seem to be the thing, so I pulled the Zoom G3 out and took it to a practice session and tried it through the PA via XLR. After playing around with some settings on the G3 and the PA, I was surprised to get a tone I liked and that blended well with the keyboards and singer. I guess that was just beginner's luck because on the next practice session we had trouble getting a decent sound … No changes on the G3 … so it must have been the PA … we don’t have a sound engineer. So, I’m back to my Boss Katana MkII, but not giving up on the Zoom G3 since I can get some good clean patches at home into my Audio Interface for recording & practicing. I also get to try some other Amp & Cabinet models(ie. Matchless, Two Rock) which I know are only approximations of the real thing, but even with the real thing, I’m sure it would take a while to nail down my “Working Tone” whatever that would be.
The Zoom G3 is over 10 years old and discontinued, so I will be scouting out its replacement for when it dies. Since it’s all experimental I want to keep things affordable. A Fractal, for me, would be way Over-Budget. So, the potential candidates right now are the NUX MG-400 and Valeton GP-200LT.
Loved to hear about that. I just love to hear how someone got their sound. I’m a drummer mainly, and sound is such a thing.
Thank you, Timothy 🙂
sound it is, indeed!
I’m good with the Strymon Iridium for recording, because of simplicity. I also use their Timeline and Big Sky. Works fine for me. Live I still perfer a Suhr Badger. But that may change, who knows? Thanks for your video. I enjoy them🎸
I enjoy playing through amps and cabs... But I'm also my own recording engineer for my own projects so that adds to it lol. But I can totally see the appeal of going ampless. I've considered it a few times but I just love my tube amp so much.
Well, you don't have to, but you can 🙂
@@JensLarsen No one cares less about their sound than relying on the house PA and sound guy, ALONE. No bassist and drummer laughs harder than when they hear a guitar player cry, 'my amp is heavy and hard to carry'.
i do too. i dick around at "ampless" home recording but when i play a local party i don't carry much baggage, it's usually the Blues jr & a Fender "M80"(backup amp),a Bugera 4 X 12 cabinet, a cooler of brewskis,a Tele & the PRS. opps! & my pedalboard,power cables,mics,stands & few local housewives who need a ride to the party....*i travel light* ha ha
@@kennethc2466 you'd have to know who you were working with to trust their sound.it's probably why so many musicians use the physical equipment that works for them. I'm not a professional but i'f i was...*I'd never take a chance on anyone until they proved themselves, hence the "usual setup"...
@@MrZootalores Really? Who doesn't know the sound guy at a paid gig? You are FORCED to work with them, rehearsal, and show. Who ALL SAY the vocals get the most bandwidth.
Do you have ANY idea of the size of the club who lets a GUITAR PLAYERS amp through the PA?
Do you think all venues have an adequate, or even feasible PA, for EVERYONE?
Do you play arenas, or just listen to youtube BULL?
My 5150II and 1987x, via a 412, has NEVER needed a mike to play an crowd indoor crowd of 150-190 people.
I will keep my tube amps. Been playing them for almost 60 years. I use a Shure 57 to mic it live and an AKG C3000 to record. If you can't get your sound with a 57 you need a different sound man. I used a Carvin 3 pickup tele through a Carvin Nomad for years and got many compliments on my sound. I went to a hand wired Allen Accomplice that sounded even better. I played a highly modded Blues Jr with the Carvin tele and a couple of Strats with Fender Noisless pickups(one with Vintage Noiseless and one with Hot Noiseless(my favorite)) and still got lots of compliments. I played the Blues Jr last week at Church and am taking the Allen back to play. The Blues Jr sounds great but the handwired Allen it the cream of the crop. Best amp I ever plugged into. Modeling amps just sound dead to me.
Great that you have something that works for you 🙂
I agree crunch
Sounds like you’ve had some really crappy engineers.
I'm just working up towards playing live again after many years' lay-off, so your video was very timely and useful. By way of preparation, I blocked out a track for a long-time friend on drums to work with, and he straight off commented on how good the guitar sound was. That was very encouraging, because I hadn't used any of my conventional amps and had instead tried the UAD Dream '65. I'll be delighted if it allows me to get reliably good results while travelling ultra-light!
Thank you, your video is fun and brings out the emotional journey of getting a good tone to the stage, front of house, and recording engineers.
Thanks Adam! 🙂
Blasphemy...Amps are amazing. I love to feel the air they push. The vibrations, the difference between one amp and another. The difference between different tubes. Using 2 or 3 amps at once.
Do you play mostly at home? 😁
Well said..
@@JensLarsen When I play gigs or do recording sessions, I also use an amp. Only one though. Trying to lighten the load.
@@guitarthings8453 Yeah, carrying stuff around 5 on gigs and rehearsals a few times a week gives it another perspective
You really can't replace an amp pushing air and being able to tweak the eq and gain to the room. And being limited to the PA and monitors during a gig is a gamble that can absolutely ruin your night. Speaking from experience.
Great video! Thanks for great insight as usual. I used to own a Fender Twin reissue (tube) with celestion speakers. I lived in NYC at the time, in an apartment with no elevator. The closest subway stop also had no elevator. I think I used that beautiful amp about 4 times in 10 years.
I got to see Joe Pass in Cincinnat in the 90s at the old Emory Theater. They tried for several minutes to get the front of the house pa to work and no luck. He simply plugged into his amp and grooved. Great memory of a great show!
Great video Jens! I recently had to make some tough decisions about upgrading my setup, because I'm not getting any younger and am getting sick of hauling heavy amps around. I almost went with modeling, but was intimidated by the new ecosystem I'd have to learn (FRFR speakers, endless menus, etc). Plus, I live in a small area and was uncertain about the reliability of house sounds.
Just yesterday I received a Blackstar St. James tube amp, which is only 24 lbs (11 kg)! I'm excited to try it out when I have time, but I will say that I still hear the siren's call of ampless rigs. At the end of the day, all options bubbled up to the same price point, and I just wanted to go with baby steps here :) Really enjoy your channel!
Thanks for sharing your experiences! I'm an acoustic player working on going electric and getting amps into the show is a hassle but I got an HXStomp and I'm enjoying the flexibility and convenience. Cheers Jens!
I just love the feeling and sound from a real loud tube amp, there’s a warmth and feeling that plugins can’t do.
ok
YES. I need that warm tone that only tubes can give me!
There is NOTHING like that 🤩 diming any of my amps be it tweed 5E3, JTM45 BB hw, or old 1987 or DR103s - it is a religious experience... because only THEN you know how your guitars really sound.. how it was meant to be. And you can always tame them by rolling off the Volume pot on your guitar .. and they still sound great
A modeller into a great set of monoblocks has the best of both worlds. Tube warmth at any volume
Good call
I used a Boss ME 70 as a back up guitar rig for years and now it's my go to because it's portable and consistent thru different PA's
I believe every guitar needs to go through an amp and you find the best mic for the tone you seek. There is a interaction between the guitar and amp which is lost going direct in.
Its already discussed in the video which you didn't watch or try to watch.
The amp put out noise and is degraded with equipment such as a mic in a live setting.
This doesnt happen with modular sims.
He doesnt care about amps like most amp simps.
He cares about tone.
Which an amp is for noob guitarists isnt about tone but how much money you got in your wallet to spend on things that dont matter to a "real" professional artists.
I very much agree with exploring new technology and using your ears as a guide. From a live recording point of view many in house PA systems and poor acoustics suck though mainly because of the speakers which are often the poor relation. Hi Fi's often have lots of speakers with separate frequency filtration to render the sound more accurately but PAs seem to lack much separation of the sounds being played and come out 'loud and muddy'.
I personally use a Fender Tonemaster Deluxe Reverb, which gives me a sort of hybrid. I'm a blues player and I think being able to practice with a live amp (opposed to the sound of a miked cab), allows me to react and play more dynamically. But the tonemaster is lightweight and offers a direct out and attenuation, so that solves my problem as far as volume and recording.
Just picked up a Tonemaster Deluxe myself after years of using tube amps onstage. I had made the move to modeling plugins for recording since 2016 but until now not for stage. Fender has a great product with the Tonemaster series. Gets you the interaction onstage with amp,but has XLR out with cab and mic IR to house sound when needed. Works great in the studio as well. And being really lightweight is the icing on the cake
I went ampless with a DSM Humboldt Simplifier Mk2 and so far, I love it. Gonna commit to doing it for a year and see how my perspective changes. No, it's not the same as using an amp, but it's definitely a good for a lot of reasons. I'm looking forward to gigging full time with it and finding ways to tweak and adjust my sound as I go.
Sounds great!
Great presentation!!! My sound is a small Polytone type, Roland Jazz Chorus 22. I do not use distortion and only put a pedal with it if I need an effect for songwriting. I don’t like most amps, but this one I do…plus it is small.
I'll never give up my Mark IV. It not only sounds great but it feels great.
It’s difficult for me as a guitarist to admit but I do think modelers and some VST plugins are starting to get into territory where it just makes more sense to use them. I’m speaking mostly for home use or home recording, but something like the Nembrini Audio Faceman is a surprisingly inspiring choice. Especially when still using pedals for added gain or fuzz
@@_on_nicegram_DougHelvering shut up you black monkey
I really love an old effects pedal the Line 6 M13. Ever heard of it? My guitarist used one in Holland (into a Koch combo amp) and it sounded amazing.
I’ve never been able to get a good jazz tone without an old-school all tube amp. I have literally never been able to get the sound I want on a solid-state amp so I am extremely skeptical that I would be able to do so using all digital plug-in technology on a computer. Also what do you do when there’s no PA? There will always be a need for some kind of amp in some situations but I can see the appeal of not needing to bring one to a gig when there’s already a House PA.
Same experience ... In my band, we are two guitar players, and we both switched to Mooer GE-250, plugged into mixing desk. We never have a cleaner and detailed sound before. No problems with excessive mud in the sound, both guitars are perfectly separed in the overall band sound. Sound quality is very good, and there is also great portability as benefit of this solution. Maybe some feel of boomy sonic pressure is missing - but these frequencies are not relevant for guitar in the band, and sound guys always set low cut to guitars during the production. And, without this mud, this is lot better for the vocalist on the stage, if she hear herself. Less noise on the stage give more chance for better quality of band performance, and also for better sound for the people.
i dont know how your video ended up in my feed but i am grateful, i do enjoy you humor and knowledge
Well explained with context and a logical approach. As a jazz bassist (upright and electric) I enjoy your videos and appreciate the parallels in studying jazz. Much respect!
Hi Jens. Thank you for the video explaining your use of modelling units in recording and live work. It was informative and useful. Your relating issues that you experienced, both at live gigs and in the studio, was especially compelling. Regards.
Glad it was helpful!
A nice tip also is to have a DI box so you could record both the AxFx and your dry signal. I always do that with my recordings
Yes! You can actually route it like that with a jack cable I think :)
Jens, this is fantastic info. Here's a question: when you're in a venue and plugging your non-amp rig directly into the sound system what do you do in terms of regulating your guitar's volume as you hear in onstage? You have to depend on a monitor and a decent sound person, right? That's one of the things I like about having an amp onstage: a certain amount of autonomy in setting up an "acoustic" balance onstage with the rest of the band, and making sure I like the level I'm hearing from my instrument.
Thanks! Mostly I bring a QSC K10, and then I have that as my own monitor, but it really depends on the situation. In a lot of places I don't have to because they have decent monitors.
thank you!
Jens a great video and more so because of your humorous approach with video to get your past experiences across to fellow guitarists ... loved it.
Glad you enjoyed it!
Just a quick comment on the Delay pedal being a gateway effect. You are 110% correct! I’ve been playing guitar since I was about 7-8 years of age. So since 1997, 1998. And I spent all of that time, composing music, recording records, playing gigs without ANY effect pedals. Until, my 21st birthday. I was gifted a Flashback Delay. And now, I’ll rarely record or gig, even compose without a pedal. I have quite a few. Too many to name. I find them to be great tools for inspiration. And they’re fun! But man. That rabbit hole is deep! I used to play shows with 15-16 pedals or more on my board (3-4+ being different delays). I’ve since scaled back to 6-7. Pedals can bankrupt you if you’re not careful 😂! And it almost always starts, with a delay. Almost always. Great video! Very informative and entertaining. I appreciate your content! Take care 🙌🏼
Great video Jens. The part with the deliverance banjo was hysterical.
Thanks! 😁
I got a Helix and realized I loved that clear rich "studio quality" tone as much as fat cranked amp tone. I like all the new HD modelers I've tried. Got a Headrush MX-5 and it is stellar!
What about using a small lightweight amp that you like that has a line out? That's what I do. That way you have more control over your sound so that you can hear yourself the way you want to sound onstage, and the sound person is getting a direct line straight out of your amp (not miked)
Isn't that essentially what I do with the FM3?
I used a JTM-60 112 for a while. It had the option of a speaker sim line out before master volume, so, you could do FOH soundcheck first (with mastervol turned down), then raise the amp volume to fit the room, and be done in 10 minutes!! Great solution, but the amp was unstable and had to go. But is was a nice solution while it worked... FWIW
You explained your quest very well. When I'm not mistaken Guthrie Govan went the same route, mainly because a floor unit like the AX8 is easy to transport by plane. Nevertheless, I am impressed with his current stage sound. I still take my Orange RV to stage, but went for a ported 1x12 cab, which is more friendly for my back. I would like to try the AX8 but one has to dive deep into programming and the universe of options. I might be a little too lazy for that. )
Spot on Jens! I can relate to your great history of the live/studio guitarists eternal "search for tone." I have many of the same shark bite (SM-57) scars!
Haha! Thank you Katherine! Ironically, the tone that I show I liked with Kurt Rosenwinkel is with an SM57 in front of his amp (I think 😁)
@@JensLarsen Which proves that t's not the tool, it's the person who's using it.
I have owned too many amps to count and still do own several nice amps and I honestly feel that I can get the same sounds out of my Helix or amp modeling software/plug-ins. In short, I don't need an amp, but I like them. 🙂
I sold my Helix, Kemper, and Fractal, and kept all my amps, that retained their resale value, and even increased it, as I lost money on all the DSP boxes. I honestly feel NO ONE can get theirs to sound like my 59 Bassman, or 5150II, etc. NO ONE who hears them live would say otherwise.
In short, I need my amps, because DSP CAN NOT reproduce those sounds, and NEVER CAN.
PS, do you even know how DSP works? What 'modeling' do you think it does beyond a frequency chart? Do you know the DSP chips are an AT&T invention, made for cellular phones, and have NOT CHANGED in their function?
If DSP is the same/better, why don't valve amps 'model' an original tone from these DSP boxes? Easy answer.
@@kennethc2466 You are simply wrong. Many blind tests are done where experienced sound engineers could not tell the difference between good vst plugin and actual amp.
@@VanjaSpirin You are simply wrong, and the only tests worth a damn a DOUBLE BLIND. Now, you keep one pretending a DSP chip can do what a valve amp can, as all the valve amps are now 'modeling' the molders superior tone, right? DSP boxes keep their resale value, right?
WRONG.
Enjoy what PEER-REVIEWED audio journals have to say, unlike your 'modeling pros'.
The two professional societies that have the most to say on this subject are the IEEE (Institute of Electrical and Electronics Engineers) and the AES (Audio Engineering Society). Both of these professional societies publish peer-reviewed journals, with articles written by engineers and scientists who work in the professional and consumer audio industry, as well as in cutting-edge academic research.
Here are some of the more interesting quotes from the AES and IEEE:
“Our extensive checking has indicated two areas where vacuum-tube circuitry makes the most definite audible difference in the sound quality: microphone preamplifiers and power amplifiers driving speakers or disc cutters. Both are applications where there is a mechanical-electrical interface. This can not be replicated by transistors."
“Overloading an operational amplifier produces such steeply rising edge harmonics that they become objectionable (hearing study 2b) within a 5-dB range. Transistors extend this overload range to about 10 dB and tubes widen it to 20 dB or more.”
and finally
“Vacuum-tube amplifiers differ from transistor and operational amplifiers because they can be operated in the overload region without adding objectionable distortion. The combination of the slow rising edge and the open harmonic structure of the overload characteristics form an almost ideal sound- recording compressor. Within the 15-20 dB "safe" overload range, the electrical output of the tube amplifier increases by only 2-4 dB, acting like a limiter. However, since the edge is increasing within this range, the subjective loudness remains uncompressed to the ear. This effect causes tube-amplified signals to have a high apparent level, which is not indicated on a volume indicator (VU meter). Tubes sound louder and have a better signal-to-noise ratio because of this extra subjective headroom that transistor amplifiers do not have. Tubes get punch from their naturally overloaded characteristics. Since the loud signals can be recorded at higher levels, the softer signals are also louder, so they are not lost in recording background hiss, and they effectively give the tube sound greater clarity."
Those are called peer-reviewed, academic FACTS.
Argue against them at the detriment of your own education and knowledge.
@@kennethc2466 Simply, use tube amps if you want, and dont't use prugins. Use your ears for listening, not other organs, and stop being scholastic. Just listen and choose freely what6 you like more. As simple as that.
@@VanjaSpirin Please stop begging me to believe your mouth over science, like a cult member. It's boring, juvenile, and ridiculous, by definition.
Yet, thanks for PROVING MY POINT, by denying peer-reviewed, double blind studies, to make the logical fallacy of the appeal to personal credulity, over said work.
Again,
Those are called peer-reviewed, academic FACTS.
Argue against them at the detriment of your own education and knowledge, but don't cry to me about them ANY MORE.
Deny the FACTS on your own time, in your own forced ignorance. I'll stick with PEER-REVIEWED SCIENCE, over your quaint platitudes and desperate 'please believe me' drivel.
Your cowardice to address the cited science makes you beneath my time, but not my contempt.
Great article! I recently purchased a 'Brute Eq', handmade in Denmark! It's the preamp section of a Polytone, which has a particular way of tone-control that gives it its specific beautiful sound. Of course I still need reverb, and a DI if I'd want to get onto a stage, but for now I'm not using an amp because i'm only practicing!
I like to play everything from blues and 50's rock and roll to 80's hair metal and 90's grunge. I've tried a lot of different things but only a tube amp reacts like a tube amp. Nothing I've tried gives me the dynamics of a tube amp. I have a little 1969 Pepco 12 watt tube amp head that I modified to a fender 5e3 circuit that sounds heavenly. The head only weighs a little over 13lbs and the speaker cabinet weighs 16lb with a single 12" Celestion Greenback. My Vigier Excalibur guitar and case combined weigh 16 lbs. I have a peddle board that weighs 21lbs with a fuzz into a wha, into an analog buffer, into an analog overdrive, into an analog noise suppressor, into an analog phase, into an analog delay, into an analog reverb, into another analog buffer, all controlled by a Chain Gang programmable analog effects looper-controller. The looper-controller allows me to true bypass all or whatever combination of pedals and/or buffers in the chain I choose. I also have a Beyerdynamic M 160 microphone for micing the speaker cabinet. I like to setup the amp so it's just stating to breakup with my guitar volume full up and bypassing the pedals and buffers. Nothing else I've tried can give me the feel and control I get from this rig. Don't get me wrong I'm not knocking anyone for not using an amp, it's just not for me as my little tube amp is part of my tone that I can't seem to get any other way.
Great that you have something that works for you 🙂
I love the dynamics that you get on a real tube amp. I have a hx stomp and a Kemper, they sound both very nice, and I’m very happy to go on stage with them cause it’s flexible and more affordable than a complete pedalboard with a good amp. I keep my good amp at home, and for the studio (with a choice of good mics for tracking and D.I’s
Ditto!
Dynamics and touch feel is it. In case of best amps - it is unforgiving 😊 ... like an acoustic guitar..
Exactly that is what I like most about them... other than they can get LOUD 😅
I'm also had a long way from different amps to different modeler and back. My problem with tube amps are, that they often sound beautiful in their own range, but I play different styles of music and for me the variety for sounds are very inspiring for getting in the mood of new songs I write. The Kemper was the first modeler, that really fits and satisfying me soundwise, I use it for many years and like it a lot. Since about one year I've changed to the Quad Cortex, because of it's size and way to operate, so much more intuitive than any other device I use before. Unfortunately I never had the chance to try an AxeFX, but I'm happy with my gear so what, and other parents also have nice children ;-)
digital music in rock music it dont work its bland no atmoshere cold tinny crap crap crap
I’ve been on the fence for a long time. I’m now finishing the recording of an album with a real amp (EVH 5150 III) but that’s been a bit of a hassle with the loudness and finding ideal times to record (I’m in a small home studio).
I’m also using that amp live and the stage volume can sometimes present issues, as you know.
I may be making this leap soon! Thank you for this video.
Great video. I did the same thing for many years i used vst plugins and line 6 pod . Lately i bought an amp back for the pleasure of jamming at home and realise it actually sound better playing on my old jc120 of the 80s. I do more recording these days then play live . I enjoy your video! 🤙
Glad you like the video. It is indeed about finding the solution that works for you 🙂
The sound man at the board can and does decide what a musician should sound like according to HIS needs and not the musicians needs. The Sure SM57 is just a convenient way to change what is good for you to what is good for the sound man.
Good to hear your opinions, as always Jens.
Modelers: no thanks-I'll stick with my Princeton Reverbs. When I need to mic, I bring my own Sennheiser 906 and have no problems. 😎
However, unfortunately sound men are usually a problem; most of them should be working in construction, not in music.😖 Jackhammers, chainsaws are usually their true domain.
I love amps, cables and a pure, big, great clean tone, i love action and reaction fast:)
Same here!
There's no denying the quality of tone you're getting with your current setup, even though folks will harp on about tube amp sound, warmth, responsiveness, etc. Your logic seems perfectly reasonable to me. It's a wonderful feeling to nail that sound that's in your head; to be able to reliably get it in live situations is a huge bonus. I just settled on a nice-sounding setup for myself, and it makes practice such a pleasure.
BTW, I enjoyed the picture of the mic'd head, lol!
Thanks! Yes, there have been one or two Tube-amp "enthusiasts" in the comment section 😁
There's nothing wrong with "harping on about tube amps" as long as you keep it respectful. They are awesome. And as Lars said, do what works for you.
I'm not a jazz guy, or at least, I don't think I am, but I've never listened to much of it. I'm going to give it a chance because of your playing on this video. It's... compelling and soothing. Very interesting.
The algorithm brought me here because I'm looking for information on amps and just started looking at modeling. I haven't picked up a guitar in 25 years so I have a lot to learn and re-learn and I'm grateful to have found your channel. Liked and subbed. Thank you.
I like your testimony. I have a PRS SE Hollow Body. It's very playable. I do find I prefer the neck pickup over bridge or combo. I send the signal directly into a FocusRite Scarlett. This gives me so many options. The Scarlett is connected to an M1 MacBook Air with Logic. So why do I need an amp/cab at all? I can just use sims. It works very well. Mind you, I am only an amateur. I'm still amazed that I can "re amp" the guitar just by changing software settings. I also have a MIDI keyboard controller going into the same Scarlett. I don't have to worry about room effects while recording.
Dude, I absolutely love you. True musician. True artist.
Hell ="An electrified dry recording of a banjo."
And, yes, an initial dry recording opens up a multitude of possibilities in mixing.
Thank you! :)
As long as it sounds good out front, whatever works, works. That said... I saw a wedding band recently that had no amps, and the sound was poor. Everything going through two 12" speakers, so there was no bass. Also, the overall balance was bad, but the musicians didn't know because their in-ear mix was fine for them. Another factor to consider is the guitar's physical response to the sound waves that hit it. With a silent stage, you lose that aspect. For quiet jazz gigs that's perhaps not an issue, but even with a slightly louder pub band, the amp interacts with the guitar, making the overall experience better. So, although it may mean carrying more gear, I'm inclined to stick with real amps.
Yes, I also often bring a monitor if there isn't one. It is nice to be able to hear yourself and get the details in phrasing right 🙂
I played gigs both with and without an amp, and you've made some great points in this video. It is easier (A LOT easier in some venues) on the sound engineer, but from my personal experience, I found that playing without an amp always works out best when I'm in an acoustic duo or strictly clean tone/jazz big band situation. Given that my "regular sound" when I play with my regular band is a hybrid of Pat Metheny clean to Allen Hinds "somewhat overdriven" sound, I personally prefer the full, warm tone of my Fender DeLuxe ToneMaster amp, which has the very useful mic input in the back panel, eliminating any front-speaker feedback or other accidents. Hope this helps the conversation, keep up the great work, Jens! 🙂
Tonemaster is solid state, similar if not same technology as the Kemper/axeFX.
@@drewg3087 The Fender Tone Master series uses massive digital processing power to achieve a single remarkable sonic feat: faithfully modeling the circuitry, warm tone and power output of an original Deluxe tube amp. I've been using it for years in both live and studio performances and I honestly can't tell the difference from my older Fender DeLuxe tube amps (I have 3 of those too). I'm also thinking of upgrading to the 100W Fender Twin ToneMaster amp, to play in bigger venues with bigger stages.
@@vampiroangelico tone is subjective but a 12w-50w tube amp is THE sound. Digital processors can't come close to that sound no matter how good it gets. 100w solid state maxes powers and compresses too much as it gets louder. The tube starts low and then stays that level while development of the pushed tubes and db increases. To each their tone.
I have to say I was skeptical. I've used nothing but tube amps since the '80s, including Marshall and Peavey 5150 stacks, then I switched to Fender DeLuxe combo tube amps, and I was hostile to the idea of "digital modeling" of tube sound, as my performance style is very dynamic, anywhere in between jazz-fusion and classic rock. My ears were trained in tube sound, but after playing the Fender ToneMaster DeLuxe I was shocked at how warm and dynamic the tone was, perfectly adapting to versatility. I have been using it for 4 years now, and I haven't regretted it once. Also the light weight factor didn't hurt. 😉
I really love my Yamaha thr30. For my uses (annoying my neighbours from my sleeping room) it is perfect anf it sounds amazing. Live I would use it too, but with a mic over the band stereo.
The mugshot of John McLaughlin made me crack a good laugh hahaha. Great Video Jens! I was also kind of a must-have-amp guy but I'm kind of looking for an amp in a pedal that will make things easier for the transportation, and most importantly, the sound and I think you're making a great point here! Thanks for the video!
Glad you enjoyed it!
Great explanation.
I’m primarily a bass player so I’m used to go direct.
On guitar gigs (or when recording guitar) I use a Two-Notes CAB-M, I find that cab simulation works well in most situations but in a traditional Jazz context, especially with flatwounds I prefer to bypass it all together.
The cab sim gets more needed with increased gain and saturation and to tame the harshness of round wound strings.
𝙃𝙚𝙮 ☝️𝙔𝙤𝙪'𝙫𝙚 𝙬𝙤𝙣 𝙖 𝙥𝙧𝙞𝙯𝙚 🎉......
Interesting knowledge. I do use A software modeler for recording at times, but I also love using my polytone and my Marshall JVM 50 watt combo with 2 12" speakers (though it is quite heavy). I do most of my playing in a rehearsal studio (for jazz). There is a wealth of experience and knowledge in your video (all of em!) so thanks for what you share with us.
I get very pleased with a Tech21 Flyrig RK5. I use it like a modeler to plug both on backline amps and/or DI's. It always amazes me on how good it sounds. And it's an analog modeler (not that I find this VERY important).
Been a tube amp snob since the late 90s.... I tried some early modelers that *almost* got me there, but went back to tube amps about a year later. Recently, I had back surgery and needed to go to a light weight set up...Not to mention the ongoing trend of lower stage volume at venue's we play at. After some flopping around, I settled on the BOSS GX-100 and love it more than I thought I would. I still have a few tube amps and even a Quilter, but lately I've preferred my modeler for a more "consistent" tone from gig to gig. They take more time to dial in, especially if using various levels of gain and effects, but once you get them dialed in they are more reliable (in getting the tone you want) and make it to where you get a better mix out front. I'm not selling my tube amps just yet, I did that my last bout with modelers in the early 2000s and had to start over again....But, I find myself using them less and less all the time.
𝙃𝙚𝙮 ☝️𝙔𝙤𝙪'𝙫𝙚 𝙬𝙤𝙣 𝙖 𝙥𝙧𝙞𝙯𝙚 🎉......
You should be able to record both wet and dry simultaneously. This would allow you to listen to yourself the way to like while recording, while also recording a blank slate for re-amping and effect experimentation post-recording.
I switched to using a Kemper profiler many years ago. I initially purchased the Kemper for recording, although I soon found it to be far superior to any amp I have owned due to the reasons you have mentioned. I do use an AER when playing acoustic gigs, but for function band, my jazz trio and quartet, shows, studio work and everything else... Kemper is awesome. 😀
Aren't they expensive? I suppose it does model at least £100,000+ with of gear if you had it in hardware
@@jamesrmorris1952 For what the Kemper does, not at all! The Profiler Stage with bag is now £1,106.01 in the Kemper store. One decent tube amp will be more than this and the Kemper covers pretty much any amp and effect you will ever need. If you use IEM when playing live, it will have gigs and recording totally covered.
I bought a Kemper about three and a half years ago. Within six months I had sold most of my tube amps and don't play the few that remain. It's an amazing device as are the AxeFX and the Quad Core and other modeling solutions. It gives me a consistent tone that I love and I have amassed a library of some of the greatest tube amps known to man. All in a little box that weighs thirteen pounds.
I have a few amps that I cannot stand playing without. If I absolutely couldn't have them I would go the rout you did.
Thanks. Good story of your journey. I have two solutions: a Fender Blues Junior for live smallish gigs, and for larger ones, a small AER 40W that has XLR out that goes into the P/A. In the 2nd I use the AER as a monitor for myself and I trust the sound guy to get whatever he/she wants for the P/A. All I care about is what I hear :). Thanks. P.S. I had a POD, but for jazz just want clean sound with some reverb.
One of my favourite sounds now is my Audient with its built in DI. Sometimes I don't even use amp modelling and just shape the sound with a little eq, compression, reverb etc
OK, Jens. The problem with the Fender Twin Reverb is two speakers. Have you heard of comb filtering? Comb filtering changes how your guitar sounds at different location in a room. You should use a single speaker amp if you want the same sound throughout the room. I do like the Twin Reverb but put it in a box with one speaker. Sometimes you see guitarists moving around to get the sound they want to hear (wow that is a clear indication of a problem) But the PA system has ??? so many speakers. Well the mix will give you an idea of the balance (where you stand in the mix). Also, I think that a "stereo" sound of the guitar can be produced at the mix board better. Talk to you technician! I use an Roland AC-60. I like it because it's clear sounding and very light. The second channel has a microphone XLR input. I play rock,folk, country and I even try playing Jazz. But, the most important thing is a really clean sound when I need it. I don't often like an overd-riven sound. I think it is over used.
Thanks Mark! No, that is not it. Among other things because I very often had the same problem with single speaker amps with and without XLR outputs :)
A great video on a difficult topic. I feel the problem is more about certain sound technicians dont understanding the genre and/or your artistic expression. If guitarists and bassists now collectivily move away from micing up amps, the sound guys will get less practice with mics and get even worse. I think the amp certainly (and especially tube amps) has something more organic and acoustic feel to it than modelers, but yeah its hard to control in every enviroment. I love your (Mr. Jens) sound btw, so the fractal obviously works for you!
100% with you...
I still think that QuardCortex is super cool device. But in fact I think they can think to provide like small and limited version of 1 box with simplified control for 1/5 of price just to have 1 amp, reverb and delay. I'm not ready to pay 2000$ to get ALL this things I do not need.
I don't view it as my job or responsibility to teach sound guys how to use mics. They never showed me a good lick either.
Well, when the laziness and exact decibels take precedence over the SOUND, you have a problem. If your 'pedalboard' and effect take precedence over your TONE, you have a problem.
No one wanted to hear EVH through a damn modeler. NO ONE. Nor would anyone want to hear Jeff Beck play through some DSP toy. Modelers are for lazy people, who 'need' more sounds than songs they play.
Also, when a guitarist cries about 'my amp is heavy and hard to carry', every bassist and drummer laughs their tails off.
@@kennethc2466 There's fewer old men who yell at clouds in the guitar world every year. So in a way, you can consider yourself one of the last of the Mohicans. Meanwhile, mythology and superstition are on their way out as younger generations prefer listening objectively and preferring practicality.
@@honigdachs. No one's yelling at the clouds, beyond your off topic rant. Your hyperbole and fictions are the cult like ramblings of a person who can't address a topic.
Nice to see that this long journey has come to a good end 🙂
The former 2nd guitarist in our band also had an AxeFX which sounded good. However, I found it extremely complicated to use - especially compared to the Kemper, which I have been playing for a long time for the same reasons as the author.
However, that was 5 years ago and probably Fractal Audio's current preamp is much more intuitive to use now.
I changed back to "real" amps, because I was just scrolling through presets and different options on Axe Fx. Sounded pretty good, but didn't feel like a real amp.
I don’t need a tube amp. I WANT a tube amp.
This is one of the reasons I got the specific Jazzmaster model I did, 4 way switch and tone knob gives me all the dynamics. The amp I do play through is 9 watts, 1 knob (volume) 6L6 and 2 12ax7s. It’s not as plain as a DI box but it essentially is!
Finding something that inspires you and having fun with it is key. When I'm in a funk and not the good funk but more like a rut, I find new gear will always pull me out. I hate that because I loathe being a consumer but it's just a necessary part of the process that keeps me from losing my mind.
I remember seeing a very good band some years ago at a very big outdoor festival where one of the guitarists seemed to be using just one tiny amp, possibly a Champ, with an SM 58 hanging in front of the speaker. He used no pedals and seem to control the sound with just the pots on his Tele. All the other band members where using large amps but his sound seemed to be as good as the other guitarist’s.
How about...bringing your own mic to the gig? That’s what I do at least 😅
Knowing how to position your favourite microphone in front of your amp is definitely worth it! 👍
Certainly, but also not the cheapest solution at the time :)
I would love to know your FM3 settings. I use it mostly for fly dates that feature pop music (and my tele or strat) and use my old Polytone for smaller jazz gigs. Any advice about using the FM3 for jazz tones (I also use a semi hollow 335) would be super appreciated!
I recorded an album with a band in 1981 with a Gibson Les Paul standard. I was using a Peavey Classic Mk 2 at that point. The first thing the engineer said to me was, 'That amp is crap!' The studio called Alvic in West London had a small Fender Princeton which we used for a lot of the tracks. I didn't realize then that this amp has almost cult status now! I really agree with Jens on the delay/ reverb combination.
not really cult status. pretty much any studio that is serious about getting a good guitar tone has a princeton.
Hi, enjoyed your talk on playing and recording, sound is so important especially if you playing clean. I too like a little verb with delay mixed in and use a Blackstar 20amp head because of its clean tone, thanks again
Glad you enjoyed it!
I can definitely see Amp Simulations and alternatives to be coming for us in the future! I still use real, brick-and-mortar amps, but I am open to anything really! Cheers!
I disagree. There are way too many people that still love amps. I hate playing guitar through the PA. It ends up sounding thin and weak. I use a Blues Deluxe and it sounds fantastic. I like having the control over my tone. Running into a PA which I have done, sounds horrible running from my pedal board into a direct box and then into the PA just didn't sound right.
I would love to see a video from a sound engineer's viewpoint on this. My initial reaction as a guitarist is "how dare they think they can decide how I should sound!?!", but I know little enough about sound engineering to know that there must be more to it than that. Often it'll be the difficulties of having to cope with every snowflake guitarist (in the sense they're all different, not in the new modern meaning of the word) coming into the studio and having to work out how to accommodate them.
Well, if I am in LA then I will try to set something up with Warren Huart 🙂 For the rest you have to ask a sound engineer about it. I actually get a lot of it, and part of this is also just me choosing to tell the story about incompetent people I have come across and I have also met a lot of very competent sound engineers.
Er, that's why we have professional recording engineers.
Great video, Jens. I moved to the Fractal products 7 years ago at the recommendation of Derryl Gabel. I was very skeptical at first since I was an old-school tube amp guy but over time I've been thrilled with the decision. My friends ask a lot of times what it's like to play through one and I basically say "It's what a guitar sounds like after it's come out of a studio mix, you have total control what the end product sounds like and it's agnostic of what type of venue you play at". The diverse range of sounds I can get from the Fractal products and I can play at bedroom levels without annoying my wife or neighbors is another huge plus!
I used to have tube amps and tons of pedals in the past, going to practice was a headache, now I’m just using a Hx stomp, with a wah in front and an expression pedal for distortion to bring gradually when necessary, and I bought a line 6 power cab with a speaker simulators, this has a XLR output that i send to the sound guy and let him know to keep the eq flat, it’s been a time and money saver this setup
If it works then it is the perfect solution :)
I play at church with the Pod Go and the Power Cab as well. I have been doing it over a year now and it really works. I leave my pedal with the same settings week to week which makes it easy on our sound guy and I mainly use the Power Cab as a monitor and keep it just loud enough so I can hear myself. Small church with the typical stage volume issues... I did recently buy the UA Dream 65 Deluxe Reverb pedal. I am going to try using that with the Andy Timmons Halo pedal in front of it tomorrow instead of the Pod Go. I am happy with the sound on my Pod Go, but still really don't know my way around it. The UA Dream has the physical knobs like a real amp... no menus to jump through. Maybe it will be more to my liking. More hands on. I think that is why a lot of people like their pedalboards. God bless you and all you love.
Glad I didn’t go all out and buy a 2x12 when I started playing. I am in the same boat I do not like to lug around a heavy amp and it’s very impracticable. Started playing electric but fell in love with acoustic guitars best of both worlds.
Helix LT user here and love every bit of it -- and mostly same reasons as you. I love showing up and plugging in, just about anywhere and know what my tone will sound like. Also, I am in a cover band that does everything from clean, acoustic - all the way to Hendrix, Metallica and everything in between -- I am able to set up configure presets that let me switch from playing a country cover to playing ACDC to playing slayer with stomp of a button. Also -- Helix just came out with 3.5 version update and their cabinets have been improved tremendously -- they already sounded great, but now you can change mic placement -- distance, placement on the speaker, cone, edge... etc... angle etc.. and choose between any mic on the market. They have most amps you can imagine ... my main 5 presets are build off of an Orange Rockverb, Friedman BE100, Sunn Model T, Bogner Ubserschall, and a Cartographer (a model of an amp, that was a rebuild of a 1977 Traynor) -- I can cover so much ground, and it fits in a back pack. For when I need on stage sound, I run it through a Mission Gemini 2 FRFR. With the Gemini 2, you can dial it to be full FRFR (pure sound out of the Helix), full CAB (where it behaves like a real cab) or anywhere in between by dialing the knob. The Mission Gemini also sound good when someone plugs a tube amp into it. Thanks for the post..
Sounds like a practical setup! Glad you like the video 🙂