You don't NEED a Guitar amp!
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- Опубліковано 6 тра 2024
- I stopped using real amps 12 years ago and, I never looked back. It is a lot better than you think!
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Content:
00:00 Intro
00:28 No amp, no nothing.
01:16 My issues with real amps
03:08 A failed experiment?
05:27 Getting rid of the amps
09:08 The Amp Is NOT the problem
10:19 An Ironic development
11:23 Finding the Right Guitar
11:30 Like the video? Check out my Patreon page!
My name is Jens Larsen, Danish Jazz Guitarist, and Educator. The videos on this channel will help you explore and enjoy Jazz. Some of it is how to play jazz guitar, but other videos are more on Music Theory like Jazz Chords or advice on how to practice and learn Jazz, on guitar or any other instrument.
The videos are mostly jazz guitar lessons, but also music theory, analysis of songs and videos on jazz guitars.
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![Can I Plug My Guitar Into That? [Or How To Rock Without An Amp]](http://i.ytimg.com/vi/XiYNVLhJgDc/mqdefault.jpg)
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@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.
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?
In fact, you don't even need a guitar.
How is anybody doing. This who can hear you
You still need a amp
So your playing thru mic get a accoustic
Haha pretty much!
Lol😂
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!
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 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!
Thanks for your broad explanation/view regarding one of the most important issues for guitar players nowadays . I've been thinking about it for some time and somehow your thoughts did converge towards mine . That was a relief :) .
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!
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
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! :)
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 🙂
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!
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!
I'll never give up my Mark IV. It not only sounds great but it feels great.
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 🙂
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!
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 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 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).
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.
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)
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 video. I haven't recorded with an amp since I bought the original Tech21 SansAmp back in 1992. I also bought a PODXT Live when they came out in 2004-ish(?). I found that the PODXT did not work for me live, but it records great in my home studio. I now use either a POD Go or a series of pedals into a Strymon Iridium direct. Great sounds from both.
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.
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 haven't thought much about this amp issue at all (as I'm still focused on which notes to play), but you explain it so well and the historic perspective with JP and john Mc, is a pursuasive inclusion. Really appreciate the specific comments re pick sound. Stories of your personal journey are quite empowering for us students. Thank you, jens!
Glad you like the video :)
Hi Jens! Your story remembers me to mine. I found the following solution. My first jazz guitar was a Godin 5th av with a P90 that was to noisy. I replaced it with an A Zoller neck-pickup. Amp is an AER Compact 60 W used when I am playing together with the bigband; at home I like the Yamaha thr10 amp. Last gigs I used the xlr from the AER and it was a great sound. My second jazz-guitar is an Isana blue pearl also with an A Zoller pickup and the sound is very good. Greetings from Münster!
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
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🎸
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?
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!
Interesting to hear your thoughts. Glad you’ve found what works for you. Many people never get to that place. For Md I use the AX8 sometimes when it suits the situation (theatre shows, recording, some travelling gigs) and amps when I play live and also some recordings (more acoustic jazz). Both have uses to me.
Indeed, I think I could go back and forth. Now that we moved and the power is a bit cleaner here then I might try to record the twin sometimes. I really like that amp :)
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! 🙂
i dont know how your video ended up in my feed but i am grateful, i do enjoy you humor and knowledge
I also found this magical solution, that said through a different way. I started playing bass for a band and the immersed myself in the bassists ways, they were all so ahead of the time with active preamps, di boxes, eqs, simplifying their rig, and getting the right spot in the mix... Did the same with the guitar (way less options than now, and way more expensive) and it's so nice... I do love to play throught my tube amps and nice cabinets still, but that's just for myself and not any live or any other situation.
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 🙌🏼
Hi Jens, thanks for your video. I totally agree with that... I no longer use guitar amps since 30 years ! I'm using amp simulations since 1994. I started to play with a modular system, it was a SanSamp PSA-1 with FR FR speakers first of all because I sing and I play electro-acoustic guitar, so I wanted to get a linear speaker system... Something like Hi-Fi speakers
Also, with electric guitar, I had enough to play on stage with my own amp picked up by an SM-57. First I never recognised my own guitar sound through P A systems and second, I had enough to check constinusly the mike stand that anyone on stage could move out from the speakers of my amplifier ! In that case, you just loose part of your sound.
Since that time, I could make my guitar sounds and presets at home and I no longer been disapointed when I listen to my guitar sound through a P A system, also I'm able to memorise my own presets and recall them quickly through the foot controler.
Today, I'm using a Mooer modeling system GE-200 on which I'm able to reproduce the guitar sound of my favorite guitar players as for instance :
Jeff Beck, Frank Gambale, Carlos Santana, Scott Henderson, and also jazz artist as Joe Pass, Philip Catherine...
Cheers
Awesome insights here. I, for one, as a fractal user, would absolutely love to see how you set up your Fractal patches!!!
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.
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.
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.
Great video Jens. I love the AxeFX and am about to buy the 3 mark2 turbo.
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. )
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.
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 🎉......
I’ve switched to using Neural DSP plug-ins for recording and a Yamaha THRII 30 wireless for practice and fun noodles. I loved my Blackstar HT5R and pedals but it got super cluttered at home. My current setup is only one cable into my interface and a Line6 wireless relay into the Yamaha… nice and clean 😌
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.
After carrying several heavy tube amps, I recently changed to a little solid state amp (150W!) with a light cabinet (8Kg), together they weight half as much as my lightest tube amp. Instead of a mic, I use a DI box (a cheap one) connected between the amp and the cabinet, and it goes to the PA system. This way I get a good and consistent sound.
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
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.
Great video Jens. It's such a great journey find that perfect and how to amplify that sound in a professional setting! Fighting that for years lol. Best journey of my life 🎸
Yes! Thank you!
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
Great video Jens. The part with the deliverance banjo was hysterical.
Thanks! 😁
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
Been using amp modeler pedals and stacking drive and eq pedals to get certain sounds trough my solid state amp and various cabs that sound and feel like the real deal.
Just made myself a small simple board to get a specific JCM 800-2000 sound with a boost in front, a tiny amount of tape delay + reverb and a clean sound that matches.
Went for the NUX Amp Academy and their tape delay and started to tweak, but there was something on the bright side that neither presence nor treble could make up for through my CR120H, it sounds perfect with IR via DI.
With my other 2 boards I always had the best results using the dirty channel as clean, so tried the clean channel and there it was, perfect matching sound for both rythm as lead controlled via my guitars volume knob.
So that reduced what I used 5 pedals plus loop switcher for into just 2 pedals plus adding a matching DI with proper IR to front of house.
Regardless, even of no amps ate used, it might be a good idea to bring some studio grade headphones to plug into the amp sim so that the sound engineer can hear what it should sound alike.
Some will probably argue around old tube myths, but there is really nothing that tubes do regarding tone itself, it all comes down to gain and eq stages and the most important thing in the chain, the speakers and/or IR.
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 🙂
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.
Hi Jens. Love your playing and outlook. I have a solid body Vox from 1982 with Super Distortion pickups and a Cornford Harlequin. At the moment I turn down the guitar do it has quite a nice sound through the amp. Just thought Id share my thing. Also Ive just found a Sheraton from Korea. Wow. Lovely guitar snd neck. Reslly enjoy your videos and music. Fab!
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!
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 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.
Love your channel. An amp related Joe Pass story. Back in about 1972 I watched him carry his polytone and guitar from his car across a parking lot to a stage door for a gig I was going to. he kicked and pushed the amp (on wheels) the whole way. And when he reach the stage door it had a big metal threshold. he had to pick the amp up. As he did, one of the four little wheels came out. Seeing that was like Joe Pass is human too.
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 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 😅
Great, thanks for sharing all that!
I had a lot of devices over time, now just using a pretty fabulous Ampero II Stomp.
Only thing I miss some times is my H9. But that could only do one thing at a time.
Good stuff!
Thanks. I think this video makes me more confident with my own amp plans.
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!
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 use the Tech 21 PSA 2.0. Bloody good. Had the PSA 1 a lot of years ago, but that was a rack mount and pretty heavy. This sounds all that good and fits in my gig bag. I can get any tone out of that wonder boy. Looks simple, but you can do so much with the buzz/punch/crunch controls.
Superb video and very relevant for me.
After years of saving money to get a Friedman amplifier and a few decent analogue guitar pedals, I realised that it became a glorified home practice amplifier as I rarely gigged it!
The real hero was the Line 6 Helix LT that was actually getting me through my gigs and recording sessions ; the Friedman was just too impractical to transport (especially living in a flat) and setup with the amount of additional outboard gear it needs to work effectively live.
Now I am at the stage where I just dont need the expensive tube amplifier in my home anymore ; keep it practical and make music :)
I have fallen in love with my Kemper stage. I use that through a headrush 108 through one output for monitoring and one direct to the sound guy. It sounds awesome and is so easy to use. I like that the guitars can express themselves the way they are supposed to like a real amp. It's not sterile at all. I play bass through the same rig and it's surprisingly phenomenal.
Sounds great! It is about having something that works 🙂
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.
Totalmente de acuerdo, actualmente estoy usando sonido digital y he logrado tono, suavidad y hasta una atmósfera de reverb más que envolventes; no venderé mis amplificadores, pero mí sonido a menos de que sea dedicado a muy pocas situaciones no llevaré mis amps
Nice vid Jens. I have been using a Line 6 Pod Go for a year or so. I only play at our church where it goes through the PA. I use the Line 6 Power Amp on stage as a monitor and keep it just loud enough to hear it. Others use the Aviom system, but I do not like having to wear a headset. I have found some plug ins from Worship Tutorials that I like. I have enjoyed your channel very much for quite a few years. God bless you and all you love. I have friends in Rotterdam.
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.
Wow, I heard John Mc with Mahavishnu in 1972 on my birthday (thank you, Karen). That was one of the loudest, amplified concert I've ever attended. It was, by the way, one of the greatest, mind blowing concerts, ever. Jens, you are a very funny fellow. It was a pleasure, as always.
Thanks for this! I've been trying to get a decent Jazz sound with modeling for quite some time now and I'm still not there. I think your vid will help me to reach my goal.
The Epiphone Sheraton is along with my Epiphone LP my favourite guitar.
I use a line 6 HX stomp for all but my amp modeling and cab IR, that's where i use a strymon Iridium if I'm playing guitar or an Aguilar Tone Hammer for Bass. The Iridium is the only digital amp I've really liked besides the quad cortex and kemper, and the hx stomp has great effects to pair with that tone.
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 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 have a tube amplifier that I've been using for 10 years and I love it. However, I have turned 52 and carrying is becoming an increasingly important consideration. The sound quality on the stages is getting better and better. That's why I also switched to multi-effects. I rarely take my amp with me. I currently use a Line 6 HX Stomp and love it. I bought an additional pedal with two switches and a mini wah pedal. I not only use a jazz guitar but also a stratocaster. My main band is a jazz orchestra, but I also appear in many other places where I have to play in a completely different line-up. The quality of multi-effects has improved a lot in recent years and has made the work of guitarists much easier.
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 play metal and I couldnt be happier with modern techology.
Having everything in a little digital box or even using VST ampsims from laptop live...
Wow. I love it so much.
Maybe for jazz uber clean tones. But if you want to really rock, nothing beats a good amp moving the air behind you. A lot of gear heads these days can't seem to admit it, but there is more to playing well in terms of particularly rock music than just having some specific sound/"tone" you like and technical skill and tricks. Air movement and interaction with the amplifier and riding the wall of sound can often be vital for the "soul" of certain kinds of music. I think the reality is, it all just depends on what you're doing. People just want to have one big, trendy and overarching opinion to swing around but reality is complicated and things all depend on the situation and context.
Great video! I love my Koch Studio 20.
Great stuff man, we need more videos like this!
More to come! 😁
I've been using modelers since the inception back in the 90's. My introduction was with my first modeling amp, a Peavey Transfex 208s. I have been looking for the Transfex pro since. A few times I had the chance to get a head unit, or a combo, but passed them up for stupid reasons. I went to tube amps for a bit, but I always go back to modelers. I have used several since, Line6, Behringer, Fender, Peavey etc. The new stuff that's out there is leaps and bounds ahead of in terms of sound quality than where it was when I started. I still have the Transfex 208s. Great amp, but no DI. Some of the modeling amps allow you to use the headphone output as a DI, though it's not usually labeled that way, it does work like magic. Way easier than a mic, and I prefer to not have a loud stage. Originally the idea came to me for silent playing because my drummer's wife just had a baby and we needed to calm down our practice volume. So I disconnected my speaker from my amp and plugged direct via the headphone out, and he got a Roland TD10 for his drums and some side mount triggers. Bass player sent me a direct signal and BAM! Nealy quiet practice. The drums needed to have acoustic cymbals because they just sound better, and of course our vocals are loud, but the baby was able to sleep through it all as our db levels were dropped dramatically! What a difference and it makes recording practice sessions a real breeze.
𝙃𝙚𝙮 ☝️𝙔𝙤𝙪'𝙫𝙚 𝙬𝙤𝙣 𝙖 𝙥𝙧𝙞𝙯𝙚 🎉....
Great video. I enjoyed hearing about your journey. I had similar problems all through the 80s and in to the 90s playing bass. Live and even studio engineers always wanted to use a direct box, just a straight direct box from the bass. Since that time I've been thinking about how to give them an XLR out that has the tone that I want to send to FOH or the recording. In the late 2010s I started playing guitar in a band. The first iteration of my live rig was a Peavey Bandit 65 with an Ethos Clean II plugged in to the effects return. Nowadays I've got a small pedalboard for guitar and one for bass. I added a CAB M+ to the guitar board recently. The bass board has a Darkglass Microtubes B7K Ultra. Both of these setups allow me to give a complete tone to the sound engineer through an XLR cable. I also added a Keeley Verb O Trem (the small one) to the guitar board for another piece of the amp puzzle.
Great topic and you make excellent points, thanks for this video. For me the guitar amp is a simple, reliable and predictable solution for the kinds of gigs I would usually do. Still, I can also work with a Tech 21 Fly Rig that has the Fender and Marshall sims and with a little delay and reverb, for certain things I can DI with that and get everything I need. I do favor DI and plug ins, modeling, etc for recording. I think as you say, it's been critical for me to work towards knowing what sound I want to have and to get, and then to use the amplification technology to pursue that. To a great degree as I've found the sounds I want and like for my own playing and music, that's enabled me to better understand what I need to achieve that.
It's nice to play with a variety of tools, and not just software and multieffect modellers. I used to always record with a mic on a combo amp speaker, but now usually use the Two Notes Cab M+ direct in, with a bunch of effect pedals running into it.
I am an amp purist but reliability and the dwindling NOS tube supply has got me reconsidering my viewpoint. The Neural DSP Quad Cortex Quad-Core is looking pretty good these days.
Have you tried Amplitube? I love amplitube. I tried out the neural DSP (since 50% nowadays) but like amplitube better.
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.
Thanks for making this video telling your true experience with the tone. I cannot tell you how frustrating has been to pursue your type of sound through "normal" means (pickups, guitar, amp, etc.) and try to be consistent. I thought it was just me ( some it is 🙂) but most is how it is "done" by pro's. Appreciate your candor.
Glad you found it useful 🙂
I just picked up a Headrush Prime. It's very easy to create a Rig that sounds really good, and it's all to easy to send the output to the PA. All I need is my Katana's Power Amp in feature for monitoring. It's an easy setup.
I still love my tube amps though and won't be getting rid of them. When I do get the opportunity to crank them up and hit their sweet spot I can't pass that up.
Great video as always Jens. I actually do use a tube amp, but I have a really old Behringer modeler which I've created a number of presets on that I'm very happy with. I laughed at thanks Rhett 😂
Sounds great! (I can't really show putting together a pedalboard if I don't have one 😁)
What is the type of behringer modeler that you're talking about? Your comment has got me intrigued 😇
Behringer VAmp perhaps? I used to have one, until it got stolen at a gig.
@@versnellingspookie V Amp3. Bought it 12 years ago. Still has its uses!
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
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 🙂
Great timing for me to find this video. I have been almost ready to buy the FM3 for a few months now. I’ve just been going back and forth between it and the Twin Reverb. There aren’t a lot of Jazz examples of FM3 out there, so I’ve been hesitant about pulling the trigger on it. I’ll be placing my order soon 😊
It takes a bit of getting used to, but they are great tools 🙂