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Showing content with the highest reputation on 09/18/2019 in all areas

  1. 2 points
    Yeah, between the horn bands and the theater work, the two things that drive cashflow are being able to read and play a score/book/chart and having whatever sound/style is required for EVERY cue. No leader/conductor wants to hear whining about needing a different guitar or not having the right pedal. Imagine session playing in front of an audience - very similar. I think the last time we rehearsed the horn band was in 2012, so we just play from the charts every gig. If the leader drops in a new chart, you play it when called, sight-reading if necessary. I may not have the shred chops of Satriani or the smoothness of Knopfler, but I stay busy playing.
  2. 2 points
    Makes sense, since what you do requires a very wide palette. I use a single channel amp and a minimalist pedal board - a wah, an overdrive/ boost, an "analog style" digital delay and a univibe clone. I get more tonal variation with the volume knob of my guitar than anything else, really.
  3. 2 points
    For something like being in a pit orchestra for a Broadway show, I could totally understand the need to go from country Fender cleans to deadly triple-rectified brutalz to plexi rock and on and on. Small tube amps can't cover the range. Even if the audience won't think of the guitar amp as they evaluate the show, the realism of the guitar's various sounds could affect their experience... And it could certainly affect casting directors' opinions.
  4. 2 points
    I spent a year in Bakersfield one week.
  5. 2 points
    I’m a huge hank Williams fan. I have all his recordings. I Was even going to do a hank Williams tribute show at one time. I play 5 or 6 of his tunes at every solo show. His songs are the real deal.
  6. 2 points
  7. 1 point
    That is correct. Although it's still pretty minimalist. I think these modeling amps, despite claiming to be all things to all people pretty much sound like themselves, no matter what you do to them, at least that was the state of things when I got it.
  8. 1 point
    I suspect he uses his vtx in conjunction with a pedal board.
  9. 1 point
    With something like the Kemper I think it boils down to how much time you want to spend with it. I'm sure people who have owned and used them for a while can get about anything they want out of them. With me, if I was in the market, I would buy it just to play with it to see what it is capable of. You're a bit more frugal than me, I think.
  10. 1 point
    FWIW, I have a friend that is very particular about his sound and has used primarily Tube Marshals through the years. He was giving serious consideration to the high end Helix. That surprised me. You might pick one or 2 of your favorite amp/cab combos and have the modeler simulate them. Hook it up to a nice full range monitor and play around with it. If it gets you where you want to be, or at least close, it may be worth it. I’m not as picky. I tend to play in bars and individual volume is not your friend. The modelers are an acceptable compromise to me. Slight disadvantage from the player aspect, but made up in the convenience, versatility and the overall band mix.
  11. 1 point
    Sure... but how often does realistic, practical, or HIGH-QUALITY apply to interns? I don't want to have to pay extra (as in, anything at all... ) for high quality interns... IF they can manage to create some.
  12. 1 point
    Stein, there are no dumb questions...………..except ones about Economics.
  13. 1 point
    aren't studio interns by definition cheap?
  14. 1 point
    Hell-adjacent not a big fan of Fontucky either
  15. 1 point
    I have some really good amps already. The point is to have their sound (or extremely close) without having to take them out. If I wanted the sound of a different amp I would already have it.
  16. 1 point
    Phil and the rest of you guys will thank me for clueing you in on what's happening on PBS. I think tonight's episode will focus on Rock-a-Billy and Bakersfield. you all can thank me later.
  17. 1 point
    Best laugh of the day so far, by quite a wide margin. Thanks Jesse! P.S. I'd also be in favor of them building some realistic, practical, low-cost, high-quality studio intern simulators...
  18. 1 point
    So why not just go through the presets then? The "problem" is that a modeling amp like that isn't supposed to have its own character - it's basically all about trying to ape the character of other amps. I'm sure a bit of research (via online videos, checking out the manual, etc.) would give you an idea of which presets were emulating which amps, and that you're probably familiar with the sound of at least some of those amps. How successful it is (to you) regarding the quality and accuracy of those emulations and the overall "feel" of the amp when auditioning it (again, comparing that to the experience you have with some of the emulated amps) would probably tell you whether or not such an amp might be "for you" or not.
  19. 1 point
    Stevie Ray wouldn't use a modeler. Neither would Brian Setzer. Or many others. I view modelers as production, not art. But I'm of the opinion that it's a hard task to find the right tube amp. Once you do though, the glory. For your use, a modeler may indeed be the ticket.
  20. 1 point
    Well there's a couple of ways..... You can search YT or forums for folks who have created patches to play songs you know to see if they're close. Maybe get a couple of MP3s to listen to in a car. Or you can test drive someone's who uses theirs regularly for gigs etc. I know a guy who uses AXFX fairly regularly and aside from patches, the way in which you use it also determinative. For instance, would you be plugging direct into a mixer-PA? Or using a power amp/cab like a tube amp? If the later, a solid state amp or tube? My nephew's band uses modelers almost exclusively while on tour. Most in the audience are none the wiser, and the teardown/setup is very quick and simple. Especially as they build a library of the venues. Edit: Keep in mind tube amps are similar to modelers except they're for men.
  21. 1 point
    Skip the roller saddles and get staggered locking tuners so you don't need string trees. The locking helps a tad with tuning stability, and they make string changes so easy. No string trees helps a lot for tuning stability.
  22. 1 point
    Burns’ work is great for learning about things you previously thought you had little interest in.

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