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Everything posted by SteinbergerHack

  1. Well, yes. That's why I have stuck with the XTC for almost 15 years now. There's nothing else out there that covers more ground, IMO. That's the idea. I played one for about 30 minutes today, and while it sounded very good, it wasn't inspiring. I think that I need to borrow one and do my own profiling to see what it can really do. The stock profiles aren't good enough, but they show that it might be able to get there. We'll see.
  2. Nice enough, but a combo amp is absolutely not the solution for my gigs. I'm not looking for a new sound, I am looking for a lighter weight, smaller way to duplicate what I already have - the Bogner XTC and JCM800.
  3. 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.
  4. The Kemper is supposedly different, which is what I want to find out.
  5. Perhaps, but even so, I find that I use all three amp channels and the two boost functions constantly, on top of the basic choris/reverb/delay/comp programs. My core combinations are probably two dozen or so that are just generic sounds, then a few dozen more that are specific to artists or cover songs. .
  6. How? I can't even think of a single song I play that I could do with a single patch!
  7. Not sure if "frugal" is the right word, but I have a strong history of buying things only when planning to keep them for decades - and use them. I don't mind spending what it takes to get good stuff, but i only do it once, and I don't like constantly changing things out.
  8. Well, yeah - you got the right stuff on the first try. There's nothing wrong with a Marshall of that era from just about any perspective!
  9. Interesting concept, but I haven't played through any standard modeller that doesn't make me want to walk away in disgust. They just don't work for me. Keep in mind that the benchmark i am trying to duplicate is a Bogner XTC, occasionally paired with a JCM800.
  10. This - and the Bogner XTC combined with real acoustic instruments gets the job done. Something like a Fender Princeton would not (or it would require a whole lot of pedals that I don't want to have to carry around).
  11. At the processing level I believe that you are correct (and it's probably the only way to effectively mimic a tube amp's transfer function). For my application, the difference is that I can use my own amps' transfer functions as the base model - which is what I am looking for. I don't want a different sound - I just want to be able carry it around without having to see a chiropractor after every gig.
  12. 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.
  13. There are hundreds, so it's not something that you can do in a short audition session. It's also not clear from the naming exactly what they are, which makes it even more user-hostile, IMO. Once I get my own setup built, I can easily remember what my own patch names mean, but figuring out what " ACE - CF Rh Zillah " is intended to denote is a bit obtuse, iMO.
  14. Well, the Kemper isn't a modeler, per se. It reproduces the sound of your amp - you actually let the Kemper play through your amp to develop the map. I agree that finding the right tube amp is a long, arduous task - and I really love what I have with my Marshall and Bogner. I haven't found a modeler that I like at all, but the profiler (Kemper) actually does what I am looking for - reproduce the sound of my existing amps, but at a much lighter weght.
  15. Yeah, already did this to get a sense that it might make sense for me - but that doesn't give me a sense of the "feel" nor of how it works in real practice. I play a lot of gigis in a wide range of environments, so I need something that's easy to use and intuitive, as well as maintaining the quality of sound that gets me those gigs. I have a buddy at work who has one and has offered to let me borrow it...but he is a bedroom-only player and doesn't have a gig setup. My most common rig setups now are either (1) running my head (Bogner or JCM800) into a 1960A cabinet and a Torpedo Live (loadbox / cabinet sim) which generates the FOH feed - OR - (2) doing away with the cabinet and running the output of the Torpedo into an XR12 which feeds both the FOH and a wedge monitor for me (the second is for when I am also using acoustic instruments that go into the XR12). For the Kemper, I am thinking that I would go to setup 2 for all gigs, and just use the XR12 and a monitor wedge. Hey now! I'm not getting rid of my tube amps - I just don't want to be hauling them out every weekend.
  16. This is going to sound really dumb, but: For those of you who use digital/modeling/profiling amps, how do you go about auditioning an amp? I have never had a problem getting a feel for what a basic tube amp sounds like from simply plugging in and dialing in some gain and tone settings - about 2 minutes in I can have a sense of what the character of the amp is, and what sound it will give. Even a complex one like the XTC or VH4 has a personality that you can sort out pretty quickly. I don't use pedals for any gain or distortion (all amp), and all of my time delay and EQ is rack FX, so I'm only looking at the raw amp emulation. I want to go test-drive a Kemper to get a sense of whether it will do what I need/want for live use, but I really don't know where to start, and I don't want to spend hours fumbling around trying to figure out how to get to a basic set of sounds. OTOH, it's enough $$$ that I don't want to just risk-buy based on a bunch of internet reviews and Youtube clips - I really want to get a sense of how the thing operates and how easy it is to set up a basic sound, then navigate around among the rigs/patches. Any suggestions on how to start? Help!?!?!?!?!?!
  17. Nice playing, and a good sound. Personally, I think it has a bit more bite and less thickness to the tone than I would want to hear for this song, but that's based on comparison to the original, which isn't really a fair metric.
  18. Have you scoped the signal before the output transformer? What about the V+ rail - is it stable when playing?
  19. Solid wood vs. laminate, which changes resonance. Quality and type of wood - plain basswood vs. mahogany vs. maple, rosewood, rosewood, ebony, etc. Quality of components (pots, caps, pickups, bridge saddles, etc.) Fingerboard material Assembly details - fit and finish, binding, inlays, etc. Sound quality (subjective, but there IS a difference). Setup details - neck stress, fret accuracy, bridge placement, etc. Resale value, bragging rights, ego.
  20. First was a very cheap Sears/KMart strat-style that my uncle gave me when he went to college. It came with a solid state amp with a 5" speaker and maybe a half-watt of solid state power. Not long after starting to play it, I realized it wasn't going to get me anywhere so I got an original Epiphone Casino from a friend. I wish I had never sold that guitar.......oh, well. I also got this amp, new. It took me about 6 weeks at full gain to burn it up, IIRC, at which point I started the upgrade cycle.
  21. I've played through tons of amps over the past 25 years - Fenders, Marshalls, G-Ks, rack rigs, etc., and this one is the best single amp I've found yet. I'm keeping my Marshall and my MP-1 rack stack, but the Bogner will be my main gigging rig. Again, you might find a particular amp that's better at a given application, but this is a great-sounding amp that is extremely versatile. Of course, everyone has different tastes, so you may not like it as much as I do. As it stands, the single biggest detractor is that it is SO versatile. Keeping up with where everything is set can be a bit tough to get used to - it certainly isn't like using an old non-master Marshall with 5 knobs and an input jack! The only thing that could be a nice addition would be a MIDI control input. That said, there are several aftermarket units available that have more programmability than you would be likely to get in a factory option, so...... Bottom line: If you're looking for a serious workhorse multi-channel, multi-style all-tube amp, you should really find one of these to try.
  22. Yes, but is it a good as an Esteban?
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