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It was a problem Mesa saw with metal bands always using Dual Recs and brought out the Stiletto to let one player have a different more Marshall sound, and yet still be playing a Mesa
Many guitars have a re-sale value. Some you'll never want to sell.
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Pickups from BKP, Oil City & Monty's pickups.
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Bad idea if you're not, unless you can set them *really* differently.
As FelineGuitars said, it's much easier to get natural separation in the mix when the amps (and/or guitars too) are different.
"Take these three items, some WD-40, a vise grip, and a roll of duct tape. Any man worth his salt can fix almost any problem with this stuff alone." - Walt Kowalski
"Only two things are infinite - the universe, and human stupidity. And I'm not sure about the universe." - Albert Einstein
The dominating factor in the tone of an electric guitar is the distortion produced by the amp (if you're using amp distortion of course!). Two amps producing roughly the same mix of harmonics and dynamics will always sound at least roughly similar in a mix.
I've always studiously avoided using the same gear as the other player in a two-guitar band for this exact reason - I've never been good enough to consider doing the twin-lead thing…
Mixing by frequency is far more effective than mixing by volume, and it's much easier to get a good mix where you can hear everything without having to juggle volumes and EQ at the desk, when there are as few overlapping instrument sounds as you can get.
"Take these three items, some WD-40, a vise grip, and a roll of duct tape. Any man worth his salt can fix almost any problem with this stuff alone." - Walt Kowalski
"Only two things are infinite - the universe, and human stupidity. And I'm not sure about the universe." - Albert Einstein
When you're both playing the same notes in the same range, that's when it's handy to have tones that sound distinct.
Bandcamp
Spotify, Apple et al
I do recall trying a Laney VH100R alongside our old guitarist a few years back. His was loaded with EL34's and mine was loaded with 6L6's and the clean tones were fairly similar, but the distortion tones were very different. Mine sounded more 'metal' and his sounded more 'rock' is the only way I can describe it.
Plus I reckon there are enough tonal differences across different ranges - two Hagen's might be a bit much. A Hagen and a VH4 or D-Moll might be a totally different kettle of fish.
Things to think about.
However.
I'd say that you have enough awareness of tone and separation to be able to make it work, and you have the Helix (eventually...) which would allow you to notch/boost parts of your own tone to be able to make space for the other guitar when you don't want a wall of sound hitting the audience. Not only that, but your band's overall sound is fairly sparse by comparison to most bands who fall into the trap, so the job is somewhat easier.
It won't translate 100% to live, but it'll give you an idea at least.
In my guitar days I just happened to have different amps to the other chap.
Marshall Valvestate 808 and a Laney Linebacker
Marshall Valvestate and a ProAMP VSQ65 (that was ace! The ProAMP was Boogie MK inspired)
Dual Rec and a Marshall VS but really a Digitech RP20 (that was surprisingly good too.)
Then I swapped to bass and only ever played with 1 guitar player.
Although there was a birthday reunion gig. I borrowed a Valvestate head and cab and the other chap used an Egnator. That was good too.
It was all twin lead sort of stuff - we were both big Iron Maiden fans.
https://speakerimpedance.co.uk/?act=two_parallel&page=calculator
My band, Red For Dissent
Stephen Stills playing an 54 Strat into a Tweed Bassman, David Crosby playing his Tom Anderson HSS Strat through a Magnatone, Graham Nash on Acoustic and the other guy whose name I forget was playing a Les Paul into what looked like a Marshall copy.
Actually what's likely to be an important factor there is someone at the desk able to further separate using processing there.
You could actually hear all 4, the Acoustic was a bit lost but still there if you listened. It was basically the Acoustic Strumming chords, the LP was doing the rhythm with a slightly distorted tone, and both strats were full lead tones and they played together at points.
I think Stills also uses an Echoplex preamp and some sort of drive pedal which he kicked in during the solo. As far as I know Crosby doesn't use effects.
In sure there was some wizardry going on at the mixing desk, but it was surprising hole much separation there was.