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Eqd Speaker Cranker clone
Monte Allums TR-2 Plus mod kit
Trading feedback: http://www.thefretboard.co.uk/discussion/60602/
In practice, any effects unit which also retains any dry signal - which is pretty much all of them, unless you're using a single unit with a kill-dry option - tends to cause trouble because if the signal is digitised it will introduce unavoidable latency, which when then combined with the original dry signal in the amp causes a comb-filtering effect and drastically *sucks* tone. Even analogue units aren't immune, since phase inconsistency will do the same thing. There are certainly *some* effects which avoid both problems, but it's not usually advertised or the first thing most buyers would have on their shopping list criteria.
To make sure you avoid it, you need to set the parallel loop to 100% effect... which is the same as series. And some amps (Laney, Mesa, for example) can't actually be set to 100% because their loop mixer sections are rather crudely implemented.
I assume you know this, but that should explain it to anyone who hasn't yet come across this problem!
"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
Setting the loop to series results in my entire signal cutting out when I switch patches. Setting it to parallel only results in the delay/reverb cutting out briefly, which is far more acceptable in a live setting.
Swiss Army knife type amps that try to do everything in one box, from classic 50s type cleans to modern mega gain and everything in between, and end up with more options, switches, dials, knobs and other options and thus it takes a degree in engineering to dial in a good tone. I am thinking of a certain famous Californian brand of maker and possibly a German amp builder who sometimes is guilty of this. Seriously, most players will find two decent sounds and throw a couple of pedals at it to do the rest.
Amps that have high and low inputs, I've never met anyone who has used the low input, ever, but is on just about every Peavey amp I have ever seen, and quite a few others.
Amps that have all the dials at the rear of the top panel, a la Fender Hotrod, so you have to lean over them to adjust your sound - especially irritating if you have the amp tilted back or need to place other gear on top - just why?
There is no 'H' in Aych, you know that don't you? ~ Wife
Turns out there is an H in Haych! ~ Sporky
Bit of trading feedback here.
If they're bothered about stacking amps on top of each other, then just recess the top handle.
It's not a particularly difficult (or expensive) solution.
Most of your list looks like it could be aimed directly at the DSL tbh!
I'm cool with it being in a parallel loop, though, and it works well enough that nobody will notice because I don't run wet/dry or any of that nonsense
My Laney had a parallel FX loop with a fixed 50:50 mix, effectively making it useless for anything other than delay and reverb. It wasn’t difficult or expensive to convert it to series, but I could’ve spent that money on a bottle of nice whiskey, goddammit.
If that is a rehearsal studio, I think the beer on the amp is compulsory.
(I don’t know what kind of an instrument a ‘middle’ is either, but it sounds a bit Hipster to me.)
There is no 'H' in Aych, you know that don't you? ~ Wife
Turns out there is an H in Haych! ~ Sporky
Bit of trading feedback here.