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"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
I haven't caught up with the whole thread but has anyone said drinks yet?
The same goes for the stage, no open liquid containers is a golden rule of mine.
Marshall 2200 Pint-Proof Combo (Pat. Pend.)
"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
Vibrato/Tremolo. (Just crap. One of my least favourite effects. I don’t want my amp to sound like it’s pulsing or wobbling. Sorry, Fender guys)
Headshells or cabinets that are full of fresh air. (Make them smaller.)
Gimmicks. (Just make it sound good)
Having a slightly strange circuit design that acts oddly at certain settings and then claiming it’s a feature and was always meant to be that way to give the user more flexibility or a different voicing. (No it wasn’t)
Pointless controls or features that only sound their best at one setting (Boogie, I’m looking at your graphic EQ - and the Mark V in general)
EQ that does nothing. (I might want to adjust it)
An fx loop that will not accept volume/level increases. (Useless)
Stereo. (Mono)
Hi and Lo inputs. (No. Just one. I’m not going to change it mid flight)
A good core sound.
Maybe a couple of switchable options. (Bright/Deep etc)
4 or 5 band EQ (TMB and Presence. Depth if you like)
Good speaker(s)
50w or above.
Can't believe I forgot that - or that anyone else hasn't said it!
Nearly every acoustic amp and preamp ever made has it. As well as the brown colour scheme that looks nice and reminds you of an acoustic guitar - said no-one, ever.
"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
Spring reverb in combos. The reverb tank picks up the speaker vibration so it sounds different from simply adding reverb (even a simulation of a spring reverb in isolation) to the dry sound.
Bias-modulation tremolo. The way it interacts with power-stage distortion can't be easily duplicated by a separate tremolo unit. Opto-coupled tremolo can be, more or less.
Stereo chorus - Roland JC120. It's actually achieved by mixing one channel of dry signal with another of vibrato, and although you *can* do that with an external unit it's a lot more of a faff.
"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 digital reverb on my Laney is next to useless. When I saw Lari Basilio she said she was using it on hers but in the context of a largeish room ( a guitar shop) you couldn't really tell whether hers was on or off. She was using what would be a £980 combo new now ( or £860 for my smaller version) with a reverb that sounds like it's from the cheapest of Chinese pedals. Grrr.
[ I tend to think that the dollop of reverb many players use at home or in rehearsal effectively disappears in many live contexts anyway despite their insistence that it's there ]
ooh, the Secret Path would be a lot lot better although I can't see that it has been added to the Lionheart 20Ts.
If you have spring reverb and turn it up to surf/ Peter Green levels then it's audible live but that's quite specialist. I can hear the reverb on what Jim Campilongo is doing live but that's in a trio with double bass and quiet drums, when he plays in larger groups it disappears. And modern modulated reverbs are a different thing. But I find it odd at times that people seem to worry about something they can't actually hear.
I want to use a Talisman reverb with a high gain sound. My three choices are, pedal in front of the amp, or in a series fx loop, or in a parallel fx loop.
The best sound I get is with the Talisman on it's own in the parallel fx loop and set 100% wet.
I take onboard what ICBM said about comb-filtering and tone suck, but maybe the Talisman is one of the pedals he talked about that does actually remove all the dry when set 100% wet, that's what it sounds like anyway.