robespierre
Well-known member
I wonder if Angus and Malcolm used a POD HD to re-record Back in Black... would it sound the same as the original?
:lol:
:lol:
POD HD?
- Thread starter Julia
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Julia
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robespierre said:
They used Amplitube to record Black Ice. You know the album with "Rock and Roll Train". And that's double and triple tracked too. See modeling doesn't change basics. It just makes basics easier.
The thing is that you can do it to a point. I've had the unit for ONE WEEK! It took me 9 weeks to dial in my Randall to where I'm happy.
I can do dual amps and dual channels on the POD. That does not get one out of double tracking, side chaining. I don't know how to do side chaining.
Okay there's another thing: side chaining. You can crank the guitars harder, then run a compressor with a side chain to trigger off Brian Johnson's vocals, that reduces the volume of the guitars within a certain frequency range when Johnson is singing. That's what the engineer does when they set up to record it in the first place.
You can do this **** on the POD. You just have to know HOW to do it. And you will need external gear. A POD is not a substitute for a $1 million studio. You still have to know how to mix. You still have to know how to do stuff. If I ran that preset with the cab disabled out an amp and guitar cab you wouldn't be saying "sounds thin" because you'd have this: the full 412 cab + the mic in front of the cab + the FOH mix going out to the crowd, and if you had a real professional sound person, they'd side chain the guitars in the main mix like I described so you'd sound better.
And buy the marketing hype? If the hype about the MTS was all 100% true would any mods on the modules have been needed? No. Would you guys have been buying custom modules? No. You wouldn't have needed them. But while it's good product it doesn't fully live up to the marketing. No product ever does. So you hold Line 6 to theirs?
No. I can't reamp what I did because I didn't record a clean unamped track. I'm not revisiting it. I'm satisfied with the patch.
You will get your wish on an actual project. I will ask you to pick out which sounds better. There will be tube amps among the choices, but I wont' tell you which is which. You just tell me which tone sounds better. It will be a lead tone this time.
So Julia, what are your thoughts on the tone and feel of the unit. Going through the presets, does it sound and feel like a tube amp as they are touting it to do? I like the idea of being able to play more and tweak less. I would love to have a unit that could get me the essential tones for rock, jazz, metal, etc...with as few knob tweaks as possible. What I'm driving at is: do you think that it is worth the money?
crankyrayhanky
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Daryl said:
I would think a POD or any Axe FX Digi11 is tweak city compared to a tradionall amp setup
Julia
Well-known member
Worth the money? Hell yes. Is it perfect? No. Then what is? It saves me having to run a processor sucking convolution reverb and cabinet model, and allows me to select a cabinet model. I can't mic my Randall and expect a pro quality recording because I haven't spent $5000 treating my room, nor do I intend to do so.
The availability of all the M9 and M13 effects and the fact it can run at line level via the 4 cable method without a line level shifter or modding the amp makes it worth it right there. The models are a huge bonus. They're every bit as good as those in Eleven LE, and they don't use the processor power.
I've got a four input interface. I don't need 11 Rack. I already have Pro Tools. I don't need to pay for another copy (it comes "free" with 11 Rack but bet it's included in the price).
Setting up an amp for recording well isn't fire and forget. You still have to mix. And live you still have to tweak your amp for the acoustics. That's what the pros do.
There is a lot of tweaking in the beginning of using an unit like this. It's no different than the X3 Live in that, just that the models are a lot better. Fewer but better. Once you've created the recorded tones you want through your monitors then it becomes fire and forget because you've saved the presets on your PC and in the unit. I'll have one set of banks for recorded tones, and another for live, but I need a USB extension cable to do the live ones.
I get the live tones sculpted, and I can use this unit as a preamp into the serial loop return. In this manner this is really no different than having 4 RM4s in a rack unit. You still had to tweak all those modules, right? FYI it is a lot easier to get a good live tone than a good recorded tone. Dialing in a good live tone is like dialing a tube amp. It's when you start adding effects to your patches.
Recording you still need to know how to mix and sculpt tone for a recording. That will never change for any amount of money. You can learn to do it yourself, or you can pay someone else to do it for you. Pro recording engineers aren't cheap and they usually do know what they're doing.
The availability of all the M9 and M13 effects and the fact it can run at line level via the 4 cable method without a line level shifter or modding the amp makes it worth it right there. The models are a huge bonus. They're every bit as good as those in Eleven LE, and they don't use the processor power.
I've got a four input interface. I don't need 11 Rack. I already have Pro Tools. I don't need to pay for another copy (it comes "free" with 11 Rack but bet it's included in the price).
Setting up an amp for recording well isn't fire and forget. You still have to mix. And live you still have to tweak your amp for the acoustics. That's what the pros do.
There is a lot of tweaking in the beginning of using an unit like this. It's no different than the X3 Live in that, just that the models are a lot better. Fewer but better. Once you've created the recorded tones you want through your monitors then it becomes fire and forget because you've saved the presets on your PC and in the unit. I'll have one set of banks for recorded tones, and another for live, but I need a USB extension cable to do the live ones.
I get the live tones sculpted, and I can use this unit as a preamp into the serial loop return. In this manner this is really no different than having 4 RM4s in a rack unit. You still had to tweak all those modules, right? FYI it is a lot easier to get a good live tone than a good recorded tone. Dialing in a good live tone is like dialing a tube amp. It's when you start adding effects to your patches.
Recording you still need to know how to mix and sculpt tone for a recording. That will never change for any amount of money. You can learn to do it yourself, or you can pay someone else to do it for you. Pro recording engineers aren't cheap and they usually do know what they're doing.
crankyrayhanky
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Julia said:
There have been many tracks recorded in non treated rooms- that recent award winning Red Hot Chili Pepper disc was recorded basically in a live setup in a living room. Having a room that sounds good before mics is more improtant than throwing thousands of $ in aurelex around your room making it dead and lifeless
As for ACDC tone, that band moreso than any other doesn't require a lot of studio wizardry- they are as basic and straight ahead band that I can think of actually- which is why their live tone is also killer. They plug in and play- the engineer in the studio and on stage simply throws some killer mics up into a top end pre and you're there- if you can play like them
Shinozoku
Well-known member
One can actually soundproof a room on a budget of $1000 too with soundproofing drywall and insulation, plus a few stud techniques 
Julia said:
playing live I have never been given the luxury to sit and tweak my amp... we barley have enough time to get the drum kit setup...but we're not pro, just play around town and you just stick a mic in front the cab and go. I do take some control over how things are done. I bring my own mic, so that it's not left to chance and I do run my own mic pre and give the house a line-level (that's even a little extreme ). But that stuff is all in my rack and setup and ready to go in about 5min.. generally the sound guy does not like you to sit there and blast you amp to dial it in (just my experience). Our tone live is actually pretty dang good (feedback from other bands and such... we never get to hear FOH) :lol:
Jerome Allen
Well-known member
Julia, my life would be a lot easier if you would send me the POD HD and let me try it out for myself. That way I wouldn't have to explain to my wife why ...
I've used a ton of different amps/preamps/soft-amps over the years. And I still can't say "THAT is the best one." It really is a matter of "What works for you right now."
Here's a funny story : I loved my Gigmods Slodano loaded into a Rocktron Vendetta (like an RM4) powered by a VHT 2/90/2 with KT88s into a 2x12 with V30s...for live playing. When trying to record direct, using a Palmer PDI--03, I found that the Slodano loaded into an RM100 with 6l6s actually sounded better (for my playing style, ect). I loved the Gigmods Slodano so much that I went out and just bought the real thing...the SLO100...with the idea that you can't beat "the real thing." BUT, I find that in my particular recording situation/set-up, the RM100 loaded Slodano module actually sounds better than "the real thing." Not saying the SLO100 is going anywhere, I absolutely love it. But for recording direct, the Slodano mod looks like it will be the go-to piece of gear.
In the past I have used a mix os preamps, amps, and soft-amps...Some analog, some digital, some tube. Each had it's place and did a great job when I needed each to get the job done. I say "There's tone in there, it's just up to you to find it."
I've used a ton of different amps/preamps/soft-amps over the years. And I still can't say "THAT is the best one." It really is a matter of "What works for you right now."
Here's a funny story : I loved my Gigmods Slodano loaded into a Rocktron Vendetta (like an RM4) powered by a VHT 2/90/2 with KT88s into a 2x12 with V30s...for live playing. When trying to record direct, using a Palmer PDI--03, I found that the Slodano loaded into an RM100 with 6l6s actually sounded better (for my playing style, ect). I loved the Gigmods Slodano so much that I went out and just bought the real thing...the SLO100...with the idea that you can't beat "the real thing." BUT, I find that in my particular recording situation/set-up, the RM100 loaded Slodano module actually sounds better than "the real thing." Not saying the SLO100 is going anywhere, I absolutely love it. But for recording direct, the Slodano mod looks like it will be the go-to piece of gear.
In the past I have used a mix os preamps, amps, and soft-amps...Some analog, some digital, some tube. Each had it's place and did a great job when I needed each to get the job done. I say "There's tone in there, it's just up to you to find it."
Julia
Well-known member
Shinozoku said:One can actually soundproof a room on a budget of $1000 too with soundproofing drywall and insulation, plus a few stud techniques
Can you give me the $1000? :lol: But it needs to be soundproofed not just acoustically dead inside.
Seriously, the reason I can't mic up is due to outside noise, and since I've cut a deal with the landscaper -- garage use for storing some tools, mowers, etc., for free lawn care. The garage door can open at any time. Middle of recording? whoops. But I could do it if I canceled the deal and paid $100/mo for landscape work. She even waters and comes and turns off the water during the summer, and caulked my driveway! This is too good of a deal. So now you get the picture. It's why most of the stuff I do recording-wise is in the winter.
The POD HD only cost me $50 out of pocket. I just traded in a bunch of crap I hadn't used in two years for it. It's got some really nice tones in it. I started dialing in a JCM800 tone today, but was only able to spend 30 mins. because I couldn't get the SPDIF working on my interface. See I had to discover by trial and error how to configure it to do 4 inputs and two outputs at 24 bit 48 kHz. It wasn't in the instruction manual. Another great manual by M-Audio. And lets not forget the fact that I couldn't even see where the SPDIF connections were because they used silver micro-font on gray because it "looks cool". I sent a suggestion: "Line 6 uses white on black or dark red. Easy to read. What a novel concept!"
Then the ambient effects are actually going to be useful. But dang, Gibson just came out with the Firebird X for only $5500! The Tyler Variax + POD HD is a far better deal if I wanted to go that route.
Gibson -- please concentrate on producing a consistent quality product and stop living off the name you made 50 years ago. Epiphones are far better especially for the price.
Yeah!!! :x WTF, Gibson? I was at a Guitar Center a while back looking at a Gibson Les Paul Custom with a Floyd Rose on it and it got me pissed off. For one thing the sticker price was $3995. Then, as I looked the guitar over, there were numerous finish flaws, binding flaws, inconsistent fret dressing, etc...On top of that the salesman swore that this guitar was "pure custom shop" and that it was an incredible guitar. For 4 grand you better at least get the binding installed correctly. My $800 Schecter C-1 Exotic has way better build quality and playability. And the Gibson was supposed to have a full Plek setup as well!! Even the stock pickups in my Schecter sound better. 50 years ago Gibson was making cutting edge gear, but they are no longer getting it done.Julia said:
If you want a truly great feeling guitar, nothing can match US Masters/Regengerg Guitarworks. I love mine. They aren't cheap, but they aren't cripplingly expensive either for a boutique quality guitar. With the conical, compound radius fretboard to the Compression-set Captive Neck Joint, it is a pleasure to play and does credit to US craftsmanship. They have a few models under $1000 and well worth it. They make a cool SG style model that you might be interested in.
If you dig AC/DC. They do it semi-custom and you can get a variety of options for very reasonable prices. I've been thinking about selling off some gear to get one of the basic SG's. Only $699 for a US made SG that makes the Gibbys and Epis look like overpriced junk. The best kept secret in boutique grade guitar manufacturers. Hands down.
Basic: http://www.usmasters.com/hornetperformer.htm
Worth a second look: http://www.usmasters.com/hornet.htm
Vid clip: http://www.youtube.com/watch?v=fOF0fRZrPNA&NR=1
GregWinds is a bit of a douche, but the clip demos the tone well.
Yeah, the pic is of the $699 model. Look at that beautiful fretwork.
Jerome Allen
Well-known member
cool, thanks Daryl. My guitar of choice for the last 25 years has been an SG. Because I grew up on them, they are a very comfortable guitar for me to play. I would really like to find a luthier who could build me an SG with a few modifications...I'd like to keep the narrow nut width and thin neck, stretch the scale to 25", add 2 more frets, and add a floyd rose.
Yes, Gibson quality is hit or miss these days. If you find a good one, it's a great guitar. But, you may have to sift through some bad ones first. The binding issue is strange. According to my repairman (used to work for Gibson), on some models the binding starts off as tall as the frets and is then ground down between the frets to match the height of the fretboard. It's their 1/2-assed way of having the binding next to the fret reach all the way to the top of the fret.
On my 335, I had my guy pull the stock frets out, level all of the binding to fingerboard height....which had a compound radius added to it. Then I had him install some frets with a notched tang so the actual fret stretches the entire width of the fingerboard. This made a pretty killer fretboard. I also added a bone nut, because those plastic Gibson nuts are "crap," and are often nicked up from the grind-the-binding-down operation at the factory. Now, the guitar is very sweet. Fortunately I got my 335 used, so I didn't mind spending a little to get it to better-than-new condition.
Yes, Gibson quality is hit or miss these days. If you find a good one, it's a great guitar. But, you may have to sift through some bad ones first. The binding issue is strange. According to my repairman (used to work for Gibson), on some models the binding starts off as tall as the frets and is then ground down between the frets to match the height of the fretboard. It's their 1/2-assed way of having the binding next to the fret reach all the way to the top of the fret.
On my 335, I had my guy pull the stock frets out, level all of the binding to fingerboard height....which had a compound radius added to it. Then I had him install some frets with a notched tang so the actual fret stretches the entire width of the fingerboard. This made a pretty killer fretboard. I also added a bone nut, because those plastic Gibson nuts are "crap," and are often nicked up from the grind-the-binding-down operation at the factory. Now, the guitar is very sweet. Fortunately I got my 335 used, so I didn't mind spending a little to get it to better-than-new condition.
Julia
Well-known member
Off Topic Gibson Rant: what really pissed me off was my Gibson J45. See I'd been having a lot of difficulty with my hand sticking to the neck of the guitar. Gloss finish. So I tried wet sanding and even took it down as far as 320 grit and was ready to go to 200, and people were screaming at me that I'd go through the finish. Good luck on that. Well nothing worked. Loved the tone, but my hand kept sticking. So I had the neck stripped and tung oiled. Then the problems showed.
* first off is the quality of wood they used. I found out the reason they paint the necks. It's because the wood is so porous and not tight grained (cheap) that they need it to brighten up the tone.
* second -- 52 coats of nitrocellulose can cover a multitude of sins in workmanship. Like leaving a sharp edge on the fretboard. And leaving the ends of the frets sharp. I've played Squiers with better fret jobs. Hell, my $300 Epiphone LP has a better fret job.
* Do you have any idea how thick 52 coats of nitro is? If you run your hand from the painted section to the stripped section, even though it is tapered down, it is very noticeable. It changed the profile of the neck. F***ing unbelievable. It is pretty obvious to me now that they didn't let the coats dry thoroughly before spraying over them.
* And don't get me started on the nut. Gibson cannot cut a nut to save their lives. I swear they lay the strings across the nut and whack it with a mallet (I've seen the "fold over" evidence).
And this "professional luthier" who makes custom guitars locally who did the stripping work must have worked for Gibson because his work was shoddy at best. I think I could have done as well. Tape. Have you heard of taping off where you don't want the stripper to go and getting a nice line? And he replaced the nut with a bone nut and did a typical Gibson shitty cutting job -- the strings were binding like mad.
So with the resale value destroyed, I've got to sink money into this turd. I'm going to see if someone can do the finishing work on the frets and fingerboard for a reasonable price, and if not I'll try it myself. If that won't do the job then it's $450 for a fret job and I'll have medium-jumbo to jumbo frets put on from 1-12 to replace the "vintage" frets -- it'll make it easier to play. That's what's going on my SG when I need a fretjob on that.
For $2200 new they could have done a decent job of finish work. IMO their fretboard binding is a cheap, half-assed way of covering up a bad fret job. the binding should be there for decoration, not necessary for function or meaning "higher quality".
If an American company cannot and will not take care of these kinds of details yet charge as much as they do for an instrument I cannot see any reason to support them just because they're one of the last American companies. I'd rather get a quality Korean made instrument where at least they have pride in their work, and pay about 1/2 the price. Or even a Chinese made instrument that's also at least made with care for 1/4 the price. I wouldn't be so mad if I stripped the neck on a $500 acoustic to find a shitty piece of wood under the finish. But on an instrument over $2000? I expect better.
Perhaps Gibson doesn't deserve to remain in business? It's a shame that my $300 Epiphone LP is a better playing instrument than a Gibson Custom Shop LP. I know I will never buy another Gibson.
* first off is the quality of wood they used. I found out the reason they paint the necks. It's because the wood is so porous and not tight grained (cheap) that they need it to brighten up the tone.
* second -- 52 coats of nitrocellulose can cover a multitude of sins in workmanship. Like leaving a sharp edge on the fretboard. And leaving the ends of the frets sharp. I've played Squiers with better fret jobs. Hell, my $300 Epiphone LP has a better fret job.
* Do you have any idea how thick 52 coats of nitro is? If you run your hand from the painted section to the stripped section, even though it is tapered down, it is very noticeable. It changed the profile of the neck. F***ing unbelievable. It is pretty obvious to me now that they didn't let the coats dry thoroughly before spraying over them.
* And don't get me started on the nut. Gibson cannot cut a nut to save their lives. I swear they lay the strings across the nut and whack it with a mallet (I've seen the "fold over" evidence).
And this "professional luthier" who makes custom guitars locally who did the stripping work must have worked for Gibson because his work was shoddy at best. I think I could have done as well. Tape. Have you heard of taping off where you don't want the stripper to go and getting a nice line? And he replaced the nut with a bone nut and did a typical Gibson shitty cutting job -- the strings were binding like mad.
So with the resale value destroyed, I've got to sink money into this turd. I'm going to see if someone can do the finishing work on the frets and fingerboard for a reasonable price, and if not I'll try it myself. If that won't do the job then it's $450 for a fret job and I'll have medium-jumbo to jumbo frets put on from 1-12 to replace the "vintage" frets -- it'll make it easier to play. That's what's going on my SG when I need a fretjob on that.
For $2200 new they could have done a decent job of finish work. IMO their fretboard binding is a cheap, half-assed way of covering up a bad fret job. the binding should be there for decoration, not necessary for function or meaning "higher quality".
If an American company cannot and will not take care of these kinds of details yet charge as much as they do for an instrument I cannot see any reason to support them just because they're one of the last American companies. I'd rather get a quality Korean made instrument where at least they have pride in their work, and pay about 1/2 the price. Or even a Chinese made instrument that's also at least made with care for 1/4 the price. I wouldn't be so mad if I stripped the neck on a $500 acoustic to find a shitty piece of wood under the finish. But on an instrument over $2000? I expect better.
Perhaps Gibson doesn't deserve to remain in business? It's a shame that my $300 Epiphone LP is a better playing instrument than a Gibson Custom Shop LP. I know I will never buy another Gibson.
Mattfig
Well-known member
I have a 1981 Gibson Les Paul Custom with a Floyd on it...Sounds perfect, plays perfect, everything is awesome....Top notch everything....
Now a LP Custom plays like a cheaper instrument and clearly seem to be setup (the 3 I saw) in such a way that a professional would need to fully adjust/calibrate it to be playable....Fucking sad....Gibson was once great...Now EVERYTHING with them is a crapshoot....At Guitar Center, I should mention....
On the converse, I scored a Gibson Flying V (3 pickup version) in the faded series and it's awesome too! I traded for it sight unseen, which was really dumb, but I love it....All is perfect...I gave her some necessary upgrades and she's tonal perfection and a blast to play...Shitty in the studio 'cause you have to stick it over a leg....It obviously won't sit like a normal guitar would...Major downside....The only downside...Great for gigs although my endorsement with Waterstone keeps me loyal to their guitars live for the while...
Guitar Center is pretty much where Gibson must ship the mishaps (or what is the bulk of their current stock)...Kinda like the TJ Maxx of the music world...Guitar Center is all about selling in numbers and the sales guys and gals know **** about gear...All the hipster kids working there make me weep for the future...The fact that they carry Egnater is impressive so someone, somewhere is making some good calls...But c'mon...You're the biggest music retailer around and even you can't stock Mesa and actual Marshalls? It's all Line 6 this and Mini that....Which is fine...But have some real amps...I think GC won't keep a real Marshall or Mesa around is that when it's next to a Line 6 or a cheap Fender people will quickly realize the lack of similarity....And Line 6 sells like mad...I hate GC...HATE...They and Gibson are going hand in hand down a road to ****...Good luck!
Edited to add: I currently own several Line 6 items....All from Sweetwater...So I don't mean to bag on them...I like them - but it seems you gotta create your own tone...And that can take a VERY long time and may never work....I tweak the hell out of everything in the studio and Line 6 stuff is kinda like caulk...It fills in gaps that are insignificant sounding but add a lot to the song...Line 6 just doesn't do Marshall or Mesa like I've ever heard...
Now a LP Custom plays like a cheaper instrument and clearly seem to be setup (the 3 I saw) in such a way that a professional would need to fully adjust/calibrate it to be playable....Fucking sad....Gibson was once great...Now EVERYTHING with them is a crapshoot....At Guitar Center, I should mention....
On the converse, I scored a Gibson Flying V (3 pickup version) in the faded series and it's awesome too! I traded for it sight unseen, which was really dumb, but I love it....All is perfect...I gave her some necessary upgrades and she's tonal perfection and a blast to play...Shitty in the studio 'cause you have to stick it over a leg....It obviously won't sit like a normal guitar would...Major downside....The only downside...Great for gigs although my endorsement with Waterstone keeps me loyal to their guitars live for the while...
Guitar Center is pretty much where Gibson must ship the mishaps (or what is the bulk of their current stock)...Kinda like the TJ Maxx of the music world...Guitar Center is all about selling in numbers and the sales guys and gals know **** about gear...All the hipster kids working there make me weep for the future...The fact that they carry Egnater is impressive so someone, somewhere is making some good calls...But c'mon...You're the biggest music retailer around and even you can't stock Mesa and actual Marshalls? It's all Line 6 this and Mini that....Which is fine...But have some real amps...I think GC won't keep a real Marshall or Mesa around is that when it's next to a Line 6 or a cheap Fender people will quickly realize the lack of similarity....And Line 6 sells like mad...I hate GC...HATE...They and Gibson are going hand in hand down a road to ****...Good luck!
Edited to add: I currently own several Line 6 items....All from Sweetwater...So I don't mean to bag on them...I like them - but it seems you gotta create your own tone...And that can take a VERY long time and may never work....I tweak the hell out of everything in the studio and Line 6 stuff is kinda like caulk...It fills in gaps that are insignificant sounding but add a lot to the song...Line 6 just doesn't do Marshall or Mesa like I've ever heard...
Mattfig
Well-known member
Amen! And **** that preacher is large...
crankyrayhanky
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curse that big preacher, i can't read a post moving left to right on every line
Sorry about that guys...I guess I got carried away in the spirit of Guitar Center hate. I really have an exquisite hate for Guitar Center. The preacher picture was excessively large, so I posted a smaller preacher. :lol: (pun intended)
Getting back to the spirit of the thread...I am curious about how you, Julia, intend on using this POD HD. Are you using it strictly for recording or do you intend on using it live. I am curious about whether or not it would sound good plugged direct to the board at a venue and eliminate the need for an amp altogether. That would be cool to have convincing enough tones going to the PA off of one XLR.
Getting back to the spirit of the thread...I am curious about how you, Julia, intend on using this POD HD. Are you using it strictly for recording or do you intend on using it live. I am curious about whether or not it would sound good plugged direct to the board at a venue and eliminate the need for an amp altogether. That would be cool to have convincing enough tones going to the PA off of one XLR.
Julia
Well-known member
POD HD....
I'm not gigging hardly at all. I'm too old to go lugging a bunch of stuff around.
If I do get a gig, it's going to be with the POD and I'll have an onstage monitor. Where I'm playing no one will notice the difference anyway so why lug 200 lbs of gear around? FOH will play a good miked amp tone.
Recording? Yes I'm going to use it there. There's stuff I can do with it that I can't do with anything else. Plus it's convenient. And I can mix it with my Randall stuff. I look at it as another tool. I look at it as 16 new modules for recording + a ton of effects.
I don't hate GC. I do business with them. The one around here stocks Mesa, Marshall (JVM, DSL, and their new tube series + the Haze and MG), Peavey, Fender, Vox (AC30, AC15, as well as the modeling amps), as well as the Line 6 Spider IV SS modeling amps and the Spider Valve Mk II. The management is good and the staff is cool, and actually seem to be knowledgeable.
I'm not gigging hardly at all. I'm too old to go lugging a bunch of stuff around.
If I do get a gig, it's going to be with the POD and I'll have an onstage monitor. Where I'm playing no one will notice the difference anyway so why lug 200 lbs of gear around? FOH will play a good miked amp tone.
Recording? Yes I'm going to use it there. There's stuff I can do with it that I can't do with anything else. Plus it's convenient. And I can mix it with my Randall stuff. I look at it as another tool. I look at it as 16 new modules for recording + a ton of effects.
I don't hate GC. I do business with them. The one around here stocks Mesa, Marshall (JVM, DSL, and their new tube series + the Haze and MG), Peavey, Fender, Vox (AC30, AC15, as well as the modeling amps), as well as the Line 6 Spider IV SS modeling amps and the Spider Valve Mk II. The management is good and the staff is cool, and actually seem to be knowledgeable.
