Best Stage Guitar Amp Ever?

Discussion in 'Amps' started by littlebadboy, Apr 21, 2019.

  1. peskypesky

    peskypesky Well-Known Member Supporting Member

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    Exactly. Why is it so hard for people to comprehend that there are different tools for different jobs?
     
  2. uglyvw

    uglyvw Well-Known Member

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    I have settled on the digitech rp500 and peavey valveking 112. I can set up the patches then bypass the amp sim and run into the amp when miking the amp, or leave the amp sim on and run it directly to the board. Seems to be a pretty good do it all setup.
     
  3. Mr. Leyvatone

    Mr. Leyvatone Well-Known Member

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    There's a guy named Anderton who writes for Sweetwater?

    Ain't that fresh?!
     

  4. AxeGlove

    AxeGlove Well-Known Member

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  5. Chocol8

    Chocol8 Well-Known Member

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    Quite the opposite. Every venue (while almost) has a PA and mixer you can plug an XLR cable into. From small bars and churches up to stadiums, you can plug in the same digital gear, be setup and sound check in about 30 seconds. You only need to ask for an FRFR if you are silly enough to show up without a stage monitoring solution, but if you are using a modeler, most will bring their monitor or better yet use in ears. Everyone on stage can have their own custom mix, and the sound guy can do his job without impacting the musicians ability to hear what they need/want.

    Show up with a small combo and you need to worry about is it loud enough or too loud? Does it need to be mic’ed? Can the sound guy adjust the level in the mix? Where do I point it so I can hear it on stage, band mates can hear it but not too loud, and the audience can hear it, or maybe not if they are also getting guitar in the PA mix. It’s more complicated and harder to dial in just right for everyone.
     
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  6. PsychoCid

    PsychoCid Well-Known Member

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  7. Rollin Hand

    Rollin Hand Well-Known Member

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    Then there was Rush's backline for the last few tours....

    d4395e0c1cb0d4287b48fb93f548e9fe.jpg
    [​IMG]

    And this guy.....

    7ff5f0e3f8325ddc01e5212930561ad4.jpg

    I guess the point is....does it matter? heck, even Metallica are using AxeFX these days.
     
  8. peskypesky

    peskypesky Well-Known Member Supporting Member

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    J Mascis still needs his swaddling blanket of Marshalls near him to feel safe:
    885d0df6420b9b29596c12482b24a6a3.jpg
    3a27f6634c7df8fd0f8da85995eec54b.jpg
     
    Last edited: May 15, 2019
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  9. jam

    jam Well-Known Member

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    If it's good enough for Mascis, its more than good enough for me.
     
  10. cornfed

    cornfed Well-Known Member

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    New vintage guitar amp thread coming soon,
    This is a 1967 Fender Bassman 50 W, head, if these aren’t up in at least the top 10 best amps of all time then I don’t know what to tell you
    E33EF17A-5F8E-49E8-A337-B91DB8072052.jpeg
     
  11. nomadh

    nomadh Well-Known Member

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    Whats in the closet??? I think the more usual answer I think would be "if you brought it, use it"
     
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  12. peskypesky

    peskypesky Well-Known Member Supporting Member

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  13. LessPawl

    LessPawl Well-Known Member Supporting Member+ Gold Supporting Member

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    Here's a wanky thought, and yeah, I'm serious. My two favorite Stage amps are either an old circa late 60's/early 70's Kustom with the sparkly, shiny, vinyl,cushioned sides, or the 2018 Joe Bonamassa Limited High Power Twin. We have two of the JB HPT's at the barn I jam in. I literally can't play while standing in front of one of them, unless it has the plexi glass deflectors set up just right. The barn is HUGE and has very high ceilings. The sound goes straight up and very quickly fills the entire space with heavenly Fender goodness. At first, i was turned off, because it had to be super cranked to get that tasty, natural breakup. Alas, with some dialing in and hundreds of hours of play time on them, they sound amazing. (If memory serves,they've been re glassed 5 times already. Every player who comes through goes straight for them. The old Kustom's were used by many a player I saw whenwhen I was a kid. They sounded so cool back then, I was always blown away. The JB's the guys bought were done on a deal, well below the 3500$ asking price. Runner up, Silver Jubilee, Double stack. I have played through some amazing and rare amps due entirely to the generosity of these dudes I jam with. Musicians are some of the most sharing people on the planet.
     
  14. stevebway

    stevebway Metaphysician & Ham

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    I don't think there's a best in anything. Not even in EVERYTHING...
     
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  15. t-glo

    t-glo Well-Known Member

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    Played at a VA benefit on Friday. We plugged our peds in the front and never sounded better. It was clean and super punchy. Plus how light and easy it was to not bring our amps. For me who has played through marshall peaevy fender boogie and many amps I cant even remember. Plus as I am old now I like it simple and light weight.
     
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  16. Beyer160

    Beyer160 Well-Known Member

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  17. glasshand

    glasshand Well-Known Member

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    I had a feeling I knew what he was going to say! But like I said earlier about the author of the original piece, he's coming with a very specific viewpoint on what a live performance is and should be. So here we have two very experienced people expressing wildly divergent opinions on the matter, which would seem to support the idea that there is no one "best" answer.
     
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  18. littlebadboy

    littlebadboy Well-Known Member

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  19. slowhand84

    slowhand84 Well-Known Member

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    Simple solutions exist for that, but yes it is very important to take care of your ears. Lots of musicians suffer from tinnitus and other issues from years of failing to do so.

    As for the original post...it's a personal preference thing. I want flexibility and versatility, but I personally don't enjoy modelers. I've never tried one that came very close to genuinely matching the sound of a real amp, even the high end ones like Axe FX and Kemper modelers didn't do it for me. Not saying that those aren't great versatile tools for musicians, just that for me I can hear a very noticeable difference between that and a real amplifier with a great set of pedals in front of it.

    The route I chose to take is to find an amp whose clean sound I absolutely loved, and build on it with high quality pedals. Nothing does it for my tastes quite like my 76 Hiwatt, so I've stuck with it for the last 10+ years and haven't looked at another amp. The pedals I use allow me to set up different "channels", so I have a ton of versatility but don't have to sacrifice the type of tones that inspire me. It doesn't have the ease of use of having 200 patches ready to go at the click of one button, but that's not really something I need and the pedalboard allows for a ton of different combinations.

    That said, modeling technology has definitely come a hell of a long way, and these days it's pretty amazing what you can get for not a lotta scratch...and it's only going to keep improving!
     
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  20. glasshand

    glasshand Well-Known Member

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    Found this interesting interview (a couple years old) with Metallica about their touring rig: https://www.guitarplayer.com/player...e-most-surprising-thing-about-our-guitar-rigs

    Some particularly salient points:
    - they're using AxeFX. KH: "The problem used to be staying consistent with the amp sounds...But we solved that problem when we switched to Fractal Axe-FX processors. Now we have the same guitar sound everywhere—even in rehearsal."
    - but they're not just using AxeFX. JH: "On stage, Mesa 2:Ninety power amps drive my cabinets, but those cabs aren’t miked at all. They’re only there for my monitoring, for getting feedback, and for just feeling it. The Fractal is going direct to the board." KH: "For a while, we didn’t have any cabinets onstage, but that was just too weird. I need to hear something. I need to feel the air being pushed by the speakers for it to sound natural to me. So I have one cabinet on stage for monitoring, and one cabinet in a flight case with a fixed mic on it."
     
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