Posts by Frodebro

    Pairing an HXFX with a stage would be a very good combination. Use MIDI to send PCs to the HXFX and you can call up a "board" that is set up for specific rigs/performances. The HXFX would be a much better choice for this than the Stomp, as the Stomp is mainly an amp modeler with effects, the HXFX is effects only and is designed for just such an application.

    I’m the opposite. Option paralysis has never been an issue for me either but it’s because any tone I try is inspiring for me, so rather than trying to shape the tone rigidly around me I will flow with it and see where it takes me. Every tone has a melody within it and it is the task of the guitarist to discover it.

    Perhaps it’s because I’m just not in a situation where I have to be precious about the finished products, they’re all WIPs to me, they’re not my income, just Art. There’s no pressure to find that final perfect tone, so every tone is perfect in its own way, at least for one specific task. And on top of that I’m not caring about mix when I’m picking a tone, that comes later, I’m still learning, so it’s all delightful.

    We're actually not that different. If I have a specific goal, I stay 100% focused on achieving it. However, sometimes I like to just spend a couple of hours browsing through the Rig Exchange and finding inspiration in sounds that I otherwise would not have sought out.

    I"m new to the Kemper (Stage) and the first few days are like (yes option paralysis), seeing something like 16000 rigs available. Turns out, what I like is pretty much what I've been using on my old pedals, and I actually profiled them and am comparing to real amp profiles, they sound pretty dang good. I like the edge of break up (e.g. Tim Pierce), and to push into overdrive with pedals which the Kemper has lots of options. So far, very happy with this purchase, but still amazed by the options in profiles.

    Just think of it as being similar to walking down the beer aisle at the grocery store. If you have an idea of what you're after, it's pretty easy to pare down your available options fairly quickly.

    so could there be sound diff between "old" and "new" Hardware ?

    did they change maybe the DA converters too ?

    Probably no sound difference (or at least nothing that a "normal" person would be able to detect), but this is the kind of thing that people will dedicate a significant amount of time arguing about on the gear forums.

    Well didn't Jim Marshall copy fender ybassman in the beginning? Also the naming is still a lot better than ,"swollen pickle," or "way huge". When you play a Friedman, you will forgive the naming thing because his amps are really special. Check one out and you will know why he is who he is in the world of rock amps

    Pete Townshend brought his Fender Bassman into Marshall's guitar shop in the early 1960s and asked them if they could build him an amp that sounded like the Bassman, only louder. So yes, the first Marshalls were based on a Fender circuit, but Jim Marshall probably would have never even considered entering the manufacturing business if Townshend hadn't put him up to building that first amp.

    Yeah, he's only running through two speakers but if it works, it works. It is possible for the KPA to run at 4 ohms, but it's risky without an internal cooling fan. That's probably why bass players have largely avoided the PowerHead

    I run my power rack into the 16 ohm input of a 1960A, there should be no reason at all why it's not producing enough volume. My guess would be that gain staging somewhere in the KPA itself isn't optimized for full output if somebody isn't getting enough volume with 300 watts. A 100 watt Marshall tube amp into that same cab is going to be louder than snot, and pushed hard it's still "only" delivering upwards of around 180 watts.

    What made the JTM different from the Fender Bassman were the 12" speakers. To the best of my knowledge that's the only difference. Of course, more innovations came later. Likewise, Friedman has amps that are very different from typical "Marshall" offerings, such as the Butterslax.

    I don't think Friedman has ever tried to pretend he wasn't massively influenced by Marshall's or modded Marshall's. Like you said, even his aesthetic is very Plexi-like. But there's a difference, to me, in hat-tipping or wearing your origins on your sleeve vs stealing.

    There were differences in the output section as well, as 6L6s were harder to come by in England so EL34s were substituted. Another difference down the line was that Leo Fender was continually working on getting his amps cleaner and cleaner, and Marshall discovered that there was an untapped market for dirty, so subsequent (Marshall) models were designed with distortion as a goal.

    I've encountered the occasional hiccup here and there through the multiple updates I've done over the past four years, but to my recollection the issues I had were all related to parameters shifting a bit that needed to be restored to my settings. I noticed no change in my rigs with the latest update.

    Hi, this is my tribute Floyd band. All of the profiles are Mr.Brit ;)

    Thank you for posting this! I will normally listen to thirty seconds or so of a typical short video just to hear what the player has going on, but I watched the entire video this time. Great job by you and everybody in the ensemble!