Posts by DML

    I’ve also mailed Stageclix, both sales-e-mail and support-e-mail. The sales-e-mail isn’t used anymore but the support-e-mail is still working, and I’ve had a reply from Stageclix. It said Stageclix will continue, and it’s only a rumour that they’re going out of business.

    I’ve also contacted Thomann about this so called rumour, they will investigate it and get back to me asap.

    DML apparently stageclix they have gone into liquidation!

    That's a shame to hear. I've asked Thomann for confirmation. Nontheless, Thomann is still selling Stageclix and if you buy it, Thomann has to maintain a two year warranty. Even if Stageclix is out of business, Thomann has the obligation to continue service. Maybe it's good to order a Stageclix Li-Ion batterypack as well, just in case.

    I think the Smooth Hound transmitter is too big......

    I see a lot of apples vs. oranges comparisons here: Orange CR120, MXR EVH 5150 pedal, Boss Katana, Attax 80, Marshall Reverb 30, Vox AC4 TV, even a Fender HR Deville ML!!

    The only comparison that makes sense is the one with the Diago Little Smasher......... And maybe with the Bax Bangeetar.

    Not really new gear, but I found one and thought it would be worth bringing home with me. This one has the Maxon circuit board and a TA75558 chip. Sounded really good to me, though I think I may have overpaid, given the condition.

    What's so special about this TA75558 chip?

    Bought a SD Power Stage 700 to complement my two Mesa Thiele cabs with EVM12L. Just put a Carl Martin Plexitone in front........ pure evil heaven!!

    Nice detail about the PS-700: it has an Ice Power 700 watt (@4 ohm) stereo module and power supply in it. No, it's not very cheap but it has a lot of earpearcing power, a nice 3-band EQ and a switchable speakersimulater per channel. And above all, it's very compact and lightweight. I'm happy.

    pamplemousse What is your target budget for the cheaper SM58 alternative? Knowing that might help dial in the suggestions a bit more?

    DML I see your point & imo handling cheaper performance mics at a store is totally worthwhile as in some cases they look decent in photos etc but just feel super fragile and scream poor build quality in person. Actual performance though is hard to test. He may find one that sounds great on his voice in the shop (with whatever is being used for monitoring there.. thats a whole other can of worms) and the price is right on it, only to find that it gets totally lost in the noise of rehearsal requiring massive eq tweaks (does that make it the wrong mic?).. or maybe it loves to feedback like a screaming banshee because it's rejection characteristics don't suit their needs in real use.. Imo the shop test could be very misleading is all I'm saying :)

    The boring 58 is obviously far from the only choice, but its a relatively safe one with very well known performance characteristics (for good or bad), and proven reliability at a pretty fair price. I'm sure there are cheaper and decent 58 alternatives out there that will suit the OP's humble needs so I'm interested see what people recommend.

    I disagree on the first part. The mic is an extension of your voice, same as your guitar and amp (or KPA) is an extension of your playing. Sure, it becomes a bit important when it comes to performance but that's exactly the same with other instruments. I guess you're are choosing a guitar/ amp/ sound that suits your taste and after that you start to worry (or not) if it fits in the noise of rehearsal.

    Nevertheless, it's very strange to blindly go for a SM58 (or clone) when there are a lot of other mic's in the same pricerange.

    I.e. I'm using a EV PL80 since my Beta58 has been stolen. Great mic, less feedback sensitive than the Beta58 and cheaper.

    One of my favorites is the Sennheiser E865, but that's a condenser mic.

    The SM58 is a 52 year old design that has never been (or slightly) updated. Yes, it somehow became "the standard" but only because of the build quality ("Don't have a hammer to put that nail into the drumriser? Well, in that case take the good 'ole SM58!") in the first place and "it sounds okay" in a lot of cases. But to me "okay" is not enough and as I said before, there is a great choice of other mic's in the same pricerange.

    pamplemousse Maybe it's an idea to order five (or more) mic's at Thomann and try them in your own rehearsalroom. You know you have a 30-day-cash-back-guarantee at Thomann. If one of them is your best choice, you can send the other four back at no charge.

    Please, go to your local musicstore and try some mic's that are within your budget. To choose a SM58 ("because it's the best bang for the buck") is a stupid choice. You're playing guitar? What guitar(s) are you playing and why did you choose them?

    Yes, it's the same as choosing your guitar. Your voice is an instrument as well, you must get the mic that suits your voice at best.

    In the days I thought I could here a big difference between two 12AX7's, between guitarcables, between a lot of bla bla bla, I used Ernie Ball Super Slinky's exclusively. Now I use one of the cheapest strings available: from supermarket Lidl: 5 sets for € 5,99. Each set contains an extra D. A few years back I had the same discussion on another forum which resulted in a small test: Dean Markley strings versus Lidl strings - both on the same guitar, a fresh and new set of strings.
    You can listen to it on Soundcloud. 0.00 - 1.00 = Brand A; 1.11 - 2.05 = Brand B. Can you tell which one is which?

    Moderator Notice:

    In most cases, Soundcloud uses a bandwidth of only 128 kbps. As a result, what you hear isn't free of artefacts, especially the high end. For critical listening and also product comparison, please keep that in mind. Users who setup a comparison should use linear wave files and supply dropbox links.

    Did you set the output settings on the GT-1000 to "Katana xxxxxxx"?

    The colors of CTL switches are pretty much the same as the colors of the Boss stompboxes, so chorus = lightblue, delay = white(ish), flanger (and other mod effects) = purple, distortion = orange, and so on.

    Wow, M_M, that's a big story!!

    Here's the deal:
    The past 25 years I've played for almost 13 years on Koch amps exclusively, after that I've had a Mesa Triple Rectifier for more than 10 years. So one amp is enough for me to produce all the tones I have in my head. I think if you know your guitar and amp like the back of your hand and you are aware of your and your gear's abilities, you can get any sound you want. At the same time I had all kinds of digital guitarstuff, sometimes to complement the tube amp, sometimes stand alone. Roland, Boss, Rocktron, Line6, Yamaha, you name, I';ve had them all, just like you. But the digital stuff came and went, just like you described. The KPA for me is still a digital thing and doesn't compare with i.e. a Mesa Triple Recto with Recto 4x12.
    I've said it all before at those comparisons (KPA vs. "the real deal"....... bla bla bla), if you want 100% tube sound, buy a tube amp. If you want someting that comes very close, buy a KPA. If you want a 100% 4x12-sound, buy a 4x12. And so on.

    Why are you talking about "convenience"? Till yesterday I've had a KPA rack in the band-truck, including crew that always sets things up, and a KPA toaster at home/ rehearsal. How much more convenient can it get? :D Again, as far as the KPA can go, it can sound pretty tube-like, but if you want 100% tube sound, buy a tube amp.

    In the end we are all guitarists, so we change our gear from time to time. The KPA isn't the last thing in life, it just isn't.
    So I predict that most of you will play something different within 5 years 8o

    Good luck, DML.

    We'll see you when you eventually return, mate. ;)

    Thanks, MM!!

    Never say never but I don't think I will return to a KPA. Why invest € 2100,- when I can get my sound out of a € 999,- piece of gear?

    Probably the next step will be returning to a full tube amp again.