Cheap,decent sounding practice amps. (2 Viewers)

[GO]

I think we might have a game changer! http://www.thomann.de/ie/orange_micro_terror.htm

WANT!!!!!!!!!!!

 

[Space]

I love l'amp.

 

[GARYXKNIFEDX]

Just got a Mustang II,and I have to admit it sounds great out of the box. Not even gone near the effects etc yet nevermind anything else.

Way better than the Cube etc.

 

[GARYXKNIFEDX]

I hooked it up and started messing around with the options. I'd have loved something like this years ago,but i'd never have afforded it. I'd probably be a very different guitar player now too.

 

[GO]

I see they have USB output...very handy that

 

[GARYXKNIFEDX]

Indeed,I was only using the very basics,but connecting to the computer gives way more options and it's easier to user too.

 

[GARYXKNIFEDX]

Had this thing for a month now,and have to say I love it. There's a couple of sounds(Twin Reverb and British '70's) I play pretty regular that sound great (to me at least,)especially for the low volume I'm playing at in the house. Definately got what I wanted and more.

 

[sparse]

Had this thing for a month now,and have to say I love it. There's a couple of sounds(Twin Reverb and British '70's) I play pretty regular that sound great (to me at least,)especially for the low volume I'm playing at in the house. Definately got what I wanted and more.

Interesting! Tell me this. I'm getting annoyed with sound engineers telling me to turn down at gigs ('Wow, man, this isn't a stadium gig') so I'm either going to get an attenuator or a smaller amp with a master volume. Would you ever considering using something like the Mustang live?

 

[Space]

Interesting! Tell me this. I'm getting annoyed with sound engineers telling me to turn down at gigs ('Wow, man, this isn't a stadium gig') so I'm either going to get an attenuator or a smaller amp with a master volume. Would you ever considering using something like the Mustang live?

Fuck that shit, it's their job to do the sound not to tell the bands what amps to use. It's not like they ever sort out a proper monitor mix either. That said we use a 30 Watt head which is much more manageable than a 100 Watt when it comes to stage volumes.

 

[GARYXKNIFEDX]

Interesting! Tell me this. I'm getting annoyed with sound engineers telling me to turn down at gigs ('Wow, man, this isn't a stadium gig') so I'm either going to get an attenuator or a smaller amp with a master volume. Would you ever considering using something like the Mustang live?

I doubt it,I'd have to be pretty desperate. It's good for what I needed it for. But there's no way modelling amps could replace the real deal. Why would (in this case) Fender make an amp so cheap that could replace several amps that cost a lot more for so much less. It sounds good,but not that good. It also doesn't really do feedback etc and wouldn't be as delicately responsive as say my Marshall JMP.

Sound engineers who tell you to turn down are not doing a good job at all. Best sound I ever played with was in Giro's. Funny enough I was never told to turn down there. In fact probably cranked more than anywhere else.


Having said that,it probably depends on the sound you are going for. I kinda don't really believe anything sounds bad,just bad for the job it's doing.

 

[GARYXKNIFEDX]

Unfortunately though,telling a sound man (how)to do his job will unlikely do the sound of your band any favours.

 

[ann post]

i disagree with all of you. play at the lowest possible volume on stage that you can still get your desired tone. communicate with the sound man about the monitor mix, unless there is a dedicated monitor engineer there is no way to get a good monitor sound.

think about it it like this, the engineers floor level volume is effected by the fact that your amp is at five, it means they cant turn anything down lower than the summed volume needed to blend with your amp. so the range of mixing (the whole band, not just you) is going to be between 5 and 10. if you can get the same tone at 2, then the range is between 2 and 10.

or in guitar language, its like someone came along and capped all the volume and tone knobs on your amp at half volume.

 

[ann post]

i disagree with all of you. play at the lowest possible volume on stage that you can still get your desired tone. communicate with the sound man about the monitor mix, unless there is a dedicated monitor engineer there is no way to get a good monitor sound.

think about it it like this, the engineers floor level volume is effected by the fact that your amp is at five, it means they cant turn anything down lower than the summed volume needed to blend with your amp. so the range of mixing (the whole band, not just you) is going to be between 5 and 10. if you can get the same tone at 2, then the range is between 2 and 10.

or in guitar language, its like someone came along and capped all the volume and tone knobs on your amp at half volume.

 

[ann post]

also, stadium acts are moving into using isocabs and cosmetic stage fronts now, basically 100% monitor.

 

[RED(tape)MENACE]

In the kind of real world venues with shitty or non-existent monitoring I see, I believe the best way for everyone to be happy is to get a good sound off the stage before the PA gets involved.

 

[Space]

i disagree with all of you. play at the lowest possible volume on stage that you can still get your desired tone. communicate with the sound man about the monitor mix, unless there is a dedicated monitor engineer there is no way to get a good monitor sound.

think about it it like this, the engineers floor level volume is effected by the fact that your amp is at five, it means they cant turn anything down lower than the summed volume needed to blend with your amp. so the range of mixing (the whole band, not just you) is going to be between 5 and 10. if you can get the same tone at 2, then the range is between 2 and 10.

or in guitar language, its like someone came along and capped all the volume and tone knobs on your amp at half volume.

Eh would it not be more along the lines of having your amp stuck between 5 and 10? Also you've missed an imo important re stadium gigs they have an engineer that works with them day in day out so knows their sound and will make them sounds good off stage and on so what they use is a mute point. Personally I like the guitar amp loud enough on stage so that I can hear it from the far side of the drums, not necessarily much louder but audible none the less. If the sound person can't work with that they shouldn't be working rock venues at all.

In the kind of real world venues with shitty or non-existent monitoring I see, I believe the best way for everyone to be happy is to get a good sound off the stage before the PA gets involved.

That's pretty much it really. I like to refer people to the term sound reinforcement ie re-enforcing what's already there not taking over and making the band sound how you want them to.

 

[GARYXKNIFEDX]

In the kind of real world venues with shitty or non-existent monitoring I see, I believe the best way for everyone to be happy is to get a good sound off the stage before the PA gets involved.

That's it exactly,but I've definately encountered more than a few soundmen who ask for guitar to be so low it can't be heard on stage. and then,they can't give you any in the monitor.

but we've had this discussion many times before.

 

[ann post]

Eh would it not be more along the lines of having your amp stuck between 5 and 10?

lf you do sound for a band and the p.a. is borderline peaking to get on par with backline the mixing range ends up along the lines of 9 being effectively being 1 and 10 being 2. so in terms of the range available to improve the front of house is essentially 1 - 2. thats why i'd phrased it such, i cant rise anything more than '2' above the level of the mix being provided by the band, therefore i have to mix everything on stage with 1/5th of the range. Including the monitor mix. I dont mind peaking my P.A. a tiny bit, but if it was my bread and butter i'd have a lot more concerns about even hitting the orange lights four nights a week, which is really about 6-7 on most desks.

 

[ann post]

In the kind of real world venues with shitty or non-existent monitoring I see, I believe the best way for everyone to be happy is to get a good sound off the stage before the PA gets involved.

sure, a residency or two in portadown under your belt then monitoring does become the stuff of dreams. I'm bad at expressing it, but my ideal scenario (only personally) is essentially hearing front of house through the monitors. the way this will happen is by there not being amp cockfights going on on the stage.

 

[sparse]

Well I'm happy to give Sound Engineers more control, I do realise that by me turning down does give them more scope to use the P.A. Unfortunately my amp is a non master volume so anything below 2 and the tone dies. It really just depends on the engineer that you get, some are cool about it, some aren't. The ones that aren't make my life hell and generally make me sound like i'm playing banjo in a rock band. I'm going to get an attenuator and if I still have problems I'm going to shove that attenuator up their ass.