Hey guys, I play primarily 7-string. Live, I play into a Line 6 Pod HD500 run through the effects loop of a Bugera 333 Infinium and into a Kustom 4x12. I use the same setup when recording, but from my line out directly to recording software which runs the cab simulation. I noticed that my recorded sound, when played on a nice audio system, sounded absolutely killer compared to out of my cab.
I'm fairly sure this is because of the Cab lacking the girthy, fat bottom end subwoofers provide. My band currently plays without a bassist - and call my crazy, but I'm considering switching to a 10 string to fill in an occasional bass line and basically play lead guitar/bassist. Even if I stick with the 7, there's definitely something missing with my live sound. What would be the easiest way to get some of that bottom end without spending too much? I feel like I'd need some sort of splitter device that could do a high pass on one output and a low pass on the other, and shoot each signal to the appropriate speaker. Custom Built Soloist w/ Invader & Sustainiac - Douglas Scope 725 - Douglas Grendle 727 - Squier Affinity Series Fat Strat Electric Guitar - Dean Vendetta XM Bugera 333 Infinium - Kustom 120 Watt Cab - POD HD500 - Ibanez V70 Acoustic. I'm not sure what he's doing exactly, but take a look at how Charlie Hunter has his stuff set up: He's got pickups for both his 3 low bass (as in bass guitar) strings, and 4 higher treble (guitar) strings, put through 2 different amps.
He does play in a weird tuning that accommodates to that particular set-up though. Caution: This post may contain my opinion and/or inaccurate information. Current Rig: 2006 PRS CE-24 Mesa/Boogie Mark V Voltage S212 w/ V30's Strymon Timeline CMATMods Signa Drive TC Electronics Corona & Hall of Fame.
I'm not sure what he's doing exactly, but take a look at how Charlie Hunter has his stuff set up: Charlie Hunter He's got pickups for both his 3 low bass (as in bass guitar) strings, and 4 higher treble (guitar) strings, put through 2 different amps. He does play in a weird tuning that accommodates to that particular set-up though. But that means TS would have to completely alter his playing style.
You could always slap down a bass MIDI and then put it throught some VSTs and use that live/recording? Bi-Amping is much more common in the bass world, and as a bassist I can tell you that most of us have come to hate it. Playing live, it never seems to deliver the promised balance and clarity between the low and the high-to-mid ranges. It is also a royal pain in the ass to set up such a rig if you switch instruments during your gig. If you want to try it, you'll need two amplifiers (or a two-channel, splittable amp) and a crossover device to select the frequencies at which the bi-amping takes place.
Remember that your guitar is never going to be a bass, so try out any bass rig you are thinking about before you put down any cash. You may decide it doesn't deliver what you need. Frankly, I'd look at a few things before going for a bi-amped rig.
Start by checking out BBE's Sonic Stomp; either the pedal or the rackmount. It can make quite a difference. If you seek to bring the various frequencies more 'alive,' take a look at Aphex's Aural Exciter. They make a few models of it - stomp box and rackmount.
This thing used to be a staple in recording stuidos (maybe it still is?) and a lot of people have taken to using it live. Either one would be cheaper and easier to use than a bi-amped rig.
Whichever way you go, I wish you luck! 'Maybe this world is another planet's hell?' - Aldous Huxley. Add a 2x15 to your rig, have one speaker output go to the 412 and one go to the 215. Don't go and make it way more complicated than it needs to be. Your amp has two speaker outputs, right? What speakers does your Kustom have?
Probably not great ones, I'd assume. Find a used Line 6 Vetta/Spider Valve 412 (I'm assuming you're on a relatively low budget) with V30s, that might fix your problem on it's own.
Other good cheap cabs to look out for: Marshall 1960AV/BV, Crate Blue Voodoo 412 (don't know a lot about this, some had V30s, some didn't). What cab are you emulating on your PC? This is what I'm talking about. Best value cabs on the market IMO. Spin 'round carousel when your horse isn't screwed in. My band: (For fans of Death/Groove/Prog Metal) Ibanez RGA42E Ibanez S420 LTD H-301 Ibanez RG520 Peavey Predator USA Douglas Grendel 725 Line 6 Pod HD500X.
My band currently plays without a bassist - and call my crazy, but I'm considering switching to a 10 string to fill in an occasional bass line and basically play lead guitar/bassist. Seriously, just don't. You need to either have a bass player all the time or never have one and find some way to compensate. There's a local band around my uni who have a bass player who also does synth and every time he does a synth part the bottom end is noticeably missing from the band. As much as anything else as well; you won't ever get that bass sound out of a guitar rig. Guitar amps and even guitars through bass amps just don't sound the same; you need the extra scale length and bigger strings combined with the lower tuning to get the sound people recognise as being bass.
The guitar simply does not produce the range of frequencies you need, even with a massive boost to the low end. If you really want to get more bass out of your live sound though, I would suggest looking in to a change of cab. I've played a variety of cabs over the years and even with the same speakers you can get vastly different response based on the rest of the cab. Try getting hold of something like a Marshall 1960a; that's a hell of a cab! Another thing you might want to try, if it applies, is taking the wheels off your cab or laying it on its side so it's in contact with the floor, that can help with the low end but like I said, it might not apply to you. Its the Kustom 412 w/ Celestions.
We've honestly never used a bassist actively and we've done fine. I'm not objective to having one, but its really never been a critical part of our sound.
I was thinking about adding some subs to my rig, I just worry about possibly damaging my 4x12 cab with the extreme low ends. We play mostly Drop A, sometimes Drop G. Typically on long scale lengths, with strings specifically designed for the low register. My amp does have two output for cabs. Lets not make this about why we should or should not have a bassist, or how a $1,000 cab would sound better than my $200 cab and if said cab sucks or not. The question is how can I improve my bottom end live and properly route the frequencies to different speakers/cabs without breaking the bank.
Custom Built Soloist w/ Invader & Sustainiac - Douglas Scope 725 - Douglas Grendle 727 - Squier Affinity Series Fat Strat Electric Guitar - Dean Vendetta XM Bugera 333 Infinium - Kustom 120 Watt Cab - POD HD500 - Ibanez V70 Acoustic. Lets not make this about why we should or should not have a bassist, or how a $1,000 cab would sound better than my $200 cab and if said cab sucks or not. The question is how can I improve my bottom end live and properly route the frequencies to different speakers/cabs without breaking the bank. Your live sound would sound better if you weren't using a POS cab. That is the final stage before your signal hits our ears, you can't just ignore it/work around it. I don't know why you're so hellbent on doing all this weird shit and ignoring an obvious glaring flaw.
Spin 'round carousel when your horse isn't screwed in. My band: (For fans of Death/Groove/Prog Metal) Ibanez RGA42E Ibanez S420 LTD H-301 Ibanez RG520 Peavey Predator USA Douglas Grendel 725 Line 6 Pod HD500X. Well if you have to have no bassiest look at the new Schecter 4x12 cabs with 3 V30's and a sub-woofer But honestly come to grips your cab is a huge problem And if you play with bassist you will see why they are an integral part of a 'band' arrangement.
Guitar is designed as a midrange instrument, and bass designed to carry the low end 2002 PRS CE22 2013 G&L ASAT Deluxe 2009 Epiphone G-400 (SH-4) Marshall JCM2000 DSL100 Krank 1980 Jr 20watt Krank Rev 4x12 (eminence V12) GFS Greenie/Digitech Bad Monkey Morley Bad Horsie 2 MXR Smart Gate. 'Your live sound would sound better if you weren't using a POS cab. That is the final stage before your signal hits our ears, you can't just ignore it/work around it. I don't know why you're so hellbent on doing all this weird shit and ignoring an obvious glaring flaw.' I know that my cab is not the greatest by any means, but buying a $1000 cab to replace it is not a viable solution in my position. I've made that clear enough.
Quite honestly, they're all just boxes of wood with speakers in them and I wouldn't pay that much for one if I did have the money. My cab has 4 The Celestion Seventy 80 12' 80 Watt Speakers. I don't know so much about speakers to know whats 'better' or 'worse' than them, but I think calling them a POS might be a little extreme - especially since the 412MS that you use has Celestions in them, if I'm not mistaken. I actually like how my cab sounds in its midrange.
If you read the original post, you can see my question is regarding the extended range guitars, and the bass response, specifically. Lets try to be constructive. Instead of criticizing my gear, lets talk about what can improve my bottom end.without. dropping a grand. Custom Built Soloist w/ Invader & Sustainiac - Douglas Scope 725 - Douglas Grendle 727 - Squier Affinity Series Fat Strat Electric Guitar - Dean Vendetta XM Bugera 333 Infinium - Kustom 120 Watt Cab - POD HD500 - Ibanez V70 Acoustic. I know that my cab is not the greatest by any means, but buying a $1000 cab to replace it is not a viable solution in my position. Winrar trial version free download for windows 7. I've made that clear enough.
Quite honestly, they're all just boxes of wood with speakers in them and I wouldn't pay that much for one if I did have the money. I actually like how my cab sounds in its midrange.
If you read the original post, you can see my question is regarding the extended range guitars, and the bass response, specifically. Lets try to be constructive. Instead of criticizing my gear, lets talk about what can improve my bottom end.without. dropping a grand. (above edited by me) They ARE trying to be constructive: in the battle between $$$ and physics, physics always wins. If you can't find a bass player, you're better off saving your money to upgrade your amp than trying all these proposed workarounds. A better amp will, in all likelihood, extend the breadth and depth of tones you can deliver- important for getting that bass you seek.
I know it sucks that you can't do this right now, but them's the breaks. I'm in an analogous situation. My amp, while pretty good at letting me generate cool tones for blues, classic rock, new wave, jazz and other stuff, it is simply not capable of delivering the kinds of distorted tones I want for the heavier stuff I play. It won't mater what I do with what I have, a different amp will flat out be audibly superior for that purpose. So I'm saving up for an Orange.or some such. Sturgeon's 2nd Law, a.k.a.
Sturgeon's Revelation: “Ninety percent of everything is crap.” Why, yes, I am a lawyer- thanks for asking! Log off and play yer guitar! Strap on, tune up, rock out! 'you need a new cab' Well lets be honest.
A cab is just a wooden box with some speakers in it. There's nothing wrong with the wooden box I have already.
Could I achieve what I'm trying by swapping two of my speakers for G12K-100 s? They run $125 each. I have a decent connection and can get them for less, so that would be an economical upgrade. I'm no audio tech, so I don't know if its okay to run to Seventy 80s along side to G12K-100 s in a 412. They're both 8 ohms, but ones obviously 80 watts, the other is 100.
Is that feasible, and do you think there would be any issues, or improvement in sound at all? 'Okay Woody Harrelson' I'm not getting the reference, but I'll take this as a compliment. Custom Built Soloist w/ Invader & Sustainiac - Douglas Scope 725 - Douglas Grendle 727 - Squier Affinity Series Fat Strat Electric Guitar - Dean Vendetta XM Bugera 333 Infinium - Kustom 120 Watt Cab - POD HD500 - Ibanez V70 Acoustic. 'you need a new cab' Well lets be honest.
A cab is just a wooden box with some speakers in it. There's nothing wrong with the wooden box I have already. Could I achieve what I'm trying by swapping two of my speakers for G12K-100 s? They run $125 each.
I have a decent connection and can get them for less, so that would be an economical upgrade. I'm no audio tech, so I don't know if its okay to run to Seventy 80s along side to G12K-100 s in a 412. They're both 8 ohms, but ones obviously 80 watts, the other is 100. Is that feasible, and do you think there would be any issues, or improvement in sound at all?
'Okay Woody Harrelson' I'm not getting the reference, but I'll take this as a compliment. Lets be honest here. Cheapest way to solve this problem is to hire a monkey to slap a 5 string bass in between you fantastic playing. I'm sure it will complement you quite nicely. Much cheaper than said 400 cab that doesn't suck donkey dick. Quite honestly, they're all just boxes of wood with speakers in them and I wouldn't pay that much for one if I did have the money. I actually like how my cab sounds in its midrange.
If you read the original post, you can see my question is regarding the extended range guitars, and the bass response, specifically. Lets try to be constructive. Instead of criticizing my gear, lets talk about what can improve my bottom end.without. dropping a grand. You are beyond help. People have given you the best advice we can and you are not accepting any of it. I will say this one more time: You simply will not get the kind of extra breadth of frequencies you want from a guitar.
The guitar itself, not the cab or the amp or any EQ wizardry, does not produce the kind of low end you want. You can't get the sound you want out of an 8 string tuned to E because the guitar as an instrument simply does not vibrate that way. A new, better cab will bring the most immediate and cost-effective improvement to your sound.
All the fancy EQ tricks and signal splitting in the world won't be able to improve the construction and materials of your cab. Good day to you and good luck on your fools endeavor. My Signature. Lost to us in the great Signature Massacre of 2014. Could I achieve what I'm trying by swapping two of my speakers for G12K-100 s? They run $125 each.
I have a decent connection and can get them for less, so that would be an economical upgrade. I'm no audio tech, so I don't know if its okay to run to Seventy 80s along side to G12K-100 s in a 412.
They're both 8 ohms, but ones obviously 80 watts, the other is 100. Is that feasible, and do you think there would be any issues, or improvement in sound at all? Yes, that would help a lot.
But for less than the price of 4 K100s you could buy a used Line 6 SV cab, which I linked near the beginning of this thread, which you ignored. $300 for a GOOD cab with V30s, the industry standard speaker for all heavy and modern music.
Shit for the price of 4 K100s you can buy a used Mesa Rectifier 412, which IS the industry standard for all modern metal. Good gear is not as expensive as you're trying to make it out to be.
Spin 'round carousel when your horse isn't screwed in. My band: (For fans of Death/Groove/Prog Metal) Ibanez RGA42E Ibanez S420 LTD H-301 Ibanez RG520 Peavey Predator USA Douglas Grendel 725 Line 6 Pod HD500X. A cab is more than just a box with speakers in it. If that is your opinion then I pity the foo. Maybe you should do some research on things like: Dovetail joints Void Free (wood) Baffle construction Speaker frequency response I'm not saying the Krank cabs are bad but if you need more low-end then there are things you can do fix that.
Usually, with 4x12s people try to tame the low end not add to is. Putting some K-100s in there is a good idea.
Maybe try 2 for now in an 'X' pattern and go for there. The Seventy-80 speaker is OK but certainly not go-to speakers. Watts do not have to match up exactly but Ohms do. So if the ones you can try are 8 and you have 8's in there now then you should be good to go.
If you think a cab is nothing more than a 'wooden box and some speakers' then you really need to re-evaluate your tone and your knowledge of acoustics. I'm not trying to be condescending, but cabs are very important. Think about it like this: the sound is being PRODUCED by the cab. If the thing that produces the sound isn't of high quality, it won't get the job done very well. Also, seriously, get a bassist.
You're not going to get the fullness you want by sending a 7 string through a bass cab. A 7 string won't touch the frequencies you need to get the sound you're after, and getting a 10 string would be stupid, unless you're a RIDICULOUSLY technical and talented player.
A note on the 7- and 8- string thing: Charlie Hunter DOES get a convincing bass tone out of his. But his are custom guitars, with the lower 2 or 3 strings being actual bass strings going through actual bass pickups and with 2 outputs, so the bass signal goes through actual bass amps. IOW, he is effectively playing bass & guitar simultaneously. Sturgeon's 2nd Law, a.k.a. Sturgeon's Revelation: “Ninety percent of everything is crap.” Why, yes, I am a lawyer- thanks for asking!
Log off and play yer guitar! Strap on, tune up, rock out! A note on the 7- and 8- string thing: Charlie Hunter DOES get a convincing bass tone out of his. But his are custom guitars, with the lower 2 or 3 strings being actual bass strings going through actual bass pickups and with 2 outputs, so the bass signal goes through actual bass amps. IOW, he is effectively playing bass & guitar simultaneously. This is an acceptable hybrid.
If TS were to get an RG7321 (or something) and try this though, he wouldn't get nearly the same results. (I know you know this, I'm just adding to the conversation ). A note on the 7- and 8- string thing: Charlie Hunter DOES get a convincing bass tone out of his.
Carvin V3 Midi Setup On Sapphire Pro
But his are custom guitars, with the lower 2 or 3 strings being actual bass strings going through actual bass pickups and with 2 outputs, so the bass signal goes through actual bass amps. IOW, he is effectively playing bass & guitar simultaneously.
In my defence, I said this in the 2nd post in this thread, I just said it poorly Caution: This post may contain my opinion and/or inaccurate information. Current Rig: 2006 PRS CE-24 Mesa/Boogie Mark V Voltage S212 w/ V30's Strymon Timeline CMATMods Signa Drive TC Electronics Corona & Hall of Fame. I'll stand by my point that a cab is just a wood box. I highly doubt to identically sized cabs with different joint or wood types would have distinguishable differences in tone when loaded with the same speakers. I feel that the speakers make the difference in cab tone more than anything - not necessarily that the cab wouldn't, especially at low volume, but once you're blasting a wall of sound there are much more important factors than baffle construction, like the amp itself, speaker design, pickup design, etc.
Perhaps there is a blind test in order for that. I'm really not opposed to having a bassist. I just don't feel the need when I've achieved a satisfying bottom end on my recorded material already. Even if I do get a bassist, I'd still like to improve my sound.
It'd be silly not to. But thats enough of all that. Based off of everyone's feedback, I think the smartest choice would be swapping 2 speakers to start.
I'll have to give my guy a call, but I think it'll only run $175. Custom Built Soloist w/ Invader & Sustainiac - Douglas Scope 725 - Douglas Grendle 727 - Squier Affinity Series Fat Strat Electric Guitar - Dean Vendetta XM Bugera 333 Infinium - Kustom 120 Watt Cab - POD HD500 - Ibanez V70 Acoustic. I'll stand by my point that a cab is just a wood box. I highly doubt to identically sized cabs with different joint or wood types would have distinguishable differences in tone when loaded with the same speakers.
I feel that the speakers make the difference in cab tone more than anything - not necessarily that the cab wouldn't, especially at low volume, but once you're blasting a wall of sound there are much more important factors than baffle construction, like the amp itself, speaker design, pickup design, etc. Perhaps there is a blind test in order for that. You can tell a pretty big difference between different cabs with the same speakers. Go listen to a Orange PPC, Marshall 1960A, Marshall MG, Randall XL, Mesa Recto, Mesa Standard, Mills Acoustics, Vader all loaded with V30's and all most all will have a different sound. The size of the enclosure Is the biggest factor (the bigger the cab the bigger the bass response), but materials and construction type do make a difference. Bracing and baffle construction also play a key role in shaping/tuning a guitar cabinet. 2002 PRS CE22 2013 G&L ASAT Deluxe 2009 Epiphone G-400 (SH-4) Marshall JCM2000 DSL100 Krank 1980 Jr 20watt Krank Rev 4x12 (eminence V12) GFS Greenie/Digitech Bad Monkey Morley Bad Horsie 2 MXR Smart Gate.
Hey guys, I play primarily 7-string. Live, I play into a Line 6 Pod HD500 run through the effects loop of a Bugera 333 Infinium and into a Kustom 4x12. I use the same setup when recording, but from my line out directly to recording software which runs the cab simulation.
I noticed that my recorded sound, when played on a nice audio system, sounded absolutely killer compared to out of my cab. My band currently plays without a bassist - and call my crazy, but I'm considering switching to a 10 string to fill in an occasional bass line and basically play lead guitar/bassist. Even if I stick with the 7, there's definitely something missing with my live sound. What would be the easiest way to get some of that bottom end without spending too much? I've used Pods for years (currently the HD series) - the trick here is not to use a guitar cabinet (note that you're not using a guitar cabinet when you record) and instead use a wider range cabinet.
It's not necessary to biamp. You don't need the preamp section of the Bugera, either.
Here's what I'm using (for extended range Variax, bass.and. keyboards): Pod - Carvin HD1500 power amp - fEARless F115(s). The Pod works as a preamp, especially if you use the cab sims included in the Pod. The Carvin power amp is a rackmount 1500W amp ( ) that weighs just 9 lbs and costs $329 new. Into a single fEARless F115, the amp puts out 800W RMS, bridged, into 8 ohms (that's the fEARless f115 impedance, and the F115 handles that easily). Two fEARless F115s will easily handle the 1400W RMS bridged at 4 ohms available from the amp.
I should confess that I'm currently actually using the slightly older DCM1540L from Carvin, not the HD1500, but it has nearly identical characteristics. Don't panic when presented with 1500W - if you're getting into bottom end, you definitely need the power. About the F115s. These were originally designed as bass speakers, but are actually full-range flat response cabinets that happen NOT to fart out when running 800-900W with a 5-string bass. They use the Eminence Kappalite 3015LF 15' Low Frequency driver in a ported cabinet, along with a very high-power capable midrange 5' or 6' driver (either a Faital or an 18Sound) and a 1' tweeter.
These are quite lightweight (about 45 lbs), thanks in part to the neo-based drivers and a really intelligent build/bracing system. Compare that to the nearly 100 lbs of the 412 you're carrying now plus the weight of the Bugera head (another 35-50 lbs). The form factor of the F115 is interesting; you can use it horizontally as a tilt-back monitor, horizontally as a straight-up cabinet, vertically as a straight-up cabinet AND you can order it with a top-hat socket to put it on a speaker stand.
Another option for the speaker cabinet is the fEARful (as opposed to fEAR less) 15/6/1. This can actually be done as a DIY project, and was designed for exactly that. Speakerhardware.com has cut-sheet kits available that have all the components and a full set of pre-cut wood pieces. The kits can be had in almost any configuration, with all crossovers completely wired, drivers included, the correct glues, full instructions and even finishing materials (Duratex). Awesome cabinets. Or you can simply order the cabinet in your choice of finishes, grills, etc., from one of the authorized builders Unlike your current Bugera, these cabinets are designed to disperse evenly (a Bugera 412 beams anything above about 500Hz so that you sound completely different off axis from what an audience member directly in front of the cabinet hears).
You can tell a pretty big difference between different cabs with the same speakers. Go listen to a Orange PPC, Marshall 1960A, Marshall MG, Randall XL, Mesa Recto, Mesa Standard, Mills Acoustics, Vader all loaded with V30's and all most all will have a different sound.
Line up fifteen 4x12s filled with V30's and you won't hear MUCH difference in the sound, even with slightly different dimensions. The problem is that at any appreciable volume level, a 100-150W head isn't going to give you much bottom end from those cabinets; there isn't enough power, and the speakers aren't designed to do much below 100 Hz at all (and low E is 81 Hz). That's the real problem. The old joke is that as you turn up a Marshall, you turn down the bass. It becomes very muddy once you leave the bedroom and get onstage. 4x12s are, essentially, crappy solutions for extended range guitars, made even worse by the limits of 100W of tube power.
If you could have your own signature guitar what specs and features would you have? Brand: Model type: Body: Colour(s): Neck: Fretboard: Frets: Pickups: Bridge: Volume/tone knobs: Pickguard: Tuning keys: Hardware: Special features: (put some down if im missing any) Mine: Brand:Gibson Model type:Sg Body:Mahogany Colour(s):Red, black, white, green, pink:D Neck:Mahogany, rounded Fretboard:Ebony Frets:Medium, 22 Pickups:2 emg humbuckers Bridge:Tune-o-matic Volume/tone knobs:1 volume, 1 tone Pickguard:Black 3-ply Tuning keys:Grover tuners Hardware:Gold Special features:Signature on headstock, skulls and crossbones for frets.
Brand: Fender Model type: American Deluxe Telecaster Body: Mahogany with quilted maple surfaces Colour(s): Indigo, Maroon, Emerald, Amber, all semi-transparent with quilted maple. Neck: Maple, neck-through-body. Fretboard: Maple (the lightest colour possible) Frets: 24 XL Pickups: Seymour Duncan Invader Humbucker x2 Bridge: Fixed version of regular Tele bridge, with fine tuners and locking mechanism. Volume/tone knobs: Master volume, bridge volume, neck volume, contour, five-way toggle. Pickguard: Champagne-tinted stainless steel. Tuning keys: None (see special features) Hardware: Same as pickguard Special features: Hammer and sickle inlay at 12th fret only, body-coloured regular Telecaster headstock, signature etched on pickguard between pickups and printed on headstock, headless string system mounted behind nut (tuned from bridge), with headstock simply as a cosmetic, and finally a laser-guided action adjustment system, operated with toggle switches on the headstock and below the bridge.:D.
Brand: Jackson Model type: Custom Rhoads Body: Rhoads Body Material: Koa (not figured) Finish: Cobalt Blue w/White painted bevels Neck: Unfinished mahogany, neck-thru Fretboard: Ebony Frets: 24 XJ Inlays: Abalone Diamonds Pickups: bridge - EMG 81, middle - Seymour Duncan Hotrails, Neck - EMG 85 Bridge: Floyd Rose Pro (NOT SPEEDLOADER!) Volume/tone knobs: 1 Volume, 1 Tone Pickguard: White Tuning keys: Black LSR Headstock: Reversed Hardware: All Black Nut: Locking That guitar is quoted from jackson at roughly $5090 or for me £2,884.22. Brand:Gibson Model type:Les Paul Doublecut Body:Mahogany Colour(s):Black Chrome Plated Neck:Mahogany Fretboard:Ebony Frets:22 Inlays:Soviet hammer/sickle or North Korean hammer/sickle/brush, Gold Pickups:Seymour Duncan Pearly Gates neck, Custom Custom Bridge trembucker.l Bridge:Floyd Rose, black chrome, not the new speedloader Volume/tone knobs:metal, 1 volume, 1 tone, with volume/tone function engraved on Pickguard:none Tuning keys:Sperzel locking Hardware:gold Nut:locking Special features: Black-chrome plated, need i say more? BRAND: ESP or/ Kramer. MODEL: F300 / Imperial American Made(Old Style Explorer,ESP don't make it anymore) BODY: Mahogany COLOR: Black, Metalic Blue NECK: Maple FRETBOARD: Indian Rosewood (lightly scalloped below the 10th fet) FRETS: 24 INLAYS: Sme tribal inlay thru the lenght of the neck, or the dragon on PRS DIII PICKUPS: Dual EMG 81's BRIDGE: Floyd Rose or the newIbanez ZR tremolo. CONTROLS: Dual Volume, EMG EXG, 3 way switch TUNERS:Grovers 206C6 HARDWARE: Black Chrome NUT: Locking included with the tremolo system I would had chossen a Gibson Explorer but I played a friends and the neck feel is not comfortable for me. Body: Swamp Ash Jazzmaster 25.5 scale body with a bolt-joint. Color: Transparent Blue (cobalt blue) Pickguard: Plexiglass transluscent Neck: CBS Style Fender Headstock.
22 frets, All Maple Tuning Pegs: Sperzel Locking Bridge: Wilkinson Tremolo Electronics (here's where it gets fun!): Circuit 1: 3 Fender '54 Reissue Single Coils 5 way toggle + a switch to activate the neck+bridge, and all three at once. Circuit 2: 2 Seymour Duncan Hotrails (In between the three single coils) 3 Way Toggle Knobs: Three Dual Concentric knobs, and one regular knob. (Control Master Volume for circuit 1, and two tone knobs for circuit one) (2 tone, 2 volume for circuit 2) Setup: 5 springs in bridge.
Slap some 12's on there, and you've got a guitar! Each circuit has its own output jack that I would run either run through a little mixer so that they can go into one amp, or I would just run into two amps. Humbucker and single coil sound, all true to form! What more could I ask for?
I would say this guitar, and another version of it with a neck through would be great. Brand: Jackson Model type: SL-1 Soloist Body: Mahogany Colour(s): Adrenalize Neck: Neck-Thru Body, Quartersawn Maple or perhaps Ash.maybe Koa Fretboard: Flamed Maple or Rosewood Frets: 24 Jumbo Pickups: Dimarzio Super3 (bridge).DiMarzio HS2 Stacked (middle).Jackson Sustainer/Driver (neck) Bridge: Floyd Rose Double Locking Tremolo Volume/tone knobs: Volume, Tone, Intensity for Sustainer.Sustainer On/Off Switch Pickguard: None Tuning keys: Die-cast Jackson Standard Hardware: Gold Special features: Name on 12th Fret, Side Dots Inlays Only, Battery input in back for sustainer.
Wasn't this thread done very recently? Brand: ESP Model type: AX or F Body: Swamp Ash with maple top Colour(s): Black, Diamond plate (That's fun), dark green, trans red, etc. Neck: Neck-Thru, thus, ash Fretboard: ebony Frets:24 XJ Pickups: EMG HZ or Bill Lawrence L-500 Bridge: Floyd Rose double-locking tremolo Volume/tone knobs: Master tone and volume (with skull knobs!) Pickguard: None Tuning keys: Grover Hardware: Chrome or Black Special features: The inlay will be like on BC Rich signatures (the lightning-type one). There shall be a killswitch. It shall cost me no money. Brand: Ibanez Or ESP Model type: RG or MH series Body: Mahogany Colour(s): Dark Red, Cosmic blue, Transparent Neck: Maple Neck Thru - Wizard Neck Fretboard: Ebony Frets: 24 Jumbo Inlays: Custom Logo or luminous mushrooms.(dun ask.) Pickups: Dimarzio PAF Pro's/Tone Zone/Super Distortion or EMG 81's and 85's.
The album includes versions of the song, '', of 's '', '' by, '' by, '' by, and ''. Nouvelle vague band.
Bridge: Floyd Rose or Ibanez Edge pro Volume/tone knobs: Black Metal, 1 volume, 1 tone Pickguard:none Tuning keys:umm Dunno Hardware: Silver Nut: locking Special features: Name/Model Name on headstock and engraved on 12th fret. Brand: BC Rich Model type: Neck-Thru Warlock WHS 7 string Body: Ebony Colour(s): Natural (demonic face paintjob, I ve got a drawing somewhere) Neck: Ebony Fretboard: Rosewood Frets: 24 Pickups: Seymore Duncan Screamin Demon Neck, Custom Custom Bridge Bridge:Floyd Rose double-locking tremolo Volume/tone knobs: Tone and Volume for both with three way switch Pickguard: None Tuning keys: Black Chrome Hardware: Ditto Special features: Customized Rune Inlays Down the Length of the Neck and a kick. As long as were fantasizing I might even forego the pait job in favor of a sculpted body. Brand:Handmade by me Model type:Gimmegimme! Body:Sexy, with a sweet. Colour(s):White, prebloodstained Neck:Diamond Wood Fretboard:Diamond Wood Frets:None, Fretless baby!!!! Pickups: vintage gibson humbucker (neck), seymour duncan single coil (mid), seyemour duncan hot rails (bridge) Bridge: Brooklyn, no wait Washington, no no Golden Gate for sure Volume/tone knobs: 1 volume and tone for each pick up Pickguard: covered with invisibility paint Tuning keys:6 copies of the key to my house Hardware: Plasma, but not in plasma form.
Like frozen plasma or something Special features: lets see. Hm ok first, the guitar can be used as both a gun and a sword (somehow), automatic kill button (for anyone who is better at guitar than me, and thats most people), a built in cloaking device, built in time machine, and condom dispenser because if you got a guitar this sweet you know your gonna get laid alot. Brand: prs model: custom 22 color: black cherry, raspberry, or metallic red (doesnt really matter) neck: maple, natural fretboard: rosewood with custom inlays of my design frets: 22 of course pickups: #7 treble, dragon II neck bridge: prs hardtail volume/tone: 2 vol/one tone pickgaurd: anyone who puts one on a prs should be shot tuning machines: prs locking (nickel or gold, depending on finish) hardware: same as machines switch: 3 way with coil tap in tone knob special features: custom headstock inlay, if transparent finish then underfinish of logo around pickups. I WILL own/make this guitar someday. Based mainly on the Gibson SG supreme which i will also own at some point Brand: Gibson Model type: SG Body: Mahogany Colour(s): Mixed shades of midnight blue (light - dark) Neck: Maple Fretboard: Mahogany, ebony with chrome edges Frets: 24 Pickups: Gibson '57 Classic humbuckers Bridge: Tune 'O' Matic Volume/tone knobs: 2 volume and tone control, 3 - way switch Pickguard: None Tuning keys: Grover Kidney Hardware: Chrome Special features: My initials A.J.
On the headstock. (Or possibly 'Jonesy') Silver split - diamond inlays but specialised with a mini SG engraved in between each split- / = SG engraving, like this Comes with the standard gibson hardcase, but with Custom Signature on it as well. Brand: Ibanez Model type: RG Body: Alder Colour(s): Black and quilt maple Trans black and blue Neck: Maple Thru Fretboard: Ebony Frets: 24 Pickups: EMG 81/85 Bridge: edge pro but with the ability to lock for ease of downtuning Volume/tone knobs: 1 vol, 1 tone Pickguard: Chrome Tuning keys: a better quality version of those u get on peavy's the ones with a hole in the middle Hardware: Black/Chrome Special features: nothing really its just an upgraded RG although i'd like some sort of special inlays. Brand: Gibson Model type: LP Body: Mahogany Colour(s): Heritage Cherry, bitch. As AAAAAA as it comes.
Neck: Mahogany Fretboard: Ebony Frets: 22 Pickups: 81/85 Bridge: Tune-o-matic Volume/tone knobs: The usual Pickguard: Nopes Tuning keys: Locking Schaller/Grover Hardware: Gold Special features: Rawk or Brand: Superstrat Model type: Of Some Form (Charvel, Jackson, Ibanez, Kramer, whatever) Body: Basswood Colour(s): Black with some kind of graphic Neck: Maple Fretboard: Ebony Frets: 24 Pickups: EMG 81/89 Bridge: FR Volume/tone knobs: V/T/T (One push/pull) Pickguard: Hell no Tuning keys: Locking Schaller/Grover Hardware: Black matte Special features: Rawk. This is an idea I've been throwing around in my head for a while Brand:Mine Body:P bass Neck:Warmoth deluxe 5 Color:natural Pickguard:Transparent purple Fretboard:Rosewood Frets:Jumbo however many guitar sized frets I could fit on a base neck Pickups:3 humbuckers Bridge:6 string base sized version of the Fender Strat bridge Volume/tone knobs:3 volumes,3 tones 7 way selector switch Tuning Keys:Grover tuners Hardware:Gold Speical features 1.Coil taping on all 3 humbckers(the idea is you could suddenly have a SSH or SSS while still having an HHH) 2. Flame inlays 3. Star Wars volume and tone knobs 4.Left handed tremolo(right handed model). Brand: Shadowcaster Body:alder warmoth V body Neck:Warmoth 22 medium jumbo frets with reversed 50's stratocaster headstock Color: I'd eat a half-eighth of shrooms and draw something Pickguard:none Fretboard: pao ferro Pickups: HSS American deluxe fat strat setup but w/coil tap and lindy frailin mixing pot and mid boost Bridge:fender american deluxe dual point snychro Volume/tone knobs: layed out like vintage flying V but configured like a strat Tuning Keys: locking tuners Hardware:chrome or anodized black on the headstock in chrome it will say Fender Shadowcaster and my signature.
Carvin V3 Tube Set
If you could have your own signature guitar what specs and features would you have? Brand: Model type: Body: Colour(s): Neck: Fretboard: Frets: Pickups: Bridge: Volume/tone knobs: Pickguard: Tuning keys: Hardware: Special features: Brand: ESP Model Type: Rhoads V body shape. Mahogany, string-thru Color: See thru black Neck: Neck-thru. Maple, unfinished Fretboard: Rosewood. Vine inlays Frets: 24 XJ Pickups: EMG ZW set Bridge: Tune-o-matic Volume/tone knobs: 1 Master volume, 2 Tone, Killswitch. Pickguard: none Tuners: Sperzel or Schallers.
Some kind of 16:1 or 18:1 locking tuners Hardware: black. Brand: Ibanez Model type: 7 String Thru-Neck.
Body: Mahogany, SA series Guitar Neck: 25 1/2 ' scale, Small Trench (very small) in back of neck as a thumb groove. 7 Inline Headstock (carvin pointy) Colour(s): Transparent Black AAAAA Quilted maple. Neck: Super Wizard 7. Fretboard: Ebony no Inlay, Light Scalloping Frets: 24 Stainless Steel Jumbo's.
Pickups: Dimarzio Tone Zone 7,Air Norton 7. Bridge: Fixed bridge with String-thru and Graphite saddles. Volume/tone knobs: 2 concentric. Pickguard: None. Tuning keys: Schaller. Hardware: Kill switch, 2 Pickup selector switches (On/Tap/Off), Locking nut. Special features: Angled cut outs like on the lower cut out on PRS's, thinned out lower neck area (like AANJ).
Brand: Ibanez Model type: Custom RG Body: Basswood Colour(s): Various (multiple guitars. you.:lol: ) Neck: 5-piece Babinga/Maple Wizard I Fretboard:Rosewood Frets: 24 Pickups: DiMarzio Air Norton (neck) Blue Velvet (middle single) Tone Zone/Super Distortion (bridge, hum varies per-guitar) Bridge: Floating Trem/Fixed Bridge (pending guitar) Volume/tone knobs: 2, push-pull, knobs 1 volume and 1 tone Pickguard: NO!!!!!! Tuning keys: Grover Hardware: Gunsmoke Grey Special features: -Push-Pull knobs that tap the humbuckers -Custom 12th fret inlay (no inlays rather than that) -Kill switch You know, the more I think about this stuff, the more I realize I don't need anything but what I listed above.
Heres my customs Top Left: Gibson les pual custom w/dual emgs, floyd rose trmolo, 2 volume 1 tone Inside Top Left: Gibson les paul custom w/bullseye paintjob, dual emgs, 2 tone 2 volume Top Middle: Custom Jackson Soloist w/dual emgs (that single coil shouldnt be there), 2 volue, 1 tone, floyd rose trem, 5 way blade selector Top Inside Right: Cusom Ibanez RG w/ dual emgs, 1 tone, 1 volume, floyd rose trem, jackson inlays Top Right: Custom Fender Strat w/e 1 emg humbucker, 2 single coils, 1 tone, 2 volume, floyd rose trem Bottom: Same as other Jackson but with a maple fingerboard. Brand:Gibson Model type: '61 SG Body:Mahogany Colour(s):Psychedelic Neck:Mahogany, ultra-slim, sanded-off laquer Fretboard: Rosewood Frets:Medium Pickups:Gibson PAFs, Open Coil Seymour Duncan Distortion in Bridge Bridge:Tune-O-Matic Volume/tone knobs:2 vol, 2 tone Pickguard: Black ('61 style) Tuning keys:Grovers Hardware:Silver (aged) Special features: cool Brand:Fender Model type:Strat Body:Ash Colour(s):Black Neck:Slim taper, Vintage Maple, 70's style headstock Fretboard:Same Frets:Medium, 22 Pickups:2 gold Gibson Burst Buckers Bridge:Standard Volume/tone knobs:2 tone, 1 vol.
Pickguard:Tortoise shell Tuning keys:Vintage style Hardware:Gold /QUOTE. My current project guitar so far is my dream guitar: Brand: Aria Model type: XL-DLX Body: Alder Colour(s): Scarlet w/ black harware and Sapphire w/ satin chrome Neck: Maple Fretboard:Rosewood w/ shark-fin inlays Frets: 22 Pickups: DiMarzio 'Steve's Special' (Bridge), DiMarzio 'HS-3' (mid, single), DiMarzio 'The Breed' (neck) Bridge: Ibanez ZR (Floyd Rose clone.
But nicer) Volume/tone knobs: 1 volume, 1 tone, 5-way pup switch, 1 coil split switch controlling both hums Pickguard: none Tuning keys: Scaller Hardware: satin black/satin chrome Special features: allen wrench holder on the headstock. Brand: Jackson.
Model type: Double cut like the sl3. Body:Hmm I dont know. Alder perhaps. Colour(s): Amber sunburst, cherry red, satin black, shiny. Neck: Neck through. Fretboard: Maple. Frets:24 jumbo.
Pickups: Not sure, some sorta nice shs combo with sd's or dimarrios. Bridge:Floyd rose. Volume/tone knobs:One vol One tone, both silver. Tuning keys:Silver. Special features:Rotary pickup selector. Platinum tiny shark fin inlays. Tuning pegs 3 up and 3 down.
Water, shock and dropping too hard proof, also scratch proof. Brand: PRS Model type: Mc Carty Hollowboy special Body: Whatever wood is in it Colour(s): Blue, Red, whatever you like Neck: Slim and fast Fretboard: Whatevers the most expensive Frets: 24 Pickups: 3 Humbuckers, all coil tapped - and the piezo pickup, so it can sound like an acoustic Bridge: Some kind of good tremolo, that wont ever go out of tune, maybe a Bigsby?
Volume/tone knobs: 1 for each pickup, with coil taps on tone knobs Pickguard: No thanks Tuning keys: Ones that dont go out of tune Hardware: No thanks Special features: Already got plenty! One day i'll make something similar to this i hope, pretty much got everything i'd ever need in it, the mack daddy of guitars! I have got a couple. Brand:PRS Model type: Singlecut Body:Single-cut, Neck-thru, quilted maple top AAAA (on none SE models) Colour(s):Jet White (on SE models), Jet Black (on SE Models), Natural, see-thru Blonde, seethru Blue and see-thru black Neck:Maple, Slim and fast, W/ locking nut Fretboard:rosewood Frets:24 Pickups: Duncan JB-Jazz Bridge:Vintage trem, W/ Peizo Volume/tone knobs:2 vol, 2 tone Pickguard:none thank you Tuning keys:Grover Hardware:Gold Special features:Quited Maple top (on none SE models), killswitch, body contours.
The Save New Version is the best thing that's ever happened to me, music-wise in the past decade. I don't mean this as a back-handed compliment to Cubase. It's true with any DAW (trust me on this). The fact there is a simple 'Save New Version' in Cubase, without trying to be too fancy (i.e., delta versioning, like in Studio One, etc.), and the fact it's mappable to physical button that I can press with my left hand while my right hand is mousing around, is single-handedly allowing me to move forward with my music. Between Cubase crashing, plugins crashing and my over-clocked PC crashing, because ASUS can't seem make it simple to OC, even with all its attempts at simplifying over-clocking.
(My next MB may not be an ASUS). I have an equally taxed ASROCK that doesn't seem to blue-sceen, despite is terrible UEFI. But I digress. Computers, DAWs and all the moving parts exceed the most complex 'sequencer,' multi-track tape machine, SMTPE sync, and racks of external gear, I ever had in the 80's and 90's. Thank you for 'Save New Version.' I have Save New Version mapped to F3 on a backlit, Steinberg CMC AI controller.
F4 mapped to Mixdown. The fact the music keeps playing while saving in the background, is not lost on me. Again, thank you, Steinberg. It means a lot. Saving shouldn't come with any penalty.
If this feature ever goes away, I'm going back to 4-track demos using a drum machine and a keyboard. Somehow, I've only recently taken a shine to letting the DAW do the 'versioning.' I was on Cubase years ago (the 90's and again in early 2000's), but switched to Logic and then Studio One within recent years (and am now on Cubase again).
I think what put me off from it lately was Studio One's weird implementation where they try to be too smart of their own good. It does too much, by encapsulating the version in the file, itself. Sorry, Studio One, that's not a new version. While it may, technically, be a more proper database-style 'versioning' it's not a new version of the file. It completely defeats the purpose, in my opinion (if avoiding file corruption is a goal).
So, thanks for doing it old school and simpler, Cubase.
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For all the guitar sim banter going around.who here is actually is a tried and true guitarist that has mid/high grade amp gear? I've been playing for a long time (Longer than Justin Beiber's been alive) and have nice guitars and 2 nice real rigs. So for those 'real' guitarists. State your gear and your amp sim preference(you can name a few in pecking order if you like) and style of music. Gear: Rig#1: Ada MP1/Quadraverb/3630 Compressor/MosValve 500w/MXR Overdrive Pedal/Dimebag Wah Rig#2: Slightly modded JCM800/4x12 Cabinet/DimeBag Wah/Boss Digital Delay Guitars: Carvin TL60 with Duncan pickups, stock '93 Les Paul Standard, Charvel Fusion Deluxe w/DiMarzio SuperDistortion, Taylor 310CE and Ovation acoustics Amp sim of choice: GR5, AcmeBarGig, AmpliTube3, TH2 Style: Sort of Days of the New/Vertical Horizon/Depeche Mode/King's X in a Vita Mix. Guitars - Several R8 and R9 Les Pauls, class 5 Les Pauls, a couple strats, teles, EDS-1275, ES335, an Ibanez Jem (for the bar) and a PRS Custom 22.
For Acoustics - Guild D-55 6 string, Guild JF 65 12 string, a Ramirez 4NCWE classical and an Ovation mandolin. Amps: Various 100 watt Marshalls: '68 Marshall Plexi, Marshall Jubilee, Marshall JCM 800 2210 & a Vintage Modern running through 2 Marshall 1960B cabinets w/ Celestion Vintage 30s. Effects - Primarily a TC Electronics G-System, Dunlop 535Q wah. Favorite Amp Sim - I don't use any amp sims for recording.
To me, they're great for doing demos and noodling around, but they just don't capture the organic nature of a good tube amp. That said, I have (and enjoy) Guitar Rig, Overloud, Waves GTR3.5 and am considering Scuffham S Gear. Style - Usually a range from acoustic singer songwriter stuff to bluesy / 70's rockish stuff. Been playing for around 40 years, I guess. I play a stock '78 Les Paul Standard, a Tele of unknown vintage (not that old), and a Yamaha Pacifica Tele copy I found in a pawn shop for $35 that sounds fantastic and plays great. I've had every amp rig known to man, it seems; Marshalls, Mesa-Boogies, Rack rigs (ADA, etc.) but in the last few years I've gone back to using a small combo amp and just sticking an SM57 in front of it. Right now my weapon of choice is a Fender Hot Rod DeVille 2X12, great tone and my back doesn't hurt after the gig.
Easy to record, too. Guitar Rig 5 and OverLoud but I rarely use 'em, except sometimes for bass.
Been playing about 25 years or so. Have a small collection of Charvels and Jacksons ranging from the mid 1980s to the late 1990s. Solid guitars with good set-ups and electronics. Have sold the amps a long time ago as I don't play live and don't rehearse where I live. Use borrowed gear or what is supplied at the rooms when I actually bother to travel to rehearse anymore. I use Amplitube 3 with Recabinet 3 as my ampsim combination of choice. Have tried several other things and these work best for me.
Recabinet is nice because I don't have to manually sort through thousands of impulse responses that I got from Redwirez (?) anymore. Amplitube handles a wide variety of styles for me and it does 'heavy' tones convincingly (to my ears at least). It also does the clean tones decently, although I have heard a couple of others that I wish that I could afford to have around to play with. Or I could just buy the Amplitube Fender Collection. Play weird rock and metal music mainly with some other more drifting and dreamy stuff as well.
Not posting any links to any of my older material though as I prefer to keep a low (non-existent) profile currently. I do plan to post some songs to the sub-forum here once I finish some things up using X1d Expanded. Hockeyjx.who here is actually is a tried and true guitarist that has mid/high grade amp gear? I've been playing for a long time (Longer than Justin Beiber's been alive) and have nice guitars and 2 nice real rigs. So for those 'real' guitarists. State your gear and your amp sim preference(you can name a few in pecking order if you like) and style of music.
Here's a simple collection of stuff that I made as exercises in drum programming and guitar tone experiments. I like an in-your-face sound and I find it's easy to get with a small or medium size tube amp. One of my guitars and one of my amps: another guitar and another amp: some guitar and some amp: a guitar and a amp: guitar and amp: A AM strat and a Fender Champ: Amp sims seems to work best for highly compressed guitar tones that are destined to be layered in a mix in such a way as to seem more civilized even if they are intended to convey a heavy vibe. I think I prefer, for myself, the in your face tones. Best regards, mike. Totally in the box guy hear.
I've been playing guitar since I was 11 and I'll be 55 in a few months. My best ax is a PRS Artist II. I have a Marshall Valvestate S80 amp.
I can't remember the last time I used it. With Guitar Rig 5 Pro I have pretty much any amp,cab,effect or mic that I want and I can change after the fact if I don't like it. For me personally, the convenience factor far outweighs the benefit of recording the one amp that I own. Then again.I've never considered myself a tone freak There is a link to my souncloud stuff in my signature. The track 'Altered Light' was done without any mics.
I played the guitar and bass direct injected. The synth and drums are VSTIs. I recorded it the week I got NI Komplete 8. Current Amps: Bogner 101b JSX Lonestar C Mesa Mark IV EVH 5150 III Cabs: Marshall 4x12 1960 with Alnico Golds and Greenbacks Legacy 4x12 Greenbacks Bogner 4x12 V30s Guitars: 2 LP Standards 2 JS1000 2 Steve Morse MM 2 American Strats Gibson 339.several others So, I'm vary familiar with amps and guitars.
I've never been able to capture the guitar tones I hear live in my tiny studio. I've tried various amp sims including TH2. They all fall short to my ears. I just picked up a Kemper Profiling Amp.holy moly. The Kemper is exactly what I've been searching for. I can make direct recordings that sound incredibly like the real thing.I can't tell the difference.
Since I'm going direct I've eliminated the acoustics of the room and mic placement issues.what a pain in the arse that always was. A great tube amp needs to be pushed hard and loud to reach its potential. The Kemper can be played at any volume and sound great.even through headphones. I finally can record whenever I want and not worry about the neighbors or MY EARS and get great tone. Yep, I'm a Kemper fanboy now. Very cool stuff and sounds.
I have a promo video for my album that has features the gear listed below: You can see me play on video YouTube channel here: Here's the gear. Guitars: - Godin Guitar LGXT - Fender Strat with GK2 pickup - Hohner 'Steinberg' headless Pedals - Roland VG-99 with foot pedal - my iPad! Amp: - Carvin with stereo speaker setup Sims: - TH2, Amplitube, anything else Cakewalk has bundled, etc.
I'll try, and have used, anything and everything (whether amp sim or not) but prefer my VG-99 pedals over and above anything else Synkroton: Been playing since 1979 and I'm still crap. Me too, but it's a more a question of if you can move people and enjoy yourself (first and foremost). If was just about the playing then we'd not be using DAWs anyway.
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