It looks like you're new here. If you want to get involved, click one of these buttons!
Subscribe to our Patreon, and get image uploads with no ads on the site!
Base theme by DesignModo & ported to Powered by Vanilla by Chris Ireland, modified by the "theFB" team.
Comments
Couple that with the reality that I find modelled pedals nowhere near as good as the real deal, for me it's an easy choice. The Timeline does a better job of delays than the Helix could, my comp is great etc etc.. As ever YMMV, if I had to go silent stage it would be something like Lee suggests a ToneX One or that Strymon Iridium pedal or something with my pedalboard.
The yard is nothing but a fence, the sun just hurts my eyes...
I did silent stage for my last pub band (a couple of members of the group really wanted to do it) and it was a bit of an arse ache. We had a good PA and Mixer and it did sound good out front, but it wasn't a fun time and it was a lot of work getting it all reliable.
I saw the behind the scenes of Take That and it’s a silent stage, barring the drums. All Quad Cortex and Kemper. Even the musicians said they miss trouser flapping action but mostly because that’s what they’re used to.
My question to OP is - do you use in-ear monitors? Thats probably the single most relevant factor (and experience has taught me that not all venue sound engineers are created equal!)
(I have an EV PX12MP floor wedge that I can bring along if I need foldback.)
I've been gigging a pedalboard, two electrics, acoustic and a Matchless Lightning amp.
It isn't too much to carry- the main issue was when I really have to play at low level I don't want to be running the Matchless on 0.5 and have it sound shit.
But I won't know that until I get there and taking a Kemper rig instead means I will always use the modellingr ig which I don't like as much.
I think I've found a way around it for now- I've bought a cheap used Tonex pedal (not the small one) and I'll have that on the board with a profile of the Matchless for going direct to FOH for the smaller gigs and monitoring through the Matchless when I can get it to a decent level.
I can still bring my Lightning and just either use it or not.
So:
Guitar -> Pedalboard -> Tonex -> FOH
-> Matchless
This also allows me to use the pedalboard for the acoustic guitar- I can create an acoustic preamp profile in the Tonex.
If I hate the Tonex I will look at the Kemper Profiler Player.
Studio: https://www.voltperoctave.com
Music: https://www.euclideancircuits.com
Me: https://www.jamesrichmond.com
Football is rubbish.
I love my Kemper of course but there's just something about the DSL that reacted with my Les Paul in a way the Kemper can't, more natural warmth in the saturation and increased sustain.
Especially now I have a dedicated power amp I could use with it.
The yard is nothing but a fence, the sun just hurts my eyes...
Where my experience may differ slightly from others in the thread is that our drummer has an e-kit, so everything goes straight to the PA (other guitarist uses a Helix, bass goes direct too, but with a cab for some fill). We use 3 monitors across the front so get plenty of our sound coming back at us. Getting a good sound has definitely been a learning curve and I think has been massively helped by our drummer's e-kit as we never have the problem of the drums drowning everything else out, but despite all that I'm a little fed up with the preset tweaking, and I guess ultimately am not totally happy with my sound. That said, I want to continue to use the functionality of my FM9 and don't want to be micing a cab, so have been looking into the Suhr PT15IR. I think that would easily integrate with my FM9 via the built in reactive load and the 3 channels to provide my base tones....whether it'll have the edge and that "something" I feel I'm missing I don't know, but I'd like to find out. For certain songs I could still use the FM9's modelled amps, but reckon that I'd get through the majority of a gig with the 3 channels on the PT15 and a selection of effects from the FM9.....curiosity will probably get the better of me, although it's a hell of an outlay for what could potentially be marginal gains that nobody in the crowd will notice. On the other hand it could turn out to be something that I've been missing out on all these years....
I also got the Johnson J-Station in around 2000 for recording, and liked it, but never really used it in anger.
I still like the push of an amp and speaker, but it's always a pain to carry them.
We don't use IEMs, despite the band owning an XR-18, because it's one more thing to manage at the gig and we don't have anything loud onstage that we need to isolate from.
We might be doing a gig with a shared acoustic drumkit in a couple of months. If we do it, I suspect we'll use individual FRFRs as backline. But acoustic rock drumkits in the small venues we play are generally seen by us as bad news these days.
The Ui24 is a great desk for multiple stereo ears
Added a Matchless Nighthawk today.
A C30 still eludes me.
Soon.
Studio: https://www.voltperoctave.com
Music: https://www.euclideancircuits.com
Me: https://www.jamesrichmond.com
Football is rubbish.
Tonex has a Matchless model that is acceptable.
For gigs where I can't use an amp I can just use the pedalboard and switch between guitars, electric to acoustic etc.
When I can use the amp the Tonex output can be either a feed to the PA or I can just mic it up.
For what I paid (£250 used) I think it is a decent solution.
Certainly better than maintaining two separate rigs- a pedalboard/amp and a Kemper, especially when I might not know until I turn up to the gig if I can use the amp at decent volume or not.
Studio: https://www.voltperoctave.com
Music: https://www.euclideancircuits.com
Me: https://www.jamesrichmond.com
Football is rubbish.