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"Anybody can play. The note is only 20%. The attitude of the motherf*cker who plays it is 80%" - Miles Davis
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Comments
I reckon a combination of cost, lugging, venue space and potential phase issues are what put most people off doing it at a gig
Alot of good info here:
I found that when I tried overdrives and distortions with the Princeton the tone changed too noticeably, so it worked well for me.
The problem with using a single channel-switching amp, or a clean amp with a pedal, which is then mic'ed and fed to one channel on the desk, is that if the tone or volume jump when switched isn't quite right in the FOH mix - even if it sounds right to the player on stage - then the sound engineer will have to re-adjust the desk every time the player switches... which is a right pain!
You'll usually find that players who use both channels of a channel-switching amp actually have two amps set up, one permanently on each channel, for the same reason.
"Take these three items, some WD-40, a vise grip, and a roll of duct tape. Any man worth his salt can fix almost any problem with this stuff alone." - Walt Kowalski
"Only two things are infinite - the universe, and human stupidity. And I'm not sure about the universe." - Albert Einstein
Most struggle to Mic one amp so with two you’re just asking for a bad time.
It sounds great if you have a soundman that knows the band and the sounds, but if not it’s just a mismatched collection of volumes.
One of my favourite recent set-ups has been a Tone King Imperial for cleans and a Lazy J J20 for dirt. Again, fun.
I used to confuse a lot of them when I had a Marshall half stack for cleans and a pair of Fender combos for dirt.
"Take these three items, some WD-40, a vise grip, and a roll of duct tape. Any man worth his salt can fix almost any problem with this stuff alone." - Walt Kowalski
"Only two things are infinite - the universe, and human stupidity. And I'm not sure about the universe." - Albert Einstein