EWSEthan
Active member
Just an FYI - Used MOD 50s are very hard to come by and get snagged up very quickly. Good luck man. They also usually only go for $100-200 less than new price because of the crazy demand.
-Matt
-Matt
spakuloid
New member
FYI -
I will be selling my mint MOD 50 head in a week or 2 when my MOD 100 head comes in. Ordering these things takes 2-3 months. PM me for details. Head comes with footswitch, custom padded cover and 2 modules of choice out of what I have. Buy an Egnater and then you can stop thinking about getting a better guitar tone and start concentrating on stuff that actually matters like writing hit songs.
I will be selling my mint MOD 50 head in a week or 2 when my MOD 100 head comes in. Ordering these things takes 2-3 months. PM me for details. Head comes with footswitch, custom padded cover and 2 modules of choice out of what I have. Buy an Egnater and then you can stop thinking about getting a better guitar tone and start concentrating on stuff that actually matters like writing hit songs.
EWSEthan
Active member
:|::QBB:
This is so true! For the first time in my life, I dont think about changing anything about my rig. Its incredible. The only thing I keep thinking about my tone is that its so damn good!
-Matt
spakuloid":1a8e7 said:Buy an Egnater and then you can stop thinking about getting a better guitar tone and start concentrating on stuff that actually matters like writing hit songs.
This is so true! For the first time in my life, I dont think about changing anything about my rig. Its incredible. The only thing I keep thinking about my tone is that its so damn good!
-Matt
R
richedie
New member
Only thing that scares me is getting lost in the mix. Marshalls and Mesas have cut. I know Bruce smoothed out his tones to get rid of some of the harsh upper mids, etc. However, those are some of the frequencies that give you cut.
Jeff Hilligan
Well-known member
The SL2 will cut in the mix no problem! I am with Spak and E...just look at my quote in my sig!
EWSEthan
Active member
:|::QBB:
Ive heard alot of Mesas and Marshalls get buried in a mix. Alot of guitar players (particularly in metal bands) dont know how to dial in an amp and cut their mids. Thats a recipe for disaster. Sure, it sounds killer when you jamming around in your bedroom, but try that on stage and all the audience is going to hear is drums, bass, and vox.
My previous amp was an SLO. Its notorious for cutting through the toughest mixes. Lets just say I havent noticed any difference with my MOD 50.
Worrying about cut should not be a factor in your decision thats for sure.
-Matt
richedie":2df08 said:
Ive heard alot of Mesas and Marshalls get buried in a mix. Alot of guitar players (particularly in metal bands) dont know how to dial in an amp and cut their mids. Thats a recipe for disaster. Sure, it sounds killer when you jamming around in your bedroom, but try that on stage and all the audience is going to hear is drums, bass, and vox.
My previous amp was an SLO. Its notorious for cutting through the toughest mixes. Lets just say I havent noticed any difference with my MOD 50.
Worrying about cut should not be a factor in your decision thats for sure.
-Matt
spakuloid
New member
If your sound is lost in the mix then you need to do a few things.
1. videotape and record your band constantly and have everyone listen back outside of rehearsal with critical ears. Then tell people to turn the fuck down who play too loud and hold them to it. Once you have consistent performances - you can stop recording everything and trust me here - you will be a better band that everyone thinks sounds "tight".
2. mic your amp. Every time you play. You should be able to talk on stage. Even if you play Death metal. Stage volume should be controlled. Master volume amps need power soaks. This is 2007 - not 1967.
3. Get a dedicated sound guy. Or a friend you trust who knows the deal and walks around in front of the room/house and tells the butt fuck house sound guy to 'fix' your mix. And make sure he has the balls and knowledge so that can hop on the board and take over if need be. Every good band gets their own front of house eventually. It is simple quality control.
4. Buy yourself a powered monitor and get your own custom mix. When guitar players complain of 'cutting through a mix' it usually meeans they can't hear themselves. I have never heard a drunken chick concert goer say: "man I wish those fucking guitars were LOUDER..." Doesn't happen - will never happen. A soundguy who knows his shit will make a telecaster trough a toaster will cut through the mix.
5. Do more time searching live sound forums than guitar rig forums and understand why certain frequencies work the way they do. Phase with 2 guitar bands is a biggie. No "name brand" boooteek amp will help you here. This is pure math and understanding the physics of pushing air.
So buy whatever you want - but for my experience and whatever it is worth - I really dig the Egnater stuff. :smoker:
1. videotape and record your band constantly and have everyone listen back outside of rehearsal with critical ears. Then tell people to turn the fuck down who play too loud and hold them to it. Once you have consistent performances - you can stop recording everything and trust me here - you will be a better band that everyone thinks sounds "tight".
2. mic your amp. Every time you play. You should be able to talk on stage. Even if you play Death metal. Stage volume should be controlled. Master volume amps need power soaks. This is 2007 - not 1967.
3. Get a dedicated sound guy. Or a friend you trust who knows the deal and walks around in front of the room/house and tells the butt fuck house sound guy to 'fix' your mix. And make sure he has the balls and knowledge so that can hop on the board and take over if need be. Every good band gets their own front of house eventually. It is simple quality control.
4. Buy yourself a powered monitor and get your own custom mix. When guitar players complain of 'cutting through a mix' it usually meeans they can't hear themselves. I have never heard a drunken chick concert goer say: "man I wish those fucking guitars were LOUDER..." Doesn't happen - will never happen. A soundguy who knows his shit will make a telecaster trough a toaster will cut through the mix.
5. Do more time searching live sound forums than guitar rig forums and understand why certain frequencies work the way they do. Phase with 2 guitar bands is a biggie. No "name brand" boooteek amp will help you here. This is pure math and understanding the physics of pushing air.
So buy whatever you want - but for my experience and whatever it is worth - I really dig the Egnater stuff. :smoker:
G
gtr31
Well-known member
I totally agree with Spak .
I dont understand guitarist that want this 20 db bass boost ..
You have a bass player...
some amps just have ridiculous bottom end ,then people wonder why the sound like mud . it sounds great at low volume in a bedroom .but you have to readjust live .
I dont understand guitarist that want this 20 db bass boost ..
You have a bass player...
some amps just have ridiculous bottom end ,then people wonder why the sound like mud . it sounds great at low volume in a bedroom .but you have to readjust live .
MarcoR
Member
I have yet to meet a drummer who can play that quiet with an acoustic kit much less control anything to do with volume.
I use the B-man, SL2 and E'rect. No problems cutting through a mix and since I got the MOD50, nothing but praise about my new sound.
R
richedie
New member
Thanks bro! 
1. videotape and record your band constantly and have everyone listen back outside of rehearsal with critical ears. Then tell people to turn the fuck down who play too loud and hold them to it. Once you have consistent performances - you can stop recording everything and trust me here - you will be a better band that everyone thinks sounds "tight".
We have taped and recorded and we are really good about volumes and levels.
2. mic your amp. Every time you play. You should be able to talk on stage. Even if you play Death metal. Stage volume should be controlled. Master volume amps need power soaks. This is 2007 - not 1967.
Some clubs ask us to use stage volume and do not mike. What to do? With or without a power soak, I still find 100 watt amps sound better for my style turned down than a low volume amp turned up. The MOD 50 may be different. Maybe the low power switch works great for clubs.
Our drummer has a certain style of playing and I need to turn up to a certain level to be heard over his kit. Maybe this is a frequency issue but he is loud, bottom line.
3. Get a dedicated sound guy. Or a friend you trust who knows the deal and walks around in front of the room/house and tells the butt fuck house sound guy to 'fix' your mix. And make sure he has the balls and knowledge so that can hop on the board and take over if need be. Every good band gets their own front of house eventually. It is simple quality control.
We are working on getting a dedicated sound guy.
4. Buy yourself a powered monitor and get your own custom mix. When guitar players complain of 'cutting through a mix' it usually meeans they can't hear themselves. I have never heard a drunken chick concert goer say: "man I wish those fucking guitars were LOUDER..." Doesn't happen - will never happen. A soundguy who knows his shit will make a telecaster trough a toaster will cut through the mix.
I will say that I hear myself better on stage since selling my Line 6 Vetta.
Since going back to tubes, I have had much better luck hearing myself on stage. I have still had times when I was told I was too low in volume and to turn up by both sound men and the audience. Not sure if they were drunk.
5. Do more time searching live sound forums than guitar rig forums and understand why certain frequencies work the way they do. Phase with 2 guitar bands is a biggie. No "name brand" boooteek amp will help you here. This is pure math and understanding the physics of pushing air.
The frequencies are what I was talking about. I personally have not had issues cutting a mix with a Marshall or Mesa. I have not tested an Egnater live so i was just asking because it was a concern. Sounds like I can put it to rest.
So buy whatever you want - but for my experience and whatever it is worth - I really dig the Egnater stuff. :smoker:[/quote]
If I buy, it will have to be used. How do these compare to the Egnater TOL series? I hear the TOL 100 is brilliant
1. videotape and record your band constantly and have everyone listen back outside of rehearsal with critical ears. Then tell people to turn the fuck down who play too loud and hold them to it. Once you have consistent performances - you can stop recording everything and trust me here - you will be a better band that everyone thinks sounds "tight".
We have taped and recorded and we are really good about volumes and levels.
2. mic your amp. Every time you play. You should be able to talk on stage. Even if you play Death metal. Stage volume should be controlled. Master volume amps need power soaks. This is 2007 - not 1967.
Some clubs ask us to use stage volume and do not mike. What to do? With or without a power soak, I still find 100 watt amps sound better for my style turned down than a low volume amp turned up. The MOD 50 may be different. Maybe the low power switch works great for clubs.
Our drummer has a certain style of playing and I need to turn up to a certain level to be heard over his kit. Maybe this is a frequency issue but he is loud, bottom line.
3. Get a dedicated sound guy. Or a friend you trust who knows the deal and walks around in front of the room/house and tells the butt fuck house sound guy to 'fix' your mix. And make sure he has the balls and knowledge so that can hop on the board and take over if need be. Every good band gets their own front of house eventually. It is simple quality control.
We are working on getting a dedicated sound guy.
4. Buy yourself a powered monitor and get your own custom mix. When guitar players complain of 'cutting through a mix' it usually meeans they can't hear themselves. I have never heard a drunken chick concert goer say: "man I wish those fucking guitars were LOUDER..." Doesn't happen - will never happen. A soundguy who knows his shit will make a telecaster trough a toaster will cut through the mix.
I will say that I hear myself better on stage since selling my Line 6 Vetta.
Since going back to tubes, I have had much better luck hearing myself on stage. I have still had times when I was told I was too low in volume and to turn up by both sound men and the audience. Not sure if they were drunk.
5. Do more time searching live sound forums than guitar rig forums and understand why certain frequencies work the way they do. Phase with 2 guitar bands is a biggie. No "name brand" boooteek amp will help you here. This is pure math and understanding the physics of pushing air.
The frequencies are what I was talking about. I personally have not had issues cutting a mix with a Marshall or Mesa. I have not tested an Egnater live so i was just asking because it was a concern. Sounds like I can put it to rest.
So buy whatever you want - but for my experience and whatever it is worth - I really dig the Egnater stuff. :smoker:[/quote]
If I buy, it will have to be used. How do these compare to the Egnater TOL series? I hear the TOL 100 is brilliant
spakuloid
New member
We are way off topic. 
Look, you will eventually get to a point in your musical journey when you will stop taking every shitty gig you get and only play the shows where you can be sure that your sound is delivered with the least amount of variance - or - the most amount of control. Clubs or venues that don't mic instruments are notorious for having shitty - or at best inconsistent sound. This is every entry level club across the country where you usually get your first gigs. I'm guessing you are beyond that since you are talking about buying an amp that is the cost of some people's used car. Of course if you are the next Sex Pistols - fantastic. Rock out with your cock out and never look back. You'll need a time machine to get back to 1975 for this act to be new and edgy - but whatever... Call me when you get there.
Now - if you are the least bit into delivering consistent performaces - you will have to figure out a way to get your drummer to play consistantly and dynamically - and get your band's sound to come across without VOLUME being an issue. You should be able to rock out at a low volume. This is what great bands can do. I should say this is what PROFESSIONAL band can do.
And if Marco has never met a drummer that can play with balls at a moderate volume - he has never played with a professional level drummer. I know of several here in L.A. - and I can tell you that any drummer worth his salt - professional or not - should be able to adjust his volume. It is a trained skill - just like anything else.
ANY AMP YOU PLAY SHOULD CUT THROUGH A MIX - PROVIDED THERE IS A MIX TO BEGIN WITH. If your guitar - the most obnoxious sound in music - to paraphrase the great Frank Zappa - can't cut through - only 2 things are possible:
1. You don't have a mix - you have a band that is just playing loud together at the same time and everyone is guessing what their individual volume level should be. This is not a mix. This is called AMETURE NIGHT.
or
2. Your amp is off.
Look, you will eventually get to a point in your musical journey when you will stop taking every shitty gig you get and only play the shows where you can be sure that your sound is delivered with the least amount of variance - or - the most amount of control. Clubs or venues that don't mic instruments are notorious for having shitty - or at best inconsistent sound. This is every entry level club across the country where you usually get your first gigs. I'm guessing you are beyond that since you are talking about buying an amp that is the cost of some people's used car. Of course if you are the next Sex Pistols - fantastic. Rock out with your cock out and never look back. You'll need a time machine to get back to 1975 for this act to be new and edgy - but whatever... Call me when you get there.
Now - if you are the least bit into delivering consistent performaces - you will have to figure out a way to get your drummer to play consistantly and dynamically - and get your band's sound to come across without VOLUME being an issue. You should be able to rock out at a low volume. This is what great bands can do. I should say this is what PROFESSIONAL band can do.
And if Marco has never met a drummer that can play with balls at a moderate volume - he has never played with a professional level drummer. I know of several here in L.A. - and I can tell you that any drummer worth his salt - professional or not - should be able to adjust his volume. It is a trained skill - just like anything else.
ANY AMP YOU PLAY SHOULD CUT THROUGH A MIX - PROVIDED THERE IS A MIX TO BEGIN WITH. If your guitar - the most obnoxious sound in music - to paraphrase the great Frank Zappa - can't cut through - only 2 things are possible:
1. You don't have a mix - you have a band that is just playing loud together at the same time and everyone is guessing what their individual volume level should be. This is not a mix. This is called AMETURE NIGHT.
or
2. Your amp is off.
R
richedie
New member
LOL! NO, we have been playing for a long time and all are experienced. We just have one place we play as a favor - it is a smaller place and we do mostly covers. It is a good time, but the stage is incredibly small and I will start using a much different rig for this gig going forward, possibly a combo of some sort.
The drummer is the youngest in the band and is a great player but we are slowly getting his volume under control. At rehearsal we have had him tone it down and he has been able to do just that. However, I think at gigs he sometimes falls back into old habits.
One thing we all try to do is not step on each other in the mix, find where we all sit, so to speak. Our current band is two guitars, bass, keys, vocals and drums. We all have full time day jobs so it is more a passion and hobby....but we try to be a great local band. The current lineup hasn't been playing together for too long but I can see the chemistry forming and things starting to happen in the writing process and during rehearsals and gigs.
I think a major problem now is consistency. I see times at rehearsal when we are too loud and other times the volume/mix is just about perfect. We are fairly certain we found a good sound man who does know our sound so we will see how that pans out in the end.
We have a large amount of gear at the rehearsal studio owned by the other guitarist, but not much of it makes it out to gigs. I try to take as little as possible to gigs these days.
The drummer is the youngest in the band and is a great player but we are slowly getting his volume under control. At rehearsal we have had him tone it down and he has been able to do just that. However, I think at gigs he sometimes falls back into old habits.
One thing we all try to do is not step on each other in the mix, find where we all sit, so to speak. Our current band is two guitars, bass, keys, vocals and drums. We all have full time day jobs so it is more a passion and hobby....but we try to be a great local band. The current lineup hasn't been playing together for too long but I can see the chemistry forming and things starting to happen in the writing process and during rehearsals and gigs.
I think a major problem now is consistency. I see times at rehearsal when we are too loud and other times the volume/mix is just about perfect. We are fairly certain we found a good sound man who does know our sound so we will see how that pans out in the end.
We have a large amount of gear at the rehearsal studio owned by the other guitarist, but not much of it makes it out to gigs. I try to take as little as possible to gigs these days.
spakuloid
New member
Yeah - good drummers are few and far between. Who wants to lug all that crap around wihtout getting paid? Most drummers I know can play paying gigs every night of the week here - primarily because they know control, volume dynamics, have good chops and most importantly can keep very good time. Solid time players beat flash any day of the week.
A good sign of a great drummer is that they like play to a metronome click in their ear - at least at rehearsals. I've seen it many times. We had a sub drummer last night and he used a metronome that was programmed by our drummer. And we are a cover band that plays over 60 songs a night.
A good sign of a great drummer is that they like play to a metronome click in their ear - at least at rehearsals. I've seen it many times. We had a sub drummer last night and he used a metronome that was programmed by our drummer. And we are a cover band that plays over 60 songs a night.
R
richedie
New member
That Mesa Roadster makes it hard to decide!
R
richedie
New member
The Egnater is the most tempting by far but I have never been a huge midi guy. I like the real time control and ease of basic pedals. I hate the thoughts of having to use an effects rack unit and program my patches.
Just selecting an effect or two and then kicking on the effects loop makes life easier. I wonder if Bruce would customize a pedalboard with that function. I think if the footswitch had more control like a Roadster or JVM, i would be on board.
Just selecting an effect or two and then kicking on the effects loop makes life easier. I wonder if Bruce would customize a pedalboard with that function. I think if the footswitch had more control like a Roadster or JVM, i would be on board.
EWSEthan
Active member
:|::QBB:
What does the Roadster or JVM footswitch do for the FX loop? Im not familiar with them.
The MOD 50 seems to be as midi as you want or dont want it to be. You can run a cable from the MIDI THRU on t he back to any rack gear if you want. However, I run ZERO rack gear with mine and as far as Im concerned I dont even think of it as "MIDI switching". I just look at it as a 4 button channel changing footswitch. There is zero lagtime as the MIDI implementation is top notch.
For FX, I have a pedalboard with all my stuff on it (Im pretty minimal though - phaser, wah, delay, od, and flanger or chorus). I run everything out front except the delay, which is a Boss DD-20 set to +4db input level. I run it in the serial loop and it sounds incredible.
Do you basically want to be able to turn the FX loop on or off? Since you said you are a pedal guy, why not just put all of your pedals that would go in the loop in a true bypass loop on your pedalboard and effectively turn the loop on or off that way? The loop itself is fantastic and I notice no change in tone when using it.
-Matt
richedie":31a6b said:
What does the Roadster or JVM footswitch do for the FX loop? Im not familiar with them.
The MOD 50 seems to be as midi as you want or dont want it to be. You can run a cable from the MIDI THRU on t he back to any rack gear if you want. However, I run ZERO rack gear with mine and as far as Im concerned I dont even think of it as "MIDI switching". I just look at it as a 4 button channel changing footswitch. There is zero lagtime as the MIDI implementation is top notch.
For FX, I have a pedalboard with all my stuff on it (Im pretty minimal though - phaser, wah, delay, od, and flanger or chorus). I run everything out front except the delay, which is a Boss DD-20 set to +4db input level. I run it in the serial loop and it sounds incredible.
Do you basically want to be able to turn the FX loop on or off? Since you said you are a pedal guy, why not just put all of your pedals that would go in the loop in a true bypass loop on your pedalboard and effectively turn the loop on or off that way? The loop itself is fantastic and I notice no change in tone when using it.
-Matt
EWSEthan
Active member
:|::QBB:
Yeah, thats what I thought too. Thats why I suggested the true bypass loop! He can put the true bypass loop in the MOD 50 FX loop. Then, he can switch the entire loop in and out of the FX loop at will with whatever pedals he decides to turn on/off before doing so.
-Matt
donbarzini":6f7a6 said:
Yeah, thats what I thought too. Thats why I suggested the true bypass loop! He can put the true bypass loop in the MOD 50 FX loop. Then, he can switch the entire loop in and out of the FX loop at will with whatever pedals he decides to turn on/off before doing so.
-Matt
R
richedie
New member
Thanks guys! I have always been a very minimalistic guy when it came to pedals so this is new to me. I don't want to go the midi route with programming patches and stuff....just pedals.
However, I like to be able to stage or have my tone ready. For example, I can have my reverb/delay and or chorus on and ready to go, all I have to do is turn on the effects loop. Who knows, maybe I can streamline my effects even more by learning to only use a few rather than as many as I have begun using.
Edumicate me, what is the true bypass loop.
However, I like to be able to stage or have my tone ready. For example, I can have my reverb/delay and or chorus on and ready to go, all I have to do is turn on the effects loop. Who knows, maybe I can streamline my effects even more by learning to only use a few rather than as many as I have begun using.
Edumicate me, what is the true bypass loop.
EWSEthan
Active member
Check out:
http://www.loop-master.com/product_info.php?cPath=21&products_id=133
Im with you man. I tried to do the rack thing. It just aint for me! Now, as for true bypass loop. All it is is a little switch on the floor that has an in, out, and two extra jacks to put stuff in its loop. So, say you wanted your chorus and delay stompboxes to be switched in and our of your FX loop simultaneously. Your floor setup would be like this
FX Loop SEND -> True Bypass Loop IN
True Bypass Loop SEND (or whatever its called) -> Delay
Delay -> Chorus
Chorus -> True Bypass Loop RETURN (or whatever its called)
True Bypass Loop OUT -> FX Loop RETURN
A true bypass loop/switch is nothing but a switch to put/take whatever is in its loop in/out the signal path. So, when the true bypass loop is disengaged its equivalent to running a patch cable between your FX Loops SEND and RETURN. All the effects in the true bypass loop are OUT of the chain. Then, when you step on it to engage the loop. Voila! They are now in.
Of course you will have to manage which effects in the true bypass loop are on or off individually just like you do normally (by stepping on them!) but the true bypass loop will essesntially allow you to take then all in or out of the circuit at once.
Got it?
-Matt
http://www.loop-master.com/product_info.php?cPath=21&products_id=133
Im with you man. I tried to do the rack thing. It just aint for me! Now, as for true bypass loop. All it is is a little switch on the floor that has an in, out, and two extra jacks to put stuff in its loop. So, say you wanted your chorus and delay stompboxes to be switched in and our of your FX loop simultaneously. Your floor setup would be like this
FX Loop SEND -> True Bypass Loop IN
True Bypass Loop SEND (or whatever its called) -> Delay
Delay -> Chorus
Chorus -> True Bypass Loop RETURN (or whatever its called)
True Bypass Loop OUT -> FX Loop RETURN
A true bypass loop/switch is nothing but a switch to put/take whatever is in its loop in/out the signal path. So, when the true bypass loop is disengaged its equivalent to running a patch cable between your FX Loops SEND and RETURN. All the effects in the true bypass loop are OUT of the chain. Then, when you step on it to engage the loop. Voila! They are now in.
Of course you will have to manage which effects in the true bypass loop are on or off individually just like you do normally (by stepping on them!) but the true bypass loop will essesntially allow you to take then all in or out of the circuit at once.
Got it?
-Matt
R
richedie
New member
Thanks Matt! Got it.....and actually I remember someone else pointing this unti out to me a few months back. I completely forgot. This was a guy who decided to ditch his rack and go back to pedals and I believe he has the 4 looper or something.
Anyway, I just picked up a large Furman powered pedalboard, so I'll have to take a look to see how this will work. I think I need to make sure I have enough input/output ports to run the pedal board to the actual amp's effects loop. Not sure how that will all work.
Maybe I can download the Furman manual but I need to see how this would work. Essentially, I'll have a tuner, wah, chorus, delay, reverb and ISP Decimater. Too be honest, I may have the chorus before the amp so needing to turn the loop on at the turn of a dime may not be necessary. I should't allow that to make my decision on tone either but with our band I do need to get sounds almost instantaneously, especially flipping from heavy rhythm to chorused clean, with some reverb and delay. I may pick up one of those old Boss Reverb/Delay pedals because that would be less stomping required.
My H&K Switchblade is so nice in that the effects are built in and I can have patches set......like a digital amp or midi configuration.
Right now I have to get over my obsession with wanting a Mesa Roadster.
Anyway, I just picked up a large Furman powered pedalboard, so I'll have to take a look to see how this will work. I think I need to make sure I have enough input/output ports to run the pedal board to the actual amp's effects loop. Not sure how that will all work.
Maybe I can download the Furman manual but I need to see how this would work. Essentially, I'll have a tuner, wah, chorus, delay, reverb and ISP Decimater. Too be honest, I may have the chorus before the amp so needing to turn the loop on at the turn of a dime may not be necessary. I should't allow that to make my decision on tone either but with our band I do need to get sounds almost instantaneously, especially flipping from heavy rhythm to chorused clean, with some reverb and delay. I may pick up one of those old Boss Reverb/Delay pedals because that would be less stomping required.
My H&K Switchblade is so nice in that the effects are built in and I can have patches set......like a digital amp or midi configuration.
Right now I have to get over my obsession with wanting a Mesa Roadster.