Are real amps on stage becoming a thing of the past?

  • Thread starter Thread starter JimAnsell
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Markedman said:
feedback is important and useful to me
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I don't use modelers so this is something that never occurred to me. Using controlled feedback to your advantage and I'm talking literal feedback not "it doesn't feel like a tube amp" EVH anyone? Could he have pulled off some of those sounds without the squeal from feedback standing in front of a speaker cab?

So serious question... How can you do that kind of thing with modelers, IR's and stage monitors with no cabs?
 
MadAsAHatter said:
I don't use modelers so this is something that never occurred to me. Using controlled feedback to your advantage and I'm talking literal feedback not "it doesn't feel like a tube amp" EVH anyone? Could he have pulled off some of those sounds without the squeal from feedback standing in front of a speaker cab?

So serious question... How can you do that kind of thing with modelers, IR's and stage monitors with no cabs?
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step on this thing

iu
 
Many players with modelers, G Govan, Metallica, etc, also use monitors. I use a Matrix SS amp and feed a pair of 1x12 guitar cabs and send a signal to front of house. I bypass the cab simulation/IR's to my amp and guitar cabs. I have been reading great reviews of the Red Sound MF10 FRFR cabs. This will allow you to use IR's.
 
I'd say amps on stage aren't what are disappearing but rather the mic'd cabs. More bands running into Torpedos and using impulses so it is more consistent night after night. Modelers seem to end up overseas for festivals and such where you want it up and down quick. But load box and impulses have gotten real amps back in the game.
 
I use both my Splawn QuickRod into a TwoNotes Captor X to FOH and my AxeFX II XL direct to FOH. Which goes to the gig is really down to how I feel about lugging gear. Feedback is a definite issue. I rely on controlled feedback for my playing style. When I run the AFX, I bring a Headrush powered 112 cab to get stage volume to interact with the guitar. We moved to an IEM rig about a year ago. Mainly to eliminate the horrid monitor mixes we were getting at clubs. It has really help to improve how tight we are, because we can actually hear everything going on within the band.

On larger stages where I can open the volume up a bit, I prefer the Splawn. On multi band shows where we may only be getting 30 minutes for our set, I prefer the AFX.
 
MadAsAHatter said:
I don't use modelers so this is something that never occurred to me. Using controlled feedback to your advantage and I'm talking literal feedback not "it doesn't feel like a tube amp" EVH anyone? Could he have pulled off some of those sounds without the squeal from feedback standing in front of a speaker cab?

So serious question... How can you do that kind of thing with modelers, IR's and stage monitors with no cabs?
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I have actually gotten controlled feedback going direct, but I think you need a guitar prone to feedback. It’s been a while, since I have done it, but I think I was using a Gibson es339. Something like an epi casino should be much easier.

I would say too that I put up with IEM, not my preference, but I have gotten used to them. I actually use over the ear cans as I don’t want to clog true in ears with ear wax, as my ears produce more than they should.
 
ewill52 said:
i get the comment....but i'll say this...my Kemper through the house sounds amazing...on stage...bleh. I just can't get a good sound on stage, but it's legit in the house.
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It really is mind over matter. If you can convince yourself that the tone you’re hearing on stage isn’t what the audience is hearing you’re all good. Sometimes that can be tough to overcome though
 
Guys who were used to play bigger rigs in the past are getting older, lazier and have problems with back :). Younger ones don't care :D

Quite interesting interview:
 
It makes a ton of sense for touring and shows in general. It's just so much cheaper and more practical, without accounting for the fact that modellers and other small devices are getting better and better, which makes them less of a compromise in terms of sound quality.
 
LP Freak said:
It really is mind over matter. If you can convince yourself that the tone you’re hearing on stage isn’t what the audience is hearing you’re all good. Sometimes that can be tough to overcome though
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completely agree.
 
If you’re big time then modeling is the way to go - no need for expensive freight charges of big gear anymore unless you’re not footing the bill AND you can hire people to maintain it while on the road.

With that said I’ll never see that level of success in my lifetime. So tube amps are what I play and they are here to stay.

As for sound guys wanting quiet as a mouse stage volumes, just before I stopped playing live gigs I started looking into plexi shields. You get your cranked amp tones without the beam effect of hot mics/feedback into the PA vocals. I try to respect the sound guys, they know how to make their venue sound good and the last thing I want to do is run off customers because we are too loud.

Load boxes give compression to a stiff amp but they don’t do anything for the tone of the speakers moving.

Now when we were playing outdoor gigs like car shows that’s a whole different story. Load up two 4x12s and mic the drums/vocals, and let the bass and guitar amps eat.
 
I used an AxeFX3 for a while, they are cool but too much of a rabbit hole for me. When I sold it, the younger guy came over and played it and loved it. He then asked to play my Herbert, firsts word were “holy shit”. I thought I lost the sale. 😂
 
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