Talk is Cheap

It is coming.

Line 6 M13 versus real effects. Axe-FX versus real amps. Mp3’s versus real live acoustics. Enough talk. It’s time for real, hard evidence. Now. Does anyone have any spare money to buy an Axe-FX? :)

Oh. And if the amp modelers do end up sounding better, then they don’t. It just means my Matchless isn’t expensive enough. At which point (if the modelers sound better…which I of course doubt), it will be time to contact Mr. Dumble, and pull out my trem-stutter-de-tune-arpeggio-demonic-wang-bar effects during my audition so that he will actually build me one.

At no point am I actually making sense here. Ever just start typing and let fate fall where it may? (And by ‘fate’, I mean ‘tone’. By most things, I mean ‘tone’.) But hey, I said ‘Dumble’, ‘Axe-FX’, ‘Line 6’, and ‘Matchless’. That’s more than enough for a discussion on tone, right? Providing you leave out ‘Axe-FX’ and ‘Line 6.’ 😉 Now that was just uncalled for.


P.S. For those of you with malice in your hearts right now toward my ‘modeling’ jab, I actually did look at giving the Verbzilla a second shot on my board today. Even though there is not a handwired part or Swedish imported chip or vintage resistor to be found in that whole pedal. And even though it has the letters ‘zilla’ after ‘verb.’ (Just terrible.) See, now that’s gotta count for something, right?!


51 thoughts on “Talk is Cheap

  1. Well… since it was a discussion last post….

    in the film “It Might Get Loud” Edge is seen playing around, and you see some nice shots of his effects…
    I swear a Line 6 Octo verb was being played.

    Btw, what modeler does Dumble make? Is it as good as L6?

  2. Wow – do you realize that you’ll actually have to spend some quality time with Line6 effects in order to make this happen?

    You’ll have to get close to a modeler… uncomfortably close. Intimately close.

    I know you’ve been hurt in the past but it’s a new decade! Modelers have moved on – they’ve matured. They’ve changed since you last shredded together. Give her a second chance.

    Why don’t you just put your Matchless up against a Line6 Pod X3? The X3 already has a leg up – it can do dual amps. Start with the Variac’d Plexi model and see what happens when you run a dual rig (one cleaner and one dirtier). That’s my go-to set up for smaller venue gigs where I can’t bring my full rig.

    I’m seriously stoked about this one…

  3. I think to do this topic justice Karl, you’ll have to do it blindfolded and get someone else to stomp on the pedals for you…

    if nothing else this is sure to be entertaining :)

  4. But doesn’t the Timeline use the same brand of DSP (SHARC processor) as the M13 and the Axe-FX? But the code is more toneful! :)
    I hope you can take a trip to Tone Merchants and demo the Axe-FX sometime.

    Did you catch Bono and the Edge on that show Elvis Costello’s Spectacle on Bravo? The interview was better than the musical performances. I didn’t know that a junior engineer had to stop Eno from erasing Streets in the studio. I liked the story about how they wrote Stay (one of my favorite songs).

    • i love the Elvis Costello’s Spectacle for the song stories as much as the performances. i saw a few episodes from Season 1 but I also recently bought the ones with The Police, James Taylor, and the guitar pool with Kris Kristofferson, Rosanne Cash, Norah Jones & John Mellencamp. You have to watch the one with The Police … these guys are entertaining!

  5. Hey Karl-

    I’m new to the blog. Great stuff!

    I got a Line 6 Spider combo for Christmas when I was maybe 13 or 14 years old (’98 or ’99). I returned it the next day. Even at that age I knew something was wrong with the tone that I was hearing.

    P.S. (and this has nothing to do with the post) Have you seen the Kingsley Jester tube overdrive? I’m on the waiting list right now. Looks/sounds amazing.

  6. Larry–lol at the Dumble comment. Nice. :)

    As for Edge and the Verbzilla, the Octo setting on the Verbzilla was modeled after an effect called ‘shimmer’ that Edge has been using for decades. I’ve heard it reported that he’s gotten it from his Korg A3 in the past, but I believe he gets it now from a mix of his Skrdstrup switchers (to preserve his signal integrity), and his Eventide Harmonizer. And then it’s sent to its own dedicated amp. I could be wrong on that, though. Everything you read about it seems to list a different effects combo for that sound. It’s beautiful, though! :)

    Rhoy–lol Absolutely! In fact, I’ve even started refusing to listen to any cd’s or mp3’s. Live sound only!! haha 😉

    Jeff–haha You are probably right. It’s just that I still haven’t heard anything from them that has fully convinced me. But it’ll be a fun process. I’ll put them both through a house system, record them both, even play both live; and try to judge sound, weight, ear fatigue, feel, dynamics, all that stuff. And then of course youtube will compress the videos and ruin everything. lol But it’s definitely something that I think will be worth it to do, even if I do have to get unthinkably close to a modeler!! 😉

    Nate–lol Ya, I’m sure to be biased. :) You’ll have to take the whole review with a grain of salt, because I’ll probably just end up going with the one that has the coolest led’s. Unless Line 6 comes out with something that lights up like a Matchless! Now there’s a fair fight!

    Baggas–that’s actually a really good idea! I might have to do that. :) (And then of course, keep one eye open under the blondfold, lest I accidentally choose the modeler. hehe

    Dan–you mean the Timeline isn’t analog?! Blast! This ruins everything. Although to be fair, there was a time when I thought all of Edge’s sounds were from analog delays. (Honesty hurts.) But in all seriousness…the Timeline sounds better because it has tubes! 😉 But for reals in all seriousness, ya…the best sounding one…meaning, best tone, most weight, most moving air, least ear fatigue, most dynamics, and best feel…will be the winner. Well, I say that now…but in reality it’ll probably just be whichever one lights up the most. :)

    Slater–right on. I feel the exact same way. Just not enough reality to it. In my humble opinion. And let me know how the Jester sounds! I’ve read up on these, and they’re supposed to be great!

    And welcome to the blog, my friend! Cheers!

  7. my m13 is pretty cool. the one thing is hasn’t really cured though is the tap dance part of effects, I mean there is kind of a way around it, but not really. I’ll keep my pedals, but for now they are just sitting in a box.

    • Oops, must’ve just missed this comment! I hope it’s good. If the Axe-FX wins though, I’m just going to pretend like I never did the shootout. 😉

  8. Rhoy & Dan–Dan, sorry I missed that part of your comment. Actually, I heard they were going to be on, and missed it. But Rhoy, I’d love to see The Police, too! And by the way, here’s Eno’s version of what transpired during the Streets writing, hehe:


    Dan Price–ah, I love to hear that! hehehe 😉 Let me know how the Skreddy is! And that POG2 looks really enticing. EH has always made great pedals, but figuring out how to get them in smaller enclosures may turn out to be one of the best things they ever did.

    Kenrick–your pedals’ tonefulness is lonely. Got any for sale? 😉 But in all seriousness, I’m glad the M13 is working out for you. I can see how there’s still tap-dancing, though. Lot of switches on that thing!

    Ryan–ya, I know you weren’t talking to me, and Kenrick can answer this one a lot better. hehe :) But from the ones of friends that I’ve tried, the delays are good and the drives are eh. In my humble opinion. :)

  9. OK… I pulled the following from gear page and thought that it kind of matches what I believe about modelers…

    Karl, I will be loaning you my X3L and you will be able to judge for yourself… Just have to wait till I dial in my other modeler…hahaha

    I hate POD’s” Here’s why modelers suck…
    …..or don’t suck.
    In the Amps and Cabs Paul owns a place where he puts on live bands. Supplies a boutique level back line (Matchless amps among others) and has made a few threads pointing out that POD’s suck and every player that uses one, in his experience, sounds like crap. His conclusion is that the fault lies in the POD.

    I answered him many times, but felt that this post copied below makes my point the best. It struck me that with so many folks, especially here on this board (ahem!) hating on POD’s because, well, just because(!) that’d it be a good topic. So here we are and here we go (note that this was directed to Paul, but the feelings and opinions expressed are universal to the topic):

    The folks that hate this gear or that gear are blaming the gear. Well, I’ve heard and been in tons of bands with killer players that don’t have a frecking clue about how to get a good sound. Mesa is often the worst “offender” I’ve personally come across because it is easy to dial in tones that suck with the controls that they offer.

    (NOTE: This here’s my moral!) That doesn’t mean Mesa amps suck.

    It means that guys haven’t spent the time or effort to work on their sound as much as their chops. And it is NOT Mesa, or Line 6’s fault.

    Guys approach POD’s like they are ‘amps’ and dial in sounds. Here’s a newsflash – they are NOT amps. They are entire rigs. A preset is a full blown from the pedals to the amp to the cab to the speakers to the mic to the room. It’s the rig and the space you are in.

    Now stop for a second and think about how much effort you’ve put into your room, sound system and backline you supply. It’s a huge thing. And that’s before you put in the pedals, cables and get into the fine tuning of speakers, effects and settings, etc..

    Now look at the POD – It’s the whole shooting match from the first pedal (or virtual pedal) to the sound in the room. It’s far more complicated than ‘dialing it in like an amp’ because when you dial in an amp, it’s only one part of the puzzle.

    It’s taken me years of working, recording and playing out with POD’s before I truly feel I’ve GOT something really good. And I am a very serious ‘tone’ guy that has ears, focuses on the band sound/mix and how I fit into the given context and the needs of the song.

    You have seen/heard hundreds of players that don’t have ears, that don’t have chops, and/or don’t have the sound. That’s your point. My point is that it is not the tools they use. Modeler’s are the easiest for folks to rip on because they are – by FAR – the hardest to dial in given the complexity of what you trying to do. Every preset is a full blown rig.

    I hope that illustrates a bit more clearly what I am saying. I don’t need/want/care to change your opinion. I’d just like for your perspective to change. It isn’t modelers, or amps, or pedals, or guitars. It isn’t the gear. It IS operator laziness, ignorance and/or error.

    When a baby is in the crib and happens to sneeze when the wind blows the curtains; the baby might assume that the curtains moving caused their sneeze. Ahh, but we know that to not be the case because we have a much deeper understanding and perspective than the child. Does that illustrate it better?

  10. I think some people can squeeze good tone out of almost anything. Personally, I’m not one if them. However, for Christmas I got probably the best possible gift imaginable for my tone –


  11. I’m actually getting ready to sell my POD X3 Live. I’ve used it almost every single Sunday for the last year, and I know the thing inside and out, both on the hardware and the software side. I also have a POD 2.0 that I bought back in ’01. Here’s the thing though… I’ve never quite been able to make it sound the way I want, and dadgummit, I’m sick and tired of futzing with it.

    Honestly, I think part of the problem is how versatile they are. I mean, how are you supposed to find “your tone” when your options are literally endless? Eventually, I tried to simulate a basic guitar>amp setup by turning everything off but the amp sim, and when I couldn’t even get a decent basic tone, that’s when I gave up on it completely.

    So the moral of my story is that PODs are certainly useful for practice or when you’re trying to get a specific tone, but as your main rig, I think you run the risk of it stunting your growth as a player. But that’s just my opinion… :)

  12. @Kyle
    Do you have any recordings I can listen to? Because the only quality sounds from the x3 i find on youtube are from one guy with sounds for metallica and hendrix…. at low volume… I would like to hear what one considers a “great” tone out of this thing!

  13. @Jeff – Sorry, no good recordings here. Plenty of “meh” ones though! And I agree with you, that’s exactly how I feel about my PODs and I wish I had figured it out a long time ago.

    The bigger issue is that my playing skills probably haven’t improved as much as they would have if I had just kept it simple and bought a freakin’ amp instead. All those nights trying to nail *that tone* were fun, but they ultimately were a waste of time!

  14. Joel–lol

    Sal–very engaging argument. Is that from Scott Peterson’s ‘my approach to a modeling rig’ from Gear Page? It sounds familiar. And while I do appreciate that it does take some work and some good ears to get the sounds in a modeler to sound like the real thing, there is just no way to ‘model’ moving air. Sounding good in its own rite is one thing, but it will never sound like a speaker moving air. I’ll elaborate more in a post dedicated just to this subject, but from my conversations with you, I know that you agree with me…that nothing will ever sound just like a guitar plugged straight into an amp. The big question is where each of us draws the line between tone and practicality.

    On one side of the spectrum is moving air through 8 amps and a wall of speakers. On the other side is plugging your guitar right into a direct box. And all of us fall somewhere in between. Sure, 8 amps would sound amazing. But it’s so unpractical to take 8 amps to every church and gig, that most of us don’t do it, even for tone’s sake. Then, the most practical thing is plugging right into a direct box and just using the house electric guitar. You don’t have to lug any gear whatsoever, and you can just focus on playing. But that doesn’t sound very good. So we all fall somewhere in between. Some of us with one amp, others with one modeler. Some with two amps, some with two modelers. Some with a mix of both. It all depends on where you personally draw that line between tone and practicality. :)

    Ryan–hear hear! I’m not one of them either. haha

    Jeff–cool! I’m excited about it too. It might be a ways off, as I have to coeme by all this stuff at prices which are good enough for me to eventually resell everything without losing money, but hopefully it’ll happen soon! :)

    Kyle–I totally agree. I’ll go into Guitar Center from time to time and sit down with some of the POD’s and TC modeling stuff. And I always end up back over at the amps, even the junky ones if that’s all that’s available. And I play a few riffs over there and it’s like, ‘Ah.’ :)

  15. Karl, yes that was from Gear Page. The part that I agreed with of that post is that 95% of players who say modeling suck have never really taken the time to see how they really work. And that takes time, lots of it. So much time that I know there is no way to make a fair judgment call after fiddling around with one for 60 mins at garage center.

    The line6 effects are clean and very good. Some take a little more time to dial in then others. But for the most part the effects are very good. The amp modelers with headphones are very good. Running direct to the board with a modeler set up correctly will sound great. It’s really knowing how to EQ them correctly.

    OK…. I have embraced the technology of modeling. Am I satisfied… NO not at all (at least not with the Line6, but with my Digitec 2112 which uses tubes to to model sounds I am satisfied, but I believe that is because more time is needed to dial it in) When I set these things up I am still trying to go for a sound and feel that is inside my head and heart. And that sound consist of mostly big tube amps pushing air…

    So I am still on the hunt for tone… My next big thing is putting the mods on my Carvin V16. And redialing in my studio modeler that I lost three yrs worth of programming on. I will be getting a hold of you soon to let you take the X3L for a while. I am curious as to what you would be able to do with one of those modelers when given the time to fiddle with one.

    Jeesh… will it ever end???? The search continues…

  16. I was loaned a Pod XT live and love it! I am using a Matchless patch and a Marshall Plexi patch at the moment. I have been running my pedals into the amp model and love it! I think that will be my future rig….pedals into the pod X3 live effects loop and in front. The X3 is more flexible with that then the XT. Looking forward to seeing your options…but it did take me a good 20 hours or so to get a good sound while learning all the controls. But it’s worth it!

  17. Sal–very well-put. I appreciate your articulation of your opinion on these things. I am looking forward to your Carvin mods! :) And I certainly hope the search never ends! I love it!

    Michael–you’ve definitely put your time into it then! :) In the end, if it’s helping you make beautiful music like nothing else can, then that’s what matters.

  18. I’m still on the fence in the sense that I have nice analog gear but am becoming more sympathetic to modelers. I don’t see any benefit from trading nice gear for a modeler so for the time being I’m analog.

    The biggest thing that blew my mind: My local tone mentor who plays with 2 divided by 13s and a rack of effects (including cornish pedals) started raving about M9s and said he picked up a second one because he liked it so much… including the ODs.

  19. Karl,

    Part of my solution to your conundrum is using a Flextone which I am using like a really versatile multi channel amp with the side benefit of a D.I. that still allows me to use the Master for stage volume. I am running all of my effects through the front end. It works well and is consistent and versatile.

    I have always found that the weak link in the whole deal is the PA anyway. So I (and a number of guys who I have played with) have made the compromise toward good to really good tone with consistency and ease of use.


    Me two my local guitar “hero” totally modified his rack to accommodate his Cornish custom pedals, but gets all of his modulation and delay type effects from Line 6. All of which goes through some combination of D13, Savage or other high end amps.

    I’m on the side of whatever works for you to get tone you are satisfied with.

  20. Mike–you’re still with me?! Score. We’ll take the world back over together. hehe

    I wonder what my tone mentor would think of the M13’s and M9’s. I’ve lost touch with him, but I’m sure he’d have a very opinionated opinion on them, one way or the other. :)

    Craig–good point on the satisfied with tone thing! And for your Flextone…glad it’s working for you! Does the direct out come after the preamp stage, or after the whole amp?

    • Mike,

      Why yes it is. Are you in the Twin Cities?


      The DI comes out after the whole amp, it just bypasses the master volume. The sound person where I play most often loves it. For the record though, all my dream amps have tubes. It’s just that this makes the most sense for me right now. It also has the benefit of actually moving air and real speakers, which mitigates some of what you don’t like as well as what Sal was talking about. Not only that, but when I go all out with the foot controller, it adds at least one more delay option (the .8th preset is pretty good plus tap tempo), for a total of three.


    • Mike,

      Justin is a great player and a great guy. I did tech for UR for a year or so before the move, and haven’t gotten up there as much as I would like to. I was trying to set up lessons with Justin but couldn’t make schedules work, but am taking from Bruce B. (who is also a really good guy and player). I’ll try to hook up when I get up that way some time. It’s a pretty small world.

  21. Over the past 45 years as a guitar player (I started playing at the age of 7), I’ve had the opportunity to go through both extremes of the “digital” versus “analog” debate. At one point, I did the ‘4 foot’ tall rolling rack thing with a Digitech 2120 (dual analog preamp paths – one tube; the other solid state), speaker modelers, rack mount amps; I did the POD thing for a while (one of my backup amps is an Atomic 112 tube amp with a PODxt providing the frontend).

    About seven years ago, I felt like I was in a rut and decided to spend some time studying with a friend, Shane Regal, who is just ‘Petrucci/Vai/Satriani’ unbelieveable as a guitar player. Shane introduced me to the joys of ‘analog’ sound. Under his tutelege, I bought my first Robert Keeley modified pedal (an Ibanez TS-9 tube screamer).

    I have to confess that I’ve fallen in love with analog components. But for me, it’s not because they necessarily always sound better… When I do recording sessions, even though I will use multiple mic setups for guitar amp cabinets, I always do a direct capture of the dry guitar signal through an active direct box ‘before’ it hits the first element in the guitar player’s signal chain. The reason? It let’s me keep my options open. On more than once occassion, I’ve gotten a far superior sound that correctly sits in the track by routing the clean guitar signal we recorded through an Amplitude or Amp Farm modeler than by trying to bend the mic’ed amp tracks into submission to the overall mix.

    I routinely practice at home with a small, simple Vox digital modeling amp. I like what it sounds like…

    …but when I’m playing live for worship or concert events, I really like the sound I get through the various analog pedals and tube amp through which I play each week at CACC. It’s rich; it’s full; it’s laden with harmonics…

    …But the reason I love analog doesn’t have anything to do with it’s superiority. If my wife had a nickel for everytime I had proclaimed with previous rigs (most of them digital), “I have found the Holy Grail of tone!”, let’s just say she would have accumulated at least a dollar’s worth of change by this time.

    For me, the analog game is about creating “my own sound” (i.e. “it’s about the experience of the ‘hunt’; not the final kill, to use a hunting analogy — LOL!). Analog components let me experiment with placement, variations in extreme, mixing and matching components from other pedal builders, etc. With each cycle of experimentation, I end up with my own unique sound.

    By contrast, with my previous digital rigs (even though they all made provision for tone tweaking), even though I could get them making some righteous noise, the result was a homogenized image of the same tones everyone else was getting (since they could tweak the same parameters I would tweak).

    One of the things I’ve discovered about the ‘analog game’ is that not all pedals match up well to different amps or to each other (as you begin stacking them). Among the many distortion/overdrive pedals I own is a Fulltone FullDrive 2. That thing sounds amazing in front of my Vox modeling amp and my PODxt/Atomic 112. But no amount of tweaking seems to help that pedal match up effectively to my Mesa-Boogie Lonestar Special amp.

    The preceding example is why I tend to take pedal shoot-outs with a ‘grain of salt’. I tend to listen to see of the pedal has the sonic qualities for which I’m looking. If it seems like it does, I’ll buy one, try it in my rig. If I don’t like it, I’ll sell it on eBay.

    So… to all you ‘tone hounds’ out there — “Good hunting!”

    • Hi Mike – I went to college in Lancaster and I met Shane when I was visiting my friend Jon. Looking at his myspace page, he looks so different than he did back then!
      It was always an interesting time with Randy at Triple R Guitar.

      • Too cool! Yeah, he has changed quite a bit (in terms of appearance only — he’s still a man of faith who loves the Lord — LOL!), but he can still flat out make an axe ‘smoke’! He’s a very humble individual, who despite his amazing skills with the instrument, is very much a firm believer in only playing what’s necessary to support the song, even if it’s just a single power chord hit that sustains for 2 measures. I invited him to play with our team one Sunday that I was leading worship at CACC. The theme for that service was ‘living out loud’. I told him to pull out all the stops for that one and not be shy about it. “Are you sure?” he said, to which I replied, “Yep; let it rip!” The response I got back was a quiet, “O.K….”. He flat out nailed the instrumental break in Lincoln Brewster’s “Everybody Praise the Lord”, including some scorching finger-tapped wah-squealing fills scattered judiciously throughout the song in the holes. We had a great time celebrating being in the Lord’s presence with the congregation that morning.

        Just out of curiousity, your friend Jon wouldn’t happen to be Jon Lodge?

        Are you still in the Harrisburg/Lancaster/York area?

  22. @Mike Oliver – no, his last name is Strout. He is a talented player and he had a lot of nice things to say about Shane. I moved back to MD after graduating from F&M and now live in CA, north of SF. I hope to go back to PA to visit at some point.

  23. Tthere are only 15 worship guitarists in the world. Using some north pole cheer, pixi dust, and the power of Jesus, we’re able to be at every church (that allows guitars) every sunday.

    • LOL!

      You know, that reminds me of the first time I started playing electric guitar with the adult praise and worship team. I was probably 18 but I remember asking if it was ok to use distortion during worship of the worship leader.

      Good times. :)

      • I remember the first time I broke out the electric in our (at the time) fledgling “contemporary” service. I thought I might get lynched. It didn’t happen, but I was definitely worried. Now, it’s all good.

      • I meant there are a few of us who magically play at thousands of churches. But yeah, yours works too! Once in a while I don’t realize what I said yes to and find myself at a fairly traditional church with a piano and string player. Then I wonder what I should play and if it’s ok to use some overdrive :)

  24. hehe This thread has taken on a life of its own. That’s magic pixie dust too, I think…to say Dumble and Line 6 in the same post. You never know where it might go! :)

  25. Edge’s “shimmer” signal path is pretty well documented these days. But it’s the one thing that he / his guitar tech been reluctant to talk about in the past. I challenge you to even find a mention of it in a back issue of any guitar magazines. And it’s really more an Edge signature sound than the delay, because no one else really does it.

    Anyway, it works something like this: his dry signal gets split and goes into an old AMS delay — that’s where the pitch shift happens. Then it goes into a Lexicon reverb, and then into a small amp (like a Fender blues or something — nothing fancy). The amp is mic’d and sent to FOH. At some point in the chain there’s a volume pedal that allows him to control how much shimmer we hear. Pretty cool.

    That’s how he does it — you know how he is, if it works, he sticks with it. But there are easier ways to do it these days. The verbzilla does a pretty good job. And it is a decent reverb pedal, for the price. I’m also pretty sure that there’s a big, goofy Digitech pedal that has a similar setting that’s supposed to be even better. But…have you seen that thing?

    Before the verbzilla, there was a relatively inexpensive Digitech rack unit (DHP-33?) you could use to do the pitch shifting. But you still had to run that into a reverb, and you still had to deal with some sort of splitter / switcher volume pedal rig. No thanks.

    Apparently the Axe-Fx can do it. But the gold standard seems to be the Eventide Eclipse — I think the patch is called “crystal echoes” or something. That’s supposed to nail it. But…rack gear? Really? I, for one, don’t want to be that guy. I dumped my pristine SDD-3000 because I didn’t want to be that guy. There’s also a new Eventide stompbox called the Pitch Factor that does it. Midi switchable too. But I think it’s like 600 bucks. That’s a lot of money for a single effect that I just don’t use that often. I don’t care how cool it is.

    And that is the story of shimmer.

  26. Beautiful! Wow, I really appreciate your taking the time to write that. And the Blues Junior he runs it through…is that the modded one?

    I tried the Verbzilla for a few days, and I just couldn’t get into it’s shimmer sound. Little hollow for me. (There’s people who will shell me for saying that, I’m sure…lol) I’ve heard some people using the Roland UD Stomp for some shimmer stuff. It sounded alright. And I think the new Digitech Timebender will do it, but it might be only on the delayed signal.

    You know your stuff, bro! :) Thanks for the info!

  27. Hey Karl, just a suggestion before you do your massive Lineaxe vs. Dumblematch shootout, I was wondering if you’d consider throwing one of the Tech 21 Character Series pedals into the mix? They are modelers but they are purely analog, and I’ve been hearing rave reviews from players that wouldn’t tweak a POD with a 10-foot pole.

    So c’mon, be my guinea pig so I’ll know if I should buy one and risk the wrath of the missus… LOL :)

  28. Hey Karl,
    you need to give the axe-fx a try just for the effects alone. This guy uses one with his vox ac-30 and it sounds amazing! I have one and the reverbs are the best I have heard…transparent but lush at the same time and it is so flexible in what you can control. This video is using older firmware, it has been upgraded several times since…

  29. Bruce, thanks for the video! Very cool sounds. I do admit, the Axe-Fx has some cool sounds, and especially for getting Edge tones. Sounds a lot like like the Eventide products. Although dare I say, as much as I go on about the Edge, I adore his sounds more for the feelings behind them. In my personal music, I try to go for a just slightly more raw sound. Even though his tone is amazing!

    Whenever I can find one on a good deal so as not to lose money if I need to sell it, I’ll definitely pick one up and demo it out. Thanks for the video, my friend! Cheers!

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