I Know it was You, Line 6

So…I’m pretty vocal about my stance of not liking digital modeling. In fact, I think that with every fake amp you buy, you’re funding the inevitable cyborg takeover. There are few who can resist; but we few stand strong. For honour, for victory, for tone. Yet still, I get email after email and comment after comment saying things like, ‘I just sold all my pedals and bought an M13. What do you think?’ ‘What settings should I use on my POD to get it to sound like the Divided by 13 in the video?’ ‘Can I still comment here if I sold my amp for an Axe-FX?’ And I usually answer kindly. You know, with a good-natured, ‘Hey, whatever helps you to make beautiful music’ or ‘if your ears tell you it sounds good, then it sounds good’ and so forth. But somewhere, deep down in the core of my being, this is what I’m really saying:

And for the record, ‘our mother’ means The Gear Page. For she has borne many a gear junkie. So when you visit her, I want to know a day in advance so I’m not there. And the next time you’re thinking of selling any piece of your guitar gear for a digital modeling replicant, picture Al Pacino’s vengeful eyes staring into the back of your heart. And then go kiss a 6L6 on both cheeks.

You broke my heart.
Karl.

P.S. Hopefully it’s apparent that my tongue is in my cheek for this post. I’ll probably even be playing an M13 within a year. Wait, nope. Al Pacino just told me not to.

120 thoughts on “I Know it was You, Line 6

  1. For the record, I didn’t sell all my analog pedals and I didn’t email you asking how to make it sound like a divided by 13. My pedals and my M13 sound great. And also tgp is still awesome, and I’m there all the time Karl. Does that mean you don’t want to to ever again? Haha

  2. Anyone who uses a pedal that has a SHARC processor is funding Skynet! :)

    Which is the more annoying TGP group?
    Axe-Fx true believer or Eventide Timefactor apologist? :)

    • Definitely the TF guys. The Axe-Fx true believers mostly stick to the digital modelling section, but those pesky Eventide Timefactor apologists hang out in the effects section like regular people.

      Axe-Fx guys are robots that look like robots. Eventide guys place skin over themselves to make the appear more “human”.

      Is it okay to have Strymon stuff on your board?

      • Love the analogy.

        Strymon guys are real humans who fight the cyborgs with futuristic weapons (this coming from a guy who just placed my second Strymon pedal on my board this arvo)

  3. haha … funny! but i can already see some prototypical tgp responses like “digital sucks, except the ones i own” :)

    fwiw, i’ve owned pedals with Sharc and currently have a Line6 sitting under my desk … please don’t tell the Mods!

  4. I still have Line 6 on my board. The DL4 is capable of getting some tones that you can’t really get from other pedals. Is it the best delay pedal on the market? Definitely not. Is it too big (and too green)? Yes, but so is the original Timeline. Do the switches fail (a lot)? Yes, but you can spend $20 and replace the cheap switches with heavy duty chassis-mount switches that will last forever.

    I have owned an M13 and an M9, and while they didn’t really work out for me, I can see that they are very good tools for working musicians who don’t want to spend a ton of cash on giant pedalboards. If my band was playing out more, I would definitely still have one. The way that the M9 integrates into a MIDI setup (especially with a channel switching amp) is really intuitive and handy. It’s not the best-sounding stuff available, but it sounds decent, and it usually works pretty well.

  5. While I’m about to at least try an “all pedal with miked tube amp approach,” I wonder if many of the other “solutions” should only be judged in a “full-band with PA and bodies in the room” environment. You definitely shouldn’t judge them based on how they sound through headphones at home, and probably not how they sound through any kind of amps or speakers at home.

    Regardless of the gear I’ve tried, I almost always liked it better at church with band, through PA than through any kind of speaker/amp arrangement at home. Headphones don’t count since some things sound decent in stereo through phones that aren’t that great in real use.

    Now maybe that’s just that lousy tone is somewhat hidden at church with everything else going on?

    I can recognize what I consider poor tone. Not sure I’m as good at distinguishing “good” from “great.”

  6. This should make you all puke….
    /Users/salvadorhamby/Pictures/iPhoto Library/Masters/2011/03/01/20110301-062008/IMG_1735.JPG

    • Thats the rub through isn’t it. We spend all this money on our PTP amps, our vintage gits with cloth covered wire and PAF’s potted with wax from a Siberian Yaks ear, and then we mic our little amps at our houses of worship and our clubs and by the time the guitar tone hits our ears out of the somewhat mediocre floor monitors, it really is a shadow of what our thousands of dollars are really producing.

      I’m a non-apologetic L6 user. M13 in the loop of my main amp, and a modded DL4 out front of my looping amp on a second pedal board. I do however run a few really nice dirts and a great comp out front to compensate for L6 lack of attention to dirt and fuzz. I know, I know, some guys love the dirty tones of the m13, but its just feels forced and kinda fake. anyway, I’m playing out a lot know and it really just works. Flexibility on the fly is what i really like about my L6 gear. Would I ever buy one of their amps or anything other than what i have now: emphatically no. But to each his own. Anyone can sound horrible on anything. But, if you can make your gear submit to your will and beat it into submission, your doing alright.

    • I make everyone listen to me on vinyl, lol. Point taken, most of the places I play use digital boards but I think there’s a difference between converting what the mic hears to digital so it can be mixed and recorded versus digitally modeling an amp or effect.

  7. I agree! I hate the sound of digital modeling. Sounds…well..digital! haha.

    That is one reason why I do not like the “Boss” sound. Sounds too fake and electric guitar-y. I like the warmth and vintage tone!

  8. Well the sound from the monitors is another issue. I’m thinking how your tone is getting to the mains is more important overall. So how do most of you do that? Miked amp? Direct Box?

  9. I’m using an m13 out of necessity, due to the fact that I have exactly 15 minutes to set up and do a sound check between services. Everything that can be done to minimize setup has been taken into consideration, and the m13 with a volume pedal and a small, miked, tube amp seemed like the best compromise. Could we get better tone? Absolutely. But worship still happens and I’d venture that the vast majority of the church is oblivious to the tone subtleties anyway.

    Regardless of the signal chain up to the mic (or direct box), it all goes back to a digital mixer at my facility. I’m guessing most of your houses of worship use digital mixers these days too, so there’s really no escaping some digital processing. Throw in the fact that the tone is significantly altered depending on where you sit in the house in relation to the mains and the subs, and we’ve decided to not worry about using digital effects.

  10. Good points Travis. You’re right about the congregation. About all I’ve ever heard from them about tone was one retired fellow who said ” there’s just something ‘extra’ in your sound.” The only other thing he hears ( for comparison ) is the Pastor’s acoustic-electric with no effects whatsoever.

    But WE do hear the difference, sometimes to a fault and worship has to happen despite our agonizing about it. :-) I don’t know how many times I’ve told our sound guy that with the monitors way low it’s about like playing through a tiny transistor radio. Not sure he gets it — retired backhoe operator with hearing aids — God bless him! I always tell him to bring the mains up if he thinks the monitors are too high.

    • Sounds like you have some great retired guys. Maybe the ‘extra’ is just your talent? The retired guys in my church are mostly good guys too, but the retired ladies usually tell me I’m too loud. :) Totally agree with monitors that are too low. Is it possible that higher volumes = better tone?

  11. Seriously?! You guys are all using digital effects?! I’m ashamed. I, for one, care enough about tone that I have had my Damage Control Timeline and both Boss DD20′s modded into all-analog units. I also force every church I play at to reconnect their soundboard into one of my true bypass loops next to my pedalboard. That way I can switch it completely out of the circuit path when necessary, and there is a minimal amount of cable from the microphone on my amp to the board.

    Seriously, you guys don’t do this?

    I am convinced that the church service cannot go on without these simple and basic steps towards good tone.

    And yes, if you rearrange the letters of ‘Skynet’, you get ‘Line 6.’
    ;)

  12. hahahaha, oh man. skynet is line 6?! next thing we know arnold will be kicking down the door and say “forget your pedals. come with me if you want to live!”

  13. Ha, those big tube amps weight 169 pounds each. I’m not sure what 669 Joules would do to you, but sounds like if you forgot your Starbucks you could just poke around in there for a “wake up.”

  14. Wow! I just commented, and it didn’t get put here…hmmm. I guess I am one of the only ones here that dislike the multi-effects! haha. I’m so proud! jk

    Just wanted to let everyone here know that I am selling a DeltaLab TO1 Overdrive. It is a clone of the Ibanez ts-9 (just to give you an idea of the sound). Very good overdrive for the $$$.

    I’m looking to get about $30 for it so if you want it or are interested, just contact me through my site: http://www.bigb94.webs.com…that is the best way to get in contact with me!

  15. This is so confusing. Michael says ” I don’t want to know you or what you do” and yet “When you see our mother, I want to know…” Well there’s the who and the what right there. If I were Fredo I’d be very confused, especially if he plays one of those hybrid amps. I mean, are those allowed in the hotels?

  16. Me – Hi. I’m Ken and I use Line6 modeling technology…
    All – Hi Ken…

    Seriously though, while I will admit that the modeler doesn’t as good as the tone I get with my pedals & tubes, I’m still very happy with the sound I’m getting. It’s just different. Most of all though, it is allowing me a level of simplicity that is making it possible for me to balance leading worship with having a wife and three young kids and working 40+ hour a week job.

    Rest assured though that, if I start recording seriously, there will be an SM-57 sitting just off axis and a Rode NT-1 condenser about 10 inches away, both in front of the left 12″ Custom Eminence Ladyluck speaker in my BC-30 combo being pushed into creamy smooth breakup by my Timmy with the billowing cascade of softly modulated echoes emanating from my vintage memory man…

  17. Kenny, what pedals/effects are usually “on” between your guitar and amp? Conversely, what is usually “on” when using your modeler?

    • Analog: The Timmy is pretty much always on and I stack it with an OCD for heavier/lead sounds, and my Carbon Copy is also almost always on. For any rythmic delay, it’s the DD-20 and I have an old Boss Pan/Tremelo that I use for trem every so often and a Verbzilla for the occasional shimmer. That’s pretty much it.

      Modeling: That’s a tougher one to answer as I’m still trying to work out exactly how I’m using everything. I’ve found that you have to think about the signal chain in an entirely different way. I’ve been leaning towards using the amp models for overdrive sounds and just boosting that a little for heavier/lead tones. Other than that, I’ll probably only have effects in the patch that are being used and lots of separate patches instead of one “swiss army knife” patch to do everything (that’s up in the air still, right now I have a patch that pretty much replicates my analog pedal board).

      Also, I’ll more than likely be putting together a separate shimmer rig and running that through the effects loop when I need it. The POD has the “octo” reverb just like the verbzilla I’m using now but, it takes up a lot of processing power so I’m thinking an outboard shimmer would give me more flexibility. I’ll probably just use my ‘zilla for the time being and I’m thinking Carbon Copy -> POG2 -> RV-3 perhaps?

      • Wow, I can see why you are at least attempting to simplify due to time constraints and family responsibilities. Sounds like your wife needs to help you tho :-)

        • Ya, no kidding! Actually, she’s very supportive. There’s no way I’d be able to pull all that off without that! :)

          • Well there’s supportive and then there’s supportive. My wife supports me leading worship 110% Buying gear, well…

            I think there’s kind of a point system in play. Like 3 items checked off the honey-do list = $50, etc. The trick is not to exceed the “wife won’t talk to me” threshold. Boy I can’t stand that. :-)

          • HA! I totally know what you mean with the point system. I’ve was very fortunate to be able to totally fund my move to modeling by selling unused gear. So I was actually able to keep my full analog rig during the transition. I’m planning on pairing it down a bit though.

            btw, selling gear to buy more gear also scored me some wife points. ;)

  18. Karl….. I’m sorry. Please don’t hurt me. My M13 shipped yesterday. I am keeping the Fulldrive b/c the m13 doesn’t have guts on it’s overdrives. But, please don’t be mad

  19. Say, I have a question.

    Do you think owning analog pedals first before digital multi-fx’s helps you get a better sound out of the digital?

    I mean, then instead of a nebulous idea of say Compressor -> Overdrive -> Phaser or something on your menu screen, you actually have experience with the actual pedals. And then you can say, I actually know what a Phaser does. Because I owned one.

    I guess I ask because my experience with multi-digital fx’s occurred in my guitar-playing infancy, and I really didn’t know what pitch-shifters or filters or other effects were. I still don’t know as much, but because I understand signal chains more, I’d venture to say I’d have better luck setting up a digital-fx processor than before.

    So maybe just knowing effects helps you’re digital ones sound better. Well. That’s a little more redundant than I meant it to be. :D

  20. My guess is that some people could do well with a multi-effect if they either bought top-of-the-line like Axe-FX, or got what Brewster uses occasionally, the latest POD and spends weeks tweaking his presets.

    Most of us don’t want to spend for the AXE-Fx or spend that kind of time.

  21. Hello Karl, I find that putting the rest of the worship group on a true bypass loop is great. When they’re sucking too much I just take them out of the signal path. Brilliant. I am considering selling it however, it’s essentially brand new. I never switch any of the loops on.

    On a more serious note this is partly why I don’t go for boutique gear… The sound system never reproduces all the extra touch sensitiveness/harmonics/3D cleans faithfully. Plus I like the sound of the Vox AC15C1… Has anyone else tried one of these? I’m so close to pulling the trigger on one. I also don’t like boutique gear because It’s easy to mod cheaper stuff with extra mojo and I’ve never had tone compliments, ever, from anyone except a bassist and bandmates. People in the congregation are oblivious. I get comments on my acoustic guitar sound, comments on my playing technique yet never any on my electric tone. Just says it all really :) Maybe I just have bad tone and they’re too scared to say.

    The Line 6 M9 is the way to go for anything non-overdrive/fuzz/distortion IMO.

  22. On house systems, I tend to find there are two different camps. One camp tries to compensate for the house sound system by trying to get the best source tone possible, and the other group throws in the towel on a good source sound because they figure it’ll never be faithfully reproduced by the house system anyway.

    I tend to fall more in the first camp, personally. However, I can see the other side of the coin in extreme situations. For instance, if my amp is going to be mic’d in a back room, and the house system consists of two 8-inch speaker mid-hi’s. In that case, I might not be so bummed that my Lava cable went out and I had to replace it with a cheap GC one. hehe ;)

    So, there’s a balance for sure. But overall, I find that I sound much better through the house when I have not just a good source sound, but a good one with lots of weight, presence, and hi-mids.

    And to answer a previous question that I think was in this thread, I mic my amp to get the signal to the house system, and I do think stage volume is a good thing within reason. :)

    Oh, and a post is coming soon on whether the audience or congregation can tell the difference between a 6L6 and an EL84. ;)

    • I agree that you need a great source tone to start. I do put my amp in a closet behind the stage, close mic’d with a e609 and a sm57 off axis. pretty great results actually. Our house system was completely donated and while i would be happier with something other than berhinger subs, mains, board, everything, its more than a lot of church plants have and its a big blessing to us.

      Its funny, i removed all the badges of the 4 1×15 mains and the 18subs and you’d be surprised how many musicians comment on how good it sounds. heck, our sound guy who runs a studio even said so, but then i tell them its berhinger, and then they throw up in their mouths a bit.

      I was approached by our sound guy about buying a Tech 21 character pedal and getting rid of the amp. I politely navigated out of that one for shear sake of sanity. I get the whole stage volume is the devil thing, but there has to be some sort of compromise. I would probably run my amp on stage, if i had room for it. enough room for a drummer, bassist, me, and one other person. had to build an extension out front for Todd our pastor to stand on.
      Im rambling

    • I would agree with you Karl.

      Since getting a tube amp, I think my playing is better because what I hear from the tubes is so much better.

      Last week, I installed a Treble Bleed Mod to my guitar (just a 0.001uf cap) and its the best I’ve ever sounded because the sound does not get darker when I reduce the volume.

      If the sound from the amp captures you, I believe it sets your imagination free.

  23. Ok, that answers my question. At the moment the only mike available to put in front of my amp is an Audix OM2 I bought quite a while back. The old SM57 the church owns has been used to mike the box drum ( Cajon ). We’ll see how that goes.

  24. The one thing that I just cant shake is the dynamics of a overdriven tone by a digital modeling pedal. My girlfriend has one of the POD series (not the smallest, but one step down from the biggest) and I’ve messed around with it quite a bit….but I cant stand the dynamics of the overdriven sounds. Like it just sounds horrible. Even turning the volume knob down doesnt do anything. And its annoying to me as well because clean patches are the same way.

  25. Well let’s just throw two more things in here: ears and money. I don’t have much use for opera, some people do — just one way of saying we don’t hear things the same. A keyboard player may not care if you’re using a modeler or an amp, as long as it isn’t drowning him/her out.

    As far as money, would I trade my $300 amp straight across for an Axe-fx rig — yep. If you have a budget that allows you to get a pretty good modeler, but only a mediocre amp, which do you choose? Ok, somebody’s going to argue you can get a decent amp for the $500 a new POD might cost, but budget is a factor. Most of us just aren’t going to buy a $2000 Matchless.

    But we love Karl anyway :-) Now that I’ve said all that I’m going back to miked tubed amp starting this Sunday ! So now I guess it’s time to try to sell what I’ll no longer be using and either get a better amp or mike or both.

    • Well, I always invest in decent pedals…I don’t hae any over $120 because I get the nice ones used. I have an Esteban 12wt Solid state that sells for about $20 now, but I still get great sounds out of it. Not like the tubes at all, but it is all I can have right now…so I make it work! haha


  26. Karl:

    Oh, and a post is coming soon on whether the audience or congregation can tell the difference between a 6L6 and an EL84.

    can’t wait to read this post … i’m sure this will be fun!

  27. Well so far I’m a tube amp / pedal guy. But here’s the thing, almost all of my modulation / delay / reverb pedals are digital. My overdrive / distortion is analog. Is there really any difference between me and the guys with an OCD in front of their multi fx which is in front of their tube amp? They spent a lot less money than me I know that. And I’m about to spend another $500 on an Eventide Space the minute it drops.

  28. thats how I do my MFX. I plug into my blues jr and the M13 is only stompbox’s, no amp models. It works realy well for me.

  29. Jared, what effects do you generally use in your M13? Is your band big enough so that you can generally provide accents,fills, etc or are you playing rhythm quite a bit?

  30. With my M13 I use mostly delays and comps. I do use a couple verbs and the screamer drive a bit. the band is a 4 piece so I typically switch between leads and rhythm depending on the song. I still use an analog board occasionally but I’m learning to really enjoy my M13. no matter what analog drives are better but I’ve messed with a few to sound pretty good.

  31. M13?! Stop using my analog-themed post for evil!

    But honestly, we all just draw our lines in different places. I wish I could draw it at having 128 Moog analog delays for 128 presets. However, that’s impractical, and I compromise by getting a digital Timeline with 128 digital presets. However, I appreciate the attention to detail of the Timeline’s circuitry, the time put in to building it, and the analog dry path. I think all these come through in its tone. I cannot bring myself to stretch the compromise over to an M13. The sound didn’t do it for me when I played it. For some people, it either sounds better to them than their pedals did (or their amp modelers to their amps), or the versatility and ease of use is worth the compromise in tone.

    You just gotta figure out where your line is, play what inspires you, and then don’t be afraid to admit that you’ve been wrong or that your styles or ears have changed down the road. I know plenty of folks who have gone with modeling, and then gone back later to real. I also know some who have stayed true to the real, and then finally gone to modeling, and profess to love it. So don’t get hung up on a dogma…even though that’s what this post is all about. ;) Hey, nobody, myself included, reads ‘Eh, Play Whatever You Want.’ We do read, ‘Al Pacino Hates Amp Modeling.’ hehe

    • Karl, I have to disagree. I have decided that I am going to one extreme or the other. I haven’t decided yet.

      I’m either going to move to only using my mouth and hands to create music and amplify it through a tin can and rope system to every individual in the church, or I’m going to use midi to track all of my guitar parts with the great sounding “guitar” sound on my computer’s synth.

      I think everyone should join me in my extremism. If you don’t you are wrong.

      Maybe I should posted this on The Gear Page. It seems to fit the tone of TGP better than the tone of this blog…

    • c’mon karl, go for 128 Moog delays!!!

      btw, i started with modeling because i was not sure what i want to sound like. after i figured out the tones i want, i switched to tube amp and individual pedals, analog/digital combined … although the latest incarnation are all analog. couldn’t be happier right now :)

  32. haha, karl you crack me up sometimes.

    seriously though, the M13 has an analog dry path. Without it even being plugged in to the wall it will still send signal to your amp. I know this because when I first got it I plugged in all the cables and turned on my amp, started playing and was curious why none of the FX or switches werent coming on. Then i realized “oh….i didnt plug it in” haha.

    Also, I think Al Pacino might be, JUST MAYBE, talking about something else other than analog pedals. :-P

    or he is…and might kill us all if he finds out we are all using Line 6 in some way or other.

    On a side note, my M13 has a preset scene called “On The Edge.” It has 6 delays, 3 drives, and a couple phasers that all sound pretty awesome no matter what combo you use them in. Just that preset alone I’ve been able to play a lot of his licks…not sounding exactly like him, but pretty dang close (with just presets that is)

    • True bypass and A/D D\A conversion aren’t mutually exclusive. The series does convert your dry signal to digital when engaged, but doesn’t when it’s not, because there is no need to.

  33. I just saw this ad on cragislist. Classic……. “I play exetremly fast arpeggos and shred runs’s….I only have one problem…I’m a musician who is limited and do not posses high tech expensive sound gear…want I’m wanting to know is there any affordable pedals out there that will give me SUPREME COMPRESSION, I currently have the basic Dyna CompMXR..it’s good but I need just a little more punch….. the problem is my fingers move at lightning speeds and the sound cannot keep up with the finger placement signature..I’m sure there are some high tech shredders out there who know what I’m talking about…..I don’t get out much…contained to my room and computer and guitar…..what pedal would you recommend!”

  34. BTW for all you Australians out there that didn’t get one of Karl’s herdim picks, let me know. I bought a big bunch of them last time I was over and I’ll send you one for free if you give me your address. I couldn’t find them over here either. Now we can all sound like the Edge!

  35. haha You guys are awesome. :)

    And as per Line 6′s website, I believe the M13 does send your dry signal through A/D D/A converters when the effects are engaged, even though it is true bypass. The nice thing is that there is no conversion when the unit is off; the not so nice thing is that it converts when using the effects. I could be wrong, but this is the way most true bypass digital effects work.

    And cool gear pics!

  36. I think there’s only one guy at my church who knows anything about guitar pedals. Happily, he’s a big fan of U2 and gives me props whenever I manage to get in a lot of delay in a song.

    I will admit that because I can afford the boutique analog pedals, that’s what I use. I’m sure nobody at church would notice the difference, but since I use my amp as my monitor I notice, and rather enjoy listening to it while I play.

    I also dig cranking my LP Custom through my boutique tube amp in my house. The velvety sound of tube distortion is glorious to my ears. My 1-year-old likes it too. And that’s good enough for me.

  37. Ya, I’m the same way. Sounding better to me, inspires me to play better. Most of the time, sounding better means something boutique or vintage, but sometimes it means something cheaper, at least for me.

    I also think the folks in the congregation notice that things sound good, even if they can’t tell why. Although I must say, having your kid dig the sound of a cranked amp? Pretty much awesome enough right there! :)

  38. Agreed. And often if it sounds good at 80 decibels, it’s way cool at 100. This brings up the old “nature/nurture dichotomy.” Are kids born loving tube sounds, or is it learned? :-)

  39. fellas, according to this google search:
    “site:http://www.guitarforworship.com/ Providence”

    I stumbled upon the Providence DLY-4 Chrono Delay before you..?

    Till now that is, wishing everyone a nice instant research time

    Not convinced it’ll end up at my feet soon though. Still delay traumatized since DC Timeline broke down down for good and not really willing to shell out for another high end unit. Still haven’t found, looking, with or without blinding lights.

    Side tribute note: keeps coming back, (almost) always reading through the comments for fun and insight as well. Great community gathered here, Karl and everyone. Congrats on the ambient album, best of luck

  40. Looks good, my friend! I remember their ‘Delay ’80′s’ got some good reviews. If that ‘Echo Hardness’ truly is an analog control and can roll off some high end, this might be a great unit!

    Whoa! Just saw the price. I think they need to throw in a couple more presets if they want that to sell. hehe :)

  41. yeah, it’s a joke and at least 30% too high no matter how good it may sound.

    Spent some time checking out the market tonight. It seems MXR CC and Akai Headrush have dropped quite a bit in price since last winter when I bought the doomed DC Timeline green monster brick

    Long short list so far, prices from EU retailer, not inclined to max budget further unless Norah Jones/Van Morrison/Emmylou Harris/and-so-on suddenly starts paying me for playing along:

    Visual Sound Garage Tone Axle Grease €77
    EHX Memory Boy/Toy €93/€75
    Carl Martin Red Repeat €98
    Modtone Vintage Delay 99.90€
    Boss DD7 €133
    TC Electronic Nova Repeater €145
    TC Electronic Flashback €145
    AKAI E2 Headrush €155
    AMT TDD-3 €156
    MXR Carbon Copy €166
    Tech 21 Boost D.L.A. €176

    Have only tried EHX, MXR, Nova in store with initial limited excitement. Remember Akai as great though.

    Judging from quick YouTube tour the TC Flashback is bang for buck, as well as Garage Tone and Modtone Vintage Delay. But basically not reasonable buying based on YT impression. Luckily most of them are small and light enough to ship cheaply, considering ordering a few for thorough testing at home. Here we go again.

    Guitar and amp in place for good/life, it’s all cosmetic details from here on….
    http://www.tdpri.com/forum/amp-central-station/209966-small-amp-owners-advice-please-ac4-scxd-bugera-v5-etc-2.html#post3163159

  42. Ooh, that’s nice what he’s doing on the drums!

    Ya, pretty high price for the Providence. I like the new TC one, although I wish it had a more usable tempo-set. Guess we’ll just have to wait for the Timeline 2. ;)

  43. Timeline 2 is breaking my retired semi-pro bank, guess rrp is at least €350 in EU

    This gentle rocker knows how to put on a pair of jeans and dial away on delay knobs for 7:49 minutes

    Guess Modtone is some kind of MXR clone, do sound good for the money

  44. :) no chance at all Karl, pretty sure about that. Semi-pro as in getting paid for weddings/parties for 10 years. And playing church for free and fun.

    SAD-1 is discontinued or..?
    TC Nova repeater is leading the long short list race atm, real good value it seems though the lack of presets vs. its features is a bummer, especially for live use. Can’t have it all, happy that the market has leveled a reasonable bit at least.

  45. revision, slight:

    stumbled across the Strymon Timeline hysteric hype thread again, eta April/May
    http://www.thegearpage.net/board/showthread.php?t=834793
    managed to get somehow involved as well

    the basic NAMM hotel room demos are still intriguing big time

    haven’t done spacy instrumentals in ages (11 years actually, http://www.4shared.com/audio/5fR5HobI/1999_-_Roland880_-__Indy2.html) but this unit could definitely inspire new tracks and trips….hmmmmmmm…maybe even dance/house ventures, mixed with Ableton Live and a electro partner or two

    will await release roar and consider doubling budget should 2. coming be confirmed

  46. Ya, the SAD-1 is discontinued. And the Timeline 2 looks great. :) There’s a post on it here somewhere, too.

    I’d love to hear some of your spacy stuff!

  47. U-turn: local shop are dumping their Marshall line, brought the Vibratrem and Echohead home for €100/$140. Good for budget, expectedly good for tone as well

    budget routing:
    baja/strat -> Boss FV60 volume -> Boss FDR-1 -> Vibratrem -> Echohead -> 15W 12″ Traynor

    Hail Mary
    http://listen.grooveshark.com/s/Mercy+Now/2339vH?src=5

    Hail Wah
    http://vimeo.com/20902369
    “…it goes to the heart of what human communication is kind of all about….”
    Yes, it’s men talking about a guitar pedal. For an hour.

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