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Have you owned a modeller?

  • I own a modeller and it's good enough for me. It's the foundation of my main rig.

    Votes: 26 44.1%
  • I own one but use it for effects only.

    Votes: 3 5.1%
  • I own one and use it only for effects but I plan to start using amp modelling in the near future.

    Votes: 1 1.7%
  • I own one but it's not part of my main rig.

    Votes: 10 16.9%
  • I owned one for less than 3 months but it didn't do it for me.

    Votes: 1 1.7%
  • I owned one for more than 3 months but it didn't do it for me.

    Votes: 7 11.9%
  • I tried some but they didn't do it for me.

    Votes: 4 6.8%
  • I've never owned or tried one.

    Votes: 1 1.7%
  • I own a modeller but I'm going back to the real thing. I've owned it less than 3 months.

    Votes: 0 0.0%
  • I own a modeller but I'm going back to the real thing. I've owned it more than 3 months.

    Votes: 6 10.2%
41 - 60 of 84 Posts

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Hmm, hate ALL of Loomis' tones?
He's had plenty of different tones throughout the years.
This Godless Endeavor certainly sounds a fair bit different to Dead Heart In a Dead World or Enemies of Reality (or indeed his solo album)
I find it strange one could hate every single tone he's had, despite having had a fairly diverse range of tones.
Surely there's some in there that you like, or at least, hate less than others?
I swear Loomis had got to be the best current example of the phrase "Tone comes from the hands". I've followed his career all through the Nevermore era, and to me, his tone has been amazingly consistent despite his gear changes (starting with his "modded" M307 all the way to now). The most recent I heard from him was a youtube video where he had an Engl and it sounded like it was off-miked, yet despite that it still had that same fundamental "glass nails on a chalkboard but pleasant" tone he gets (not an insult btw, I love his tone, it was just the best way to describe it). Even his early 4 track stuff, which basically sounds like a distortion pedal straight into a 4 track, had that Loomis high end, and the dude was in his teens.

/offtopic
 

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Head of Agile Gestapo
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5,675 Posts
We had to settle for $300 Crate 20 watt pieces of shit that had distortion that sounded like rob zombie gargling with razor blades out the window of a moving car.
:lol:

I've owned a POD 2.0, Spider II head (nobody's perfect), Flextone II head (2x), and HD147. I love the feel of tubes which is why I want the X3 Pro/power amp combination as my next rig.
 

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Premium Member
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Hmm, hate ALL of Loomis' tones?
He's had plenty of different tones throughout the years.
This Godless Endeavor certainly sounds a fair bit different to Dead Heart In a Dead World or Enemies of Reality (or indeed his solo album)
I find it strange one could hate every single tone he's had, despite having had a fairly diverse range of tones.
Surely there's some in there that you like, or at least, hate less than others?
Like Mike said, I'm only talking about his live tone on the Godless tour. Those Kranks sounded absolutely abysmal, even if Jeff's playing went a long way towards getting the most out of them. His studio tone has always been something else.
 

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Guiterrorizer
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15,696 Posts
I had a GT-8, sold it because I wasn't really using it. I was hoping to use it for headphones for practice and recording, but I kept plugging into the JSX, couldn't dial in a blank patch too well (Which is odd because it's easy for me with real amps) and just used the delay really.
 

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Registered
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580 Posts
...which is the only possible reason why you could actually like that horribly over-gained, incredibly edgy, over-bassy clusterfuck that is the "Insane" model. :lol:

(sorry :wub:)
None needed. I do find it fascinating that you nailed precisely what I loved about that model. If they made a tube amp that sounded like that model, I might be a tube guy today.
 

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None needed. I do find it fascinating that you nailed precisely what I loved about that model. If they made a tube amp that sounded like that model, I might be a tube guy today.
That's probably, because we have vastly different tastes in what constitutes "good tone," we also both have ears. :D

I was about to post up something about how you should check out a few Peaveys, then I remembered that a couple posts back you mentioned those are the only tube amps you've played that you like. :lol:
 

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Thread Killer
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6,491 Posts
I have a Tone port. I generally just use it for practicing and use it for a interface for guitar, directly into reaper. Most stand alone modelers are essentially toys, i feel like (Not stuff like Axe FX, any of the higher end digitech stuff), and would never use it for actual recording or live use.
This. Exactly what I use it for. home use and recording ideas into Reaper :agreed:
 

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I swear Loomis had got to be the best current example of the phrase "Tone comes from the hands".
Since i don't buy the "Tone in hands" thing, it should figure that I found that Jeff's tone changed a lot through the years. My favorite was always Dead Heart in a Dead World, personally. It sounds significantly different than the albums before it, and much better than Enemies of reality. Godless Endeavor has a pretty nice tone to it, but i just prefer the DH tone more.
 

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Premium Member
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Discussion Starter · #50 ·
Hmm, hate ALL of Loomis' tones?
He's had plenty of different tones throughout the years.
This Godless Endeavor certainly sounds a fair bit different to Dead Heart In a Dead World or Enemies of Reality (or indeed his solo album)
I find it strange one could hate every single tone he's had, despite having had a fairly diverse range of tones.
Surely there's some in there that you like, or at least, hate less than others?
No not all of them and hate is too strong a word, that's what you get when I post at 2 in the morning :lol:

I was thinking of Zero Order Phase and his recent live tone when I wrote that. I'm not a big Jeff Loomis or Nevermore fan, I own nothing by them and haven't listened to everything they have done. To clarify I never heard about Nevermore before I joined ss.org and I actually like some of their stuff but haven't got around to buying anything yet. TBH some of his earlier Nevermore tone is OK (Dead Heart in a Dead World for example) but from what I've listened to nothing has jumped out at me as great. I generally think Nevermore recorded tone is too saturated for my taste and despite being saturated sounds a bit thin and dry. When I read that back it doesn't make a lot of sense and those are probably not the right terms and I'm struggling to get what I mean across but the best way I can describe it is that it reminds me of playing my EMG equipped RG7EXFX2 through the Pod, I got super saturated tones but in comparison to the much less saturated, more open tone of the Dean through my GSP1101 I would use words like thin, dry, bland and boring to describe it.

Since i don't buy the "Tone in hands" thing, it should figure that I found that Jeff's tone changed a lot through the years. My favorite was always Dead Heart in a Dead World, personally. It sounds significantly different than the albums before it, and much better than Enemies of reality. Godless Endeavor has a pretty nice tone to it, but i just prefer the DH tone more.
The tone on Dead Heart in a Dead World is my favourite.
 

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RG 7 player of doom
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690 Posts
I've long used Meshuggah as an example of about one of maybe two genres were modeling makes sense. I don't know exactly why (I suspect it may have something to do with an exaggerated frequency response relative to a "real" cab and mic), but the only times I've ever been able to cop the vibe of their post-Nothing stuff has been using speaker emulation. It's just a little more immediate in the attack - this works horribly for 99% of guitar tones, but for their percussive, almost percussion-like approach, it's just perfect.

(the other exception is electronica/metal hybrid stuff like Orgy or Prodigy, where you don't WANT natural tones).
Indeed, I actually think Line 6 is FAR superior for the kind of saturated, thick tones I go for.
I know the whole "Djent" thing is popular at SS.org, and every second guy there wants the tightest sounding amp in existence, but I come more from a background of death metal and groove metal rather than this new breed of "djent-OMG-I-copy-all-of-Meshuggah's-And- Bulb's-riffs-core", and I find higher levels of gain and a somewhat loose, saggy lower mid range to be desirable.
Line 6 can do the "djent" but I've managed to coax some very saturated, thick and lower mid heavy tones that you'd hear on the likes of Killswitch Engage's End of Heartache (a commonly referenced guitar tone for the saturated lower mid heavy style) or Arch Enemy's Doomsday Machine.
Every clip I've heard of someone trying to cop that kind of tone with the Axe FX has never worked.
It ALWAYS sounds too tight, too articulate and too percussive, and it just ends up sounding too thin.

I believe Dave is referring to the Krank tone from the last tour in this case. Loomis does always sound like Loomis, though, somehow, even if the shading's different. I still think the best tone he got was through Pat O'Brien's Mark IV on the "In Memory" EP, but that's probably just me...
Not quite sure what you're hearing, but the first Nevermore guitar tones sound RADICALLY different to the newer stuff.
The older stuff was far more mid scooped and trebly (and ultimately too fizzy), whereas something like Dead Heart In a Dead World has a nice, deep, aggressive core mid range with a very smoothed off treble and a biting upper mids.
This Godless Endeavor again, sounded quite different from DHIADW. It was slightly pushed back in the core mids, with more lower mids, more upper mids and the treble/air frequencies centered around 7-7.5Kz are markedly much more present.
It was also somewhat more percussive and articulate too.

To be fair though, I listen to the 00s Nevermore stuff A LOT (those 3 albums are some of my favorite metal records released last decade) so this kinda stuff is ridiculously ingrained into my memory a lot:lol:
But yeah, I do notice the tonal characteristics being different quite immediately when I change from album to album
 

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RG 7 player of doom
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690 Posts
Like Mike said, I'm only talking about his live tone on the Godless tour. Those Kranks sounded absolutely abysmal, even if Jeff's playing went a long way towards getting the most out of them. His studio tone has always been something else.
That's fair enough.
My experience with Kranks is that of an amp that feels RIDICULOUSLY stiff.
It was not inspiring at all to play.
I can see how they can work in a studio setting (their tonal characteristics blend well with other amps) but for a live or rehearsal amp, forget about it, it feels like crap to play, and there's no way that will inspire anyone to play their best on stage.

Since i don't buy the "Tone in hands" thing, it should figure that I found that Jeff's tone changed a lot through the years. My favorite was always Dead Heart in a Dead World, personally. It sounds significantly different than the albums before it, and much better than Enemies of reality. Godless Endeavor has a pretty nice tone to it, but i just prefer the DH tone more.
Bingo:yesway:
I don't buy into the tone is in the hands thing either.
Tone is a result of EVERYTHING in the guitar chain, be it pickups, amp, pedals etc.
The picking hand can to a degree, affect the final response (because after all, no one picks exactly the same) but I've always found the "all tone comes from the fingers" thing to be far fetched and unrealistic.

No not all of them and hate is too strong a word, that's what you get when I post at 2 in the morning :lol:

I was thinking of Zero Order Phase and his recent live tone when I wrote that. I'm not a big Jeff Loomis or Nevermore fan, I own nothing by them and haven't listened to everything they have done. To clarify I never heard about Nevermore before I joined ss.org and I actually like some of their stuff but haven't got around to buying anything yet. TBH some of his earlier Nevermore tone is OK (Dead Heart in a Dead World for example) but from what I've listened to nothing has jumped out at me as great. I generally think Nevermore recorded tone is too saturated for my taste and despite being saturated sounds a bit thin and dry. When I read that back it doesn't make a lot of sense and those are probably not the right terms and I'm struggling to get what I mean across but the best way I can describe it is that it reminds me of playing my EMG equipped RG7EXFX2 through the Pod, I got super saturated tones but in comparison to the much less saturated, more open tone of the Dean through my GSP1101 I would use words like thin, dry, bland and boring to describe it.

The tone on Dead Heart in a Dead World is my favourite.
Aww man, I LOVE saturated tones :lol: but that really comes down to the style of metal I play.
It wouldn't work for the current "djent" stuff, or the older school stuff neither of which I really listen to often and don't really play on guitar.
But for that modern groove metal and death metal, saturation is king.

Although I would say, for Sneap to have really made that tone on This Godless Endeavor work, it needed to have a little less lower mids than you can get away with on a 6 string guitar tuned to say, C# standard or whatever, because when you start deep riffs in Bb and when they get as technical as what Jeff Loomis plays, you need all the clarity you can get to make sure the listener can hear every note.
Personally I think it was a great compromise between being saturated and having a little less lower mids to ensure that you didn't miss a note of Loomis' performances in the studio
 

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Head of Agile Gestapo
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Does that mean you've decided not to get the Velocity after all?
Still kinda deciding. If I can get a Peavey Classic for stupid cheap, then no Velocity.
 

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Premium Member
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Discussion Starter · #54 ·
Yeah I don't like scooped tone or tones associated with Djent much either :lol:. I actually love a lot of thick saturated modern tones, I do use some myself sometimes but these days I mainly use less gain and more mids than most. The tones I love and try to achieve are best described as a rock or classic metal tone that is right on the edge of becoming a modern saturated metal tone. Most people would just call it a rock tone but I can't really give you a reference because there really isn't any band I notice that sounds the same. One tone I have been shooting for recently I described as being somewhere between Paranoid and FNM with a bit of AC/DC grit, so that one is very rock. The tone I use depends on what I am playing but I generally use the same models with more or less saturation, guitar selection and pickups play a big part in achieving that saturation as well.

I've said it before, I mostly play stuff that is more rock than metal and when I play metal I play with more of a rock tone.
 

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DOO)))M
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Honestly, the Peavey Classics rule and if you're like everyone else and have a boost, throw it in front and voila - awesome cleans/rock and hit the pedal for more grit
 

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Head of Agile Gestapo
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I actually don't have one, I'd probably use one of the boosts in the X3 Pro. I wanted to grab a Chaos Mod TS7 last year with my Bugera rig but I had to sell everything. That whole "lack of job" really didn't work out. :lol:
 

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Dream Crusher
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21,053 Posts
I do buy the 'tone in hands' bit. Sure, you're not going to take a Telecaster through a Twin and get a death metal tone, but I always sound a bit like me no matter what I'm playing through. There are also guys who make my rig sound way better than I do, but in a different way than I can, despite the identical guitar and signal chain/settings.

I do notice, however, with my PODs that everything sounds more generic. My EMG-equipped SLSMG neck and bridge positions are fairly similar-sounding, and not all that different from my HSS passive-loaded ESP.
 

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I do buy the 'tone in hands' bit. Sure, you're not going to take a Telecaster through a Twin and get a death metal tone, but I always sound a bit like me no matter what I'm playing through. There are also guys who make my rig sound way better than I do, but in a different way than I can, despite the identical guitar and signal chain/settings.
This. Yes, you amp sound can change, but you are still fundamentally you tonally, no matter what. There are certain guys I can recognize right after the first lick or two. For example, I never knew Stevie Ray Vaughn played an acoustic tune on a 12-string, until I heard "Life By The Drop", but I knew it was him with the lick he played to start the song. Loomis definitely has a signature sound, and whenever he takes a lead, there is that same aggressive attack, pushed on top of the beat immediacy, and stinging pick attack that is his hallmark.
 
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