Separate names with a comma.
Discussion in 'Amp Modeling' started by Pwrmac7600, Sep 22, 2017.
Own it - Metallica wouldn't be shit without Dave. Just sayin....
Dave who? Just asking...
I know you weren't asking me, but I'll answer anyway lol.
I have been a Tallica fan since I was in Jr high school. My first cassette was Master Of Puppets. Ever since I heard that album I was hooked. While I love Kill Em All, and Ride The Lightning, IMO Master Of Puppets is their masterpiece!
I do have to say despite the poor production value of And Justice For All, I think it is probably my second favorite album, and to me their peak.
I will say though that had the black album, load, and reload not been Metallica albums they are great albums. They just aren't the Metallica I wanted to hear.
Dave Mustaine (Megadeth)
You are just completely ignoring the fact that two people stated there is a method of setting up your patches which is completely lagless switching. It just so happens that the method they like to use for setting up their patches causes lag during switching. I personally think the way they are setting up their switching is extremely inefficient.
Every preset you create has 8 different scenes you can create within that preset. So scene 1 could have the amp dialed up to a clean tone, scene 2 the amp dialed up for a crunch tone, scene 3 dialed up to a lead tone, scene 4 dialed up for added effects etc, etc, etc...
Then on your board each scene would be labeled clean, crunch, lead, etc, etc, etc. and you depending on how dynamic your set list was you could live on that one preset all night, especially since within one preset you could have up to 4 different amp models, 4 different cab models, and on the fly on/off switching of all effect in the chain . If your setlist was more involved, you could literally create separate presets for every song on your setlist, each utilizing up to 8 separate scenes per preset. Setting everything up this way offers completely seamless switching, and is no more difficult than setting up any other way. It sounds to me like they are setting up their presets as to have a completely separate preset for clean, crunch, lead, FX, etc... which is completely inefficient IMO, and I am truthfully not sure why the hell they would do it this way.
This Video, although being 4 years old now, demonstrates the gapless switching pretty well.
And yes I do think a higher quality piece of equipment should function better than something of lower quality, which it does in spades. Again this is a case of someone making an assumption based on not having any real experience with the gear. Sad really, because you are letting non issues hold you back from a wonderful experience...
I have so become that way myself over the years. In high school, I "couldn't" like Blondie because, well I thought it was pop (silly kid, huh?). But by the mid 90s I was like "phooey on it, if I like it, I like it. I don't care who it is" and I have a Blondie compilation that I really really like.
1)Brother, you in particular are welcome to respond to any of my posts any time. Oh, and "Master of Puppets" was also my first exposure. I always have found "And Justice" too depressing. I guess I always associate it with the video for "One"
2)Although addressed to Frank specifically, I don't mind any responses from anyone.
I'd be interested to know why they do it that way. On the face of it, it doesn't make sense.
Obviously I can' speak for them, but I have a feeling it comes down to simplicity. They (the band or the techs) aren't ready to see the AXE as any more than "amp replacement" so, since they have the money, they just ordered Fractals for each amp they use live. It's all I can figure....
Yeah I forgot how many Cliff said they ordered, but it was a shit ton of them, I want to say like 40 something. lol which even with their multiple touring rigs leap frogging the country, and there multiple over seas rigs, that still sounds like alot.
I saw Metallica in 1989, The And Justice for All tour.
Im not a big fan of that type of stuff but it was a great
show and sounded fantastic.
I came away very impressed, and more of a fan.
Cool to see what they are using now, very interesting.
Presumably they'd have two for any particular job, the second being a back up (cuz everything fails sooner or later). The ZZTop rigs are completely redundant in that respect, so I expect any huge act would do likewise.
But that doesn't seem to have been what they were talking about in the vid. Weird.
So are you saying you start introducing problems as you get to higher volume?
I don't find Music Man guitars good looking and I only use the bridge pickup anyways so my guitars are good for me.
no lag in the kemper in performance mode... I don't think it's necessary but if you're metallica you'd want all possible bases covered. big shows always have a lot of insurance built in to the setup.
Also, playing greeny thru a MODELER?!?
I'd be happy playing Greenie unplugged.
Truth be told, I'd be happy just holding it.
A lot, and I mean a lot, of my favourite recordings were made using that guitar.
I forgot my contribution to the thread.
IMO, Metallica sounds great regardless of what they're playing through.
I'm a self confessed fan boy though, they grabbed a hold of me and assaulted my senses from the first heavy riff in Battery, which is the first song on the first Metallica album I ever heard. Took all of 40 seconds to know I would be hooked for life.
The point is when you are playing at stadium volume you bet your ass you hear every glitch and fart..
The point about the Music Man guitars is not that you should like them. The point is the simple switching of a pickup at high volume can be detected by those that are listening for it.
You don't find this good looking enough? Really?
That's not what he's saying. When you have signal - digital, analog, whatever - travelling at the distance you have on stages that size you have a delay. It is why high end digital mixers, PA equipment, most of all sound reinforcement meant for that SIZE of venue has "time delay" elements built in. When you are playing at that level, ALL equipment - tube included - presents new issues in how you hear and perceive what is happening. Does a 5-way switch really have delays? Not in my universe, but must be so in JPs universe. Could Eric Johnson REALLY tell the difference between types of batteries? I can't fathomably believe for a second that he could, but in his universe, yeah he could. Does Metallica REALLY experience a switching lag in an AXE FX II MK2 (unarguably the pinnacle of modelling)? Oh, I am sure based on the way they are using them. Truthfully, they are using the AXE in an ineffective way - hence using more than one and switching via a GCX.
Having used GCX/MIDI switching systems, the more you have going on the more likely you have a lag even in THAT technology. It was covered nicely above about how the ENTIRE unit changes the algorithms when pulling a TOTALLY new patch - that is why there are scenes/snapshots. Small changes happen at speed we are used to having them occur.
Now, for some personal questions. You seem to be very against modelling, despite you saying you are interested in getting an AXE. Are you just a contrarian? What can still be said that explains this tech to you? I ask because I am perplexed at this point what you are hoping to glean from entering these threads. Like, the comment about Metallica using tube amps in the studio, not Fractal. Who cares? The thread is about a LIVE rig rundown. EVERY artist in the world WILL use EVERYTHING available to them in a recording situation, especially when you are like Metallica and have your own state-of-the-art recording facility. Anyway, I am seriously just wondering what you aiming to get in these threads that live in the modelling forum.....
And here I thought it was only me... Thanks Mark