thread makes we want to play guitar

I can't have an amp. I will not put myself in a position of having the neighbors mad at me. If I was a riffing/soling madman then I'd brave it.....but I'm not so I'll pass

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Three knobs... VOLUME, BASS and TREBLE... that's it but man, talk about sweet and you won't bother your neighbors at all.

Jim

I thought you had a house? Surely there's a place to mic a micro-tube amp, add a small weber attenuater and your neigbors will never know...options, never had so many, never gonna stop exploiting them

I do have a house. But I'm a VERY quiet neighbor and I expect others to be the same So I give no reasons for some dingdong to start invading my earscape

Just played around with AT3 and RP delay.......whammy fun!

I assume the houses are close together?

One of my long term projects is to build a nice stereo combo amp based on a Fender pre-amp topology (my co-worker used to design amps for Fender) with a power amp stage that is designed for low output.

I have a prototype for the pre-amp stage (which I'm going to install into a shittier amp some time this month) but I'm having trouble coming up with a design for the cabinet. It seems to me, most speaker cabinets aren't designed specifically for recording and definitely aren't designed with stereo separation in mind.

Any thoughts on this? I figure I may end up with an amp head and two speaker cabs (with a woofer and horn each) instead of a combo cabinet but I'm aiming for something all-in-one.

Just a few feet.

Back in those psychedelic days, I know I guy you wired his each pickup post on his guitar to have separate outputs, then he made a 6 channel amp and placed them in a arch from the floor to about 5 feet over the ground and he would sit in the middle of the speakers and play his guitar for 10 hours a day.

One day, not knowing what the monstrosity was, I asked him and he took about an hour to explain to me what he did, he was very excited. Then I asked him, "but how can anybody else hear how cool this sounds if only the person sitting in the middle of the arch can hear the pickup spread?".

I stumped him and he never played the thing again.

But I did run into him a few years later.... his band was playing in a big theatre and he kept the six channel guitar and spread six fender TWINS across the stage so that other people could finally hear his invention (which was pretty cool).

I forgot all about this story until this thread. THANKS HINK.

Jim

Sequis Motherload Versus Line 6 PodXT Comparing the Motherload/amp combination to a PodXT, with all its effects switched off, I could actually get the PodXT to sound pretty close. Surprisingly, there was often more fizzy/crackly top in the PodXT signal, but the characteristic real-speaker mid-range dip was already there, and the bottom end was comparable, although the Motherload was better at really deep 'thump' frequencies, so long as they were present in the source. The thing I could never match was the clean-to-distorted range of the real amps. Most of these could go from warm clean to singing distortion just on the guitar's volume control, whereas the PodXT always needed a gain tweak to get either end just right. Plugging the PodXT into the filter stage of the Motherload, switching off the PodXT's cabinet simulation, and using the effect return input actually improved some of the PodXT sounds, to my ears, whilst failing to match others. This could be a useful strategy for anyone who needs the versatility and immediacy of the PodXT, but who isn't quite convinced by the sound. Where it works, it seems to shave off a bit more of the high top end than the Pod's own cabinets, somehow leaving what remains sounding far more focused, and just more convincingly real, especially if you then apply room simulation after the Motherload output.
The original Line 6 Bass Pod proved even more successful, with the Motherload invariably providing a more usable recorded bass sound than the Pod's own cabs, to my ears, with a smoother, more extended bottom end. One thing to watch out for when connecting a unit like the PodXT in this way is that the Motherload chassis is not grounded, for safety reasons, and the PodXT chassis isn't grounded either. This can produce a lot of noise pickup in some situations, for which the only cure is grounding the PodXT chassis. I did this by connecting the other output to my mixer, but connecting both sockets sends the PodXT's output into stereo mode — not ideal if you are using any of the PodXT's stereo effects, as you'll only then be recording one side. A shallow self-tapping screw into one of the mic stand adaptor holes on the underside of the PodXT crocodile-clipped to something earthy (like the sleeve of a jack lead coming from your mixer perhaps) seems to solve the problem completely, although this isn't recommended if your PodXT is still under warranty.

One of my long term projects is to build a nice stereo combo amp based on a Fender pre-amp topology (my co-worker used to design amps for Fender) with a power amp stage that is designed for low output.

I have a prototype for the pre-amp stage (which I'm going to install into a shittier amp some time this month) but I'm having trouble coming up with a design for the cabinet. It seems to me, most speaker cabinets aren't designed specifically for recording and definitely aren't designed with stereo separation in mind.

Any thoughts on this? I figure I may end up with an amp head and two speaker cabs (with a woofer and horn each) instead of a combo cabinet but I'm aiming for something all-in-one.

Well the pre-amps will be normalled with a buffer, so if you only connect input 1 it feeds input 2 without signal loss. Most of the signal processors I use are stereo though, and I'm just as likely to use the amp with a synth as a guitar.

So the amp will take a mono or stereo signal. Right now I just have a single channel of the preamp. I'd like to make it so you can use it as a traditional switchable two-channel mono amp or as a stereo non-switchable amp. The circuit that allows me to use a single set of controls for both amps in stereo mode, while using independent controls for each amp in mono mode, is kinds tricky though. I may end up using a pic or atmel processor to control everything digitally.