I like the POD XT because of its dual sound capability. A similar device is the Radial Headbone, which lets you switch between two amp heads running into a single cabinet. Thwart the nefarious electrickery of the Reaper – use a buffering device or isolation transformer instead. This type of setup has been used by everyone from guitar hero Eddie Van Halen to jazz/fusion legend Larry “Mr. Dipping of proper toes in actual water is not encouraged whilst experimenting with amplifiers. Bridge pick up goes to one amp, and the neck to another amp. To begin, don’t start by dialing up the same settings from your previous amplifier, for two reasons: first, the new amp likely won’t sound the same as your old amp. I get the straight six strings in the amp and the “octave” strings in the PA, three strings in the left channel and three strings in the right, It’s a HUGE clean sound surrounding the listener all from on guitar. On the other hand, an amp dying on stage mid-song without a backup will mean the end of your show. Other stereo modulation effects, such as flangers and choruses, also make use of multiple speakers in a similar fashion. For example, any combination of 6L6 or 6V6GT; EL34 and EL84 tubes – typically characteristic of Fender, Marshall and Vox respectively – has the potential to produce a mighty alliance. Well that’s an entirely different kettle of fish. I use about 16 different sounds on each unit – each sound on the VG-88 is paired with it’s “mate” on the SE-70. My rig is split from the last pedal on my mainboard (boss DD3) with dry to a Peavey classic 50 212 combo, and wet to a Carvin X-60 halfstack (old Acoustic 4×12 cab.) The eq on acoustic amps is slightly different from that on electric guitar amps - and that on bass amps, too. It’s a stereo 4×12 from Carvin. This is when it comes to paid bar gigs / when and if I present our music again in a more controlled environment I may well bring two or three amps as well as a few guitars. Some of these effects sound incredible and do an amazing job of providing players with great sound. A continuous control pedal controls volume on both. Stereo delay and reverb will give you an absolutely enormous sound when you’re sat in the sweet spot, although anyone standing slightly to either side of your speakers may not understand quite what all the fuss is about. Use an effect pedal or tuner with stereo outputs, or a dedicated ABY box, to split the guitar signal into two, sending each signal to its own … In fact, there are five good reasons. sounds huge and any hum was drowned out by the pesky drumme. “If I may I interject?”, you interject, “What if I have hitherto maintained a brace of amplifiers with thermionic valves from the same sub-species? I use a Morley ABY pedal (around USD 50.00) as the last in my chain on the pedal board. Using an Effects Loop Examine your amp. For example, many delay pedals have stereo outputs for “ping-pong” effects, in which repeats bounce back and forth between a pair of speakers. It’s a killler tone! Is the CABINET “stereo?” In other words, are there two or more speakers in the cabinet that each have their own input and are not electronically connected? Both of them have double PU’s; P90 and humbucker in one channel and single coils in other. Most of us probably don’t start out with a vast array of amplifiers to choose from. If you own such a unit, try creating a two amp rig with the amps panned hard to each side. Usually, only a few of these cabinets are actually mic’d. A rather more sturdy method would be to buffer the signal with some intervening device. For example, you could run both amps with wildly different gain and EQ settings, or you could perhaps apply a preposterously short (around 10-20m/s or so) delay before the input of the second amp to give you an agreeably plump “double tracked” sort of sound. Buy a Y-cable with ¼-inch male end and two ¼-inch female ends. George Lynch has been known to favor this method (he even has his own signature pedal for such capers), and many other players switch between different amps for different sounds. You can throw it in your backpack and off you go. Hearkening back to earlier days of rock excess (and underpowered PA systems), many big touring acts—especially in the metal genres—liked the look of a “wall of amps” behind them as part of the show. What then, are the basic options for actually belching forth great slabs of music from this multi-mouthed monster? But for the working player who may not be able to afford—nor desire to haul—an exact duplicate, there are many alternatives. This software comes with 24 different amp cabinets and multiple parameters to practically change your sound in any way possible. An A/B/Y box will give you the choice of running each amp individually or both together. In some cases, the extra cabs are purely set dressing and are unloaded (no speakers installed) to save on weight. A typical ploy would be to set one amp up for your clean or rhythm sounds and the other for your dirty or lead tones. Sometimes I cheat and use a powerful amp – Twin with Orange JBL Speakers 130 watts RMS. Whether you’re in the studio or on stage, multiple amps blended together can complement each other. What if the electrons get into a fight about who goes to which amp, causing widespread unrest and undermining your precious tone? Guitar is 1964 Rickenbacker 360/12 Export. The 10 best amp modelers; Tidy up your ‘board with the 10 best mini-pedals for guitarists Combo amps combine the pre-amp, power amp and speakers in a single unit, whereas heads require external speakers to use. The Different Types of Guitar Amp Attenuators Passive Amp Attenuators. UNDER NO CIRCUMSTANCES should you try to be clever by removing or “lifting” the line ground from one of your amps. In any case, you can definitely create splendid tones with similarly voiced or even completely identical amplifiers. I go the whole hog & run three amps (two Vibro Champs & a Blues Deluxe) through a Morley three-way switch. Simply connect the left output of the effect to the input of one amp and the right output of the effect to the other amp. They also lack the crunch needed for heavier rhythms. So I tried an Ernie Ball Stereo Pan pedal (that was actually recommended by someone at Morley!) Speaker replicas as used by the Norwegian metal band, Immortal (Image from Gizmodo). Keyboard players have been doing this a long time to fatten up their sound(s). There are a massive 1,024 preset locations onboard the Helix, organised into eight setlists that contain 32 banks with four presets each. My fave trick is to get two amps with tremolo and run them simultaneously with the tremolo on each amp set a little different. Connecting two guitar amps together is a technique that many veteran guitar players use to expand their sound. The question of head versus combo has been complicated in recent years by the dawn of the pedalboard amp – a guitar amp that’s housed in an enclosure the size of a small multi-effects, yet often powerful enough to replace your amp head. Which combination of amplifiers is best? This gives you the variety of textures possible with differing gain, EQ and voicing as discussed above. I really enjoyed reading that. 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