Have you used or do you currently use a Line 6 modeler. Do you like it? What ways have you tried to hook them up? What are the plusses and negative's of these? Do they really model accurately?
Have you used or do you currently use a Line 6 modeler. Do you like it? What ways have you tried to hook them up? What are the plusses and negative's of these? Do they really model accurately?
Many feel that the Johnson J-Station does a better job a faithfully reproducing the amps and cabinets it emulates, plus it has bass models too, so you don't need a second unit for bass.
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I have The modulation floor model and the Echo Pro (rack mount).
I like them both and feel they are well worth checking out.
you talkin' the four switch stompboxes?
Haven't used any, but I hear the most good stuff about the delay modeler, then the filter.
Maybe I'm stupid here, but why would anybody want to model more than one delay? I would think that unless you're a die-hard echoplex fanatic, a decent digital delay with adjustable treble rolloff and modulation ought to cover just about anything.
The filter mod seems a lot more interesting.
Never heard anything good about either the distortion modeler, or the amp modeler.
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Depends on the type of music. I do ambient/texture based loop music and having different sounding delays is essential when overdubbing in a loop. If you have the same sound throughout a song, it gets muddy really quick, having the different sounding delays helps keep a seperation between parts.Originally posted by Kap'n
Maybe I'm stupid here, but why would anybody want to model more than one delay? I would think that unless you're a die-hard echoplex fanatic, a decent digital delay with adjustable treble rolloff and modulation ought to cover just about anything.
Even for other types of music, different sounding delays can be useful. You might want a dirty slapback for rockabilly stuff or for thickening, but for longer delays you want it to be cleaner and crisper.
...second the opinion of J-Station over Line 6 modelers...(ps: I own a Spider 112 modeling amp).
The new Vox modeler is pretty nice compared to the others I've tried.
Vox Tonelab
I briefly owned the modulation modeler.
It was a decent product, just not for me.
What I did not like about it was this: You'd dial up a sound you like, then store it in one of the four buttons. Then, during live performance, you could hit the button to get that sound back. However, there's no quick and easy way to make an adjustment. You're stuck with what you programmed in.
I like individual stompboxes because there's the option to tweak a parameter during live use. Sometimes you can even get it with your toe. Otherwise, it's a simple matter to bend down for 1/2 a second and move that one knob 1 mm.
Line 6's expression pedal was a complete joke. According to the manual you can use it with each stored sound and assign it to one of the parameters. Then, during use you can "morph" between one setting and the next. Well, there wasn't much "morphing" going on.
For instance, you could set a slow rate at the bottom of the sweep and a fast rate at the top of the sweep. Problem was, all the change seemed to happen in a tiny little area in the middle of the pedal's travel.
Maybe a higher quality expression pedal would have made better use of this feature.
Anyway, I found that all I really used the MM4 for was the chorus. I sold the thing and bought a DLS Chorus/Vibe and couldn't be happier. Holy damn, that is a sweet pedal!!!
I have three:
DL4 - Lots of different delay options to keep things interesting. A lot of times, I'll set an extremely short slap-back, which gives a reverby sound with articulation,
FM4 - My ex-bandmates hated this pedal, but I love it for weird and discomforting sounds. More useful than you might initially think.
MM4 - I have a love/hate thing with this one. Yeah, I'd rather have an analog tremolo, chorus, flange, etc., but I already have too many pedals. This pedal gives me my all-time favourite chorus sound (and I've tried many pedals), but can sound cold.
I wouldn't mind getting a small tube combo and an AM4 for noodling at home. The battery-operated Mini-Twin leaves a lot to be desired, though it's cool for recording. When I worked at a store, I was blown away when I plugged the AM4 into a Twin RI.
The only thing I don't like about the pedals are the footswitches, which feel cheap, and are sometimes uncooperative.
i don't own any line 6 stuff, but i have worked (i'm a live sound engineer) with a lot of bands who use them, here are my finding.
the delay modeler: i really like this thing, the patches sound really good. the lead player in my band uses one, and i'm glad he got it. it is cheaper than owning four individual boxes.
same with the modulation box. sounds good, and has a lot of sounds to play with.
most don't like it, but i kinda like the distortion modeler. when seven mary three played at my club the lead player was using one, and i was really amazed. that is the only time i've ever seen someone play one. but i thought it did a great job.
as for the amps, i've never really liked them. they sound a little sterile to my ears. and quite honestly, a little fatuiging. i like the vox modelers a lot better, they are smoother and richer sounding. the trick when using these amps for recording or live is to run them direct to the board. don't mic them. then throw a teeny bit of compression on them (like 2 or 3 to 1).
i have seen several pedals have at least one switch break on them. they are not the most rugged peice of gear. i would probably break one if i owned in a couple weeks. but if you don't abuse them, then they are great for their versatility. but you have to rememeber that you are making a trade in tone for flexibility.
i think they are great for what they do, but i am a simple player and just use one amp and two distortion boxes and i'm happy. live i like to keep it simple, and in the studio i have a bunch of amps to choose from.
my two cents.
"don't worry, i'm a professional!"
Nail on the head, chucko. That's what I was thinking when I got my MM4. Okay, none of the models sound exactly right but there are so many sounds in there and who's going to notice anyway?Originally posted by chuckocaster
...you have to rememeber that you are making a trade in tone for flexibility.
Who's going to own 15 different modulation pedals? It sure is versatile. I just discovered that I'd personally rather have one solid, great sounding pedal than a whole slew of "almost right" models.
a lot of people overlook that portion. none of the patches are going to "nail" the tone. but they come pretty darn close, and the audience never knows the difference. trust me, i see it every weekend.
"don't worry, i'm a professional!"
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