MESA/Boogie 2 год. Free Amp Sim Plugins from LePou (Overview). Добавлено: 5 год. Guitar Noize 5 год. Mesa Boogie Recto Preamp vs. VST Plugins LePo . Добавлено: 7 год. torstt 7 год. MESA/Boogie Mark Five: 25 Official Demo Video. Добавлено: 4 год. MESA/Boogie 4 год. Comparing LePou Amp Simulators [Metal] Все способы скачивания видео хороши, но мы предоставляем быстрый и бесплатный сервис по скачиванию, конвертации и порезке видео! Часто бывает так, что посмотрев ролик, рекламу, трейлер к фильму, мультфильм млм музыкальный клип, вам хочется получить это видео к себе на компьютер или телефон. Захотели получить музыкальный файл мп3 из клипа, но не знаете как это сделать?
Mesa/Boogie Subway amps with cab-sim filter, dummy load, and Line Out jack Mesa/Boogie Subway amps. 10 or 20 watts. Cab-sim filter, power mute, and Line Out jack Subway Blues - Reviewed in Guitar Player Sep 97. Features/specs • Dyna-Watt Power • Direct Recording output jack with cab-sim filter • Speaker Mute • Parallel FX Loop • Headphone Out jack • 20 Watts • 2 EL84's • 4 12AX7's • 2 Channels, 3 Footswitching Sounds • Contour Switch • Reverb • 1x10" combo with Vintage speaker Questions glauer wrote: > I've got the Subway Blues: Dyna-Watt Power: is this some sort of power attenuation before the output transformer?
> Don't think it's a power attenuation. Mesa's brochure describes it as "touch-sensitive dynamic punch... stored energy that is released like a camera flash, controlled by your pick" Think it is some sort of pseudo-class-A response, without being class A. Is there a 1/2 power switch or 1/2 power jack (for power-stage saturation at 10 watts)? Perhaps just on early units? > It's a 1/2 power jack. There's 2 4-ohm jacks, 1 8-ohm jack, and 1 1/2-power jack. The 1/2 power feature came in later models, and it's only on the Subway Blues model, not the Subway Rocket.
Direct Recording output with cab-sim filter -- is the cab-sim filter switchable in/out? > Not sure if there is a cab-sim filter or not.
But there's no switch to turn it on or off regardless. The web site says it's a "fully tweaked output". Speaker Mute: I assume this is a dummy load. Is it resistive, or reactive? > Not sure about the speaker mute. The user manual says you don't need to have a speaker load connected when the speaker is muted. Someone else said that it is not a dummy load; rather, the power amp is essentially placed on standby and the Rec Out is a processed preamp out signal, which seems bogus.
My position on awesome sounding preamps is that preamp sound is just preamp sound, no matter how great, and would always sound greater run through a tube power amp and guitar speaker as well. All the wonderful progress in faking amp breakup sound fails to produce the best possible sound, but the good thing is that, when such tweaked technology is combined with a tube power amp and hard-driven speaker, we'll get really great sound.
Progress is preamp sound is important, but including a tube power amp is more important still. Headphone Out: does this double as the Line Out/recording jack? Is there some sort of power attenuation before this? > There's no headphone out on the Subway Blues, it's only on the Subway Rocket, so I'm not sure about it, but believe it shares the same jack as the line out recording jack on the rocket.
> Hope that answer some of your questions. I'm in the recording studio now, and the direct-record is a god-send and sounds fantastic to tape! My regular amp is a Blue Angel for gigs, but that doesn't have record out on it, so I use the Subway Blues in the studio.
BTW, I LOVE the Subway Blues, and think it's a great sounding amp that I'm never ever going to sell! The Blue Angel appears to be exactly what I'm looking for in extremely round, smooth power-stage saturation tone, when used at its lowest power setting.
No other Boogie can saturate at a lower wattage than the Blue Angel. (My list of under-20-watt tube amps has some discussion about power-cutting options on Boogies: http://www.amptone.com/g046.htm.) > Even though I love my Subway Blues and am somewhat of a tube-amp-snob, I ordered a to add some more flexibility in the recording studio. Sure, I like flexibility and various combinations of the best technologies.
I'm particularly looking forward to a convergence of amp-modelling technology and actual tube amp technology.
People seem so confused by this concept, but of course the idea here is using an actual tube amp to emulate *other* tube amps. It's reasonable to assume that if your goal is to simulate 10 classic tube amps, you'll get closer by starting with a tube amp than with a solid-state amp. Official Product Pages Prices Subway Blues: $480 list $450 street $370 floor demo $275 used Subway Rocket: $500 street Subway Rocket Reverb: $520 list Subway Rocket head: $250 used [Also: Studio Caliber: 25 watt, fx loop, Record Out, 12" spk.
$650 list. Head $600 list.] User Comments - excerpts: It comes with two inputs: bright and fat. I only use the bright input, but using the two together gives you the "half power jack": overdrive at half volume. Too bad they made it a one input with a switch on the later models. It breaks up nicely on higher volumes. Perfect for a club gigs. The Subway is very simple to use, yet is quite versatile. The amp has five controls (volume, bass, middle, treble, and reverb) with a fat/bright switch that comes in handy when switching guitars.
It also has an effects loop w/ an adjustable level, mute switch while plugging the amp directly into a mixing console or whatever. There is no master volume. You can get all the distortion you would ever need for blues and rock You CANNOT get distortion at lower levels w/out a pedal.
But when you crank it up, it provides good overdriven power tube distortion w/ lots of sustain and pleasant harmonic feedback. Has a fantastic clean to bluesy vibe that makes me play at my best. It is very loud, I play in a 5 piece country rock band in small to medium clubs, and have never had it up past 1/2. Never had to mike it either. Simple to operate and get a great tone from. I use a modified TS-5 on the front end that sounds great with it. Turn up about 1/2 way, control everything from your guitar volume knob.
Plug it into a 2-10 ext. cab for maximum sound coverage. This amp has, for me, the very cool feature of a half power jack [switch?] in the back! This gives you a 10 watt tone box! now you CAN crank it without neighbor irritating volume, getting that last part of the tone puzzle, namely the saturation of the power tubes! Wish it had a headphone jack, for sure, what a blast that would be to have! I'm attracted to the blues. I got rid of those grainy Chinese tubes, and have used both the 5751 preamp tubes, and Telefunken...Sovtek EL84's sofar for the power tubes.
This went a long way to remove a lot of that inherent Mesa Boogie "nervousness" Amp become much more refined, and soulful, for sure. This little amp will definitely distort under right se ttings. Great clean channel. Really great reverb, especially after switching to the Telefunken tube to drive it!
Amp is nicely touch sensititve and dynamically responsive. Small speaker, small box, open back... back amp into a corner to enhance the bottom end performance. Background noisy when cranked flat out. Too bad! It's a budget Boogie, but it doesn't lack the 'essentials'. Vol, Treble, Mid & Bass controls, parallel FX loop with mix control, direct out for recording/PA, 4&8 ohm speaker outs, and probably the best verb I've heard on a Boogie. I doesn't have separate channels, but it does sport two inputs, a Bright one and a Fat one, which do color the tone, but I use the bright exclusively.
The power is a LOUD 20W that breaks up pretty nicely, but not nice enough to do without an OD box. the 10" speaker sounds fine for low volumes, but a seales 2x12" cabinet is a nicer gigging set-up. Warm enough for blues with the right OD box. Jangly enough for strummin' Rickenbacker fans. Does sing really well when pushed into drive for Santna-ish stuff. Not a Fender clone. More Vox-like than Fendery. It doesn't have built-in OD, but it gets along with various distortion boxes I've tried, like a Fat Cat, a DS-1, and my old TS-9.
All work well. It breaks up around 2 o'clock, but I don't recommend that as your 'sound'. Not too smooth. The verb is lush and deep. Nice, long tank. The main competition was the Ampeg JT 'reissue' which sounded great, but was too much like a Fender I have, and lacked key features, like extra speaker outs. I thought the amp sounded a bit like a Fender Deluxe Reverb at higher volume levels, but I only had the Subway Blues set to 9 o'clock!
A great "foundation" amp, put a distortion pedal out front if you need more crunch and use the FX loop and you've got a great combination suitable for a lot of sounds. Great for that Tom Petty twangy/grunge mode! I think the amp is incredibly loud for a 20 watt combo.
As I said before, I had it at nine o'clock with a Les Paul Studio. Nice overdrive/breakup, but definitely not a "headbanger/thrash amp". Some people think the Mesa Subway series are a bit boxy and a tad harsh in the midrange category. I tend to love those cranked VOX AC-30 sounds so I kinda dig this I think it would work well at a gig if it was miked or fed to the PA.
I just worry about little amps being pushed too hard at super-high volumes for a long period of time. Compared to others in the price range, the Subway Blues sounds like "something". Like a little version of a classic amp like an AC-30, or like an old Twin Reverb or Deluxe. It does not have that cheesy bedroom amp sound, I think you could fool a lot of people if you used it to record. It's really a toss-up between the Subway Blues, and the Subway Rocket, they both have their merits, and are alot of fun!
Excerpts from the Rocket user comments pages: Excellent hard rock/metal distortion, mediocre clean tone. Intolerable level of hiss, especially in the clean channel (!). No amount of preamp tube substitution eliminated this hiss. The amp is great for rock! I don't think it would be that great for blues, country ect.
But perfect for rock. It has 3 Channels(Rhythm,Lead,Contour) The Rhythm is a clean section it does not get very distorted. Lead is a distorted channel with great tones and I believe contour is just a louder version of the lead section. Each Rhythm and Lead come with their own "gain" and "volume" knobs. The other knobs for all 3 channels include Presence, middle, treble, and bass.
The back panel has a return and send jacks plus headphone jack, speaker mute and 4ohm and one 8. I use a Ibanez Rg 470 and a Gibson Les Paul studio with this amp and it sounds awesome! I feel this amp was made for distortion. I mean you can get a good clean sound out of it. But I have heard better clean amps. Now for noise wise, I would love to say its completely quiet. But its not, its fairly quiet. If you crank it up to around 7 you get some hum but not a lot. I mainly use the amp in my room, or with little jams with friends, so I don't really need anything more powerful.
Great features. The distortion, especially the contour mode is great for any kind of punk, or alternative sounds, but for playing metal(which I don't) I would probably want to go with a metal zone, or some other pedal, because the distortion is very smooth, and not extremely brutal. I also have a Marshall 8020 little combo, that has very brutal distortion compared to this one, so maybe that's why I found this distortion to be so smooth. I love the great distortion on the amp, and the fact that it isn't too loud.
Is that if you're looking for great, smooth distortion, for punk, alternative, or rock, this is your amp. I play classic rock and metal and it can handle clean tones very well also. It has a Rhythm (clean) and a Lead (crunch) channel with a contour option that I can't see a reaon to play without. It has a headphone jack (not top notch, but adequate for demos or scratch tracks), effects loop with a blend/mix control (thank you!), and a silent recording feature (see headphone jack) which I also ran direct to the board at a gig and, blended with the signal from its 10" speaker and a 1x12" recto cab, it sounded phenomenal.
It has plenty of power even though its only 20 watts, but they're BOOGIE WATTS mind you. It breaks up quite evenly and at a low volume, I might add. You get that elusive mid range frequency, from cranking to 10, at low volumes like a built-in power soak.
I have had no problems with it being noisy. The amp's clean tone is beautiful and you can vary the gain amount to emulate a Stones tone quite easily. The distortion is ungodly. It sounds like a stack, even though it only has a 10" speaker. The crunch on the Subway Rocket is much more powerful than the DC-2....it just sounds like a Dual Rectifier in a 20 watt amp! I cannot quit getting different tones out of this amp...however subtle they may be.
I just am massaged by the tone of this professional amp, and it is so cool to be able to go from a glassy clean ( 80-85% Fenderish ) to Vox-like( think quiet AC-30 at full blast with P-90s, but at bedroom/studio/small gig volumes). Now the "Contour" channel, with it's deadly grind....undescribable ( think Sabbath ) I just wanted to update anyone who was considering the Subway Rocket for a practice/recording/small gigging amplifier...larger venues with a PA.
MESA/Boogie states how careful they are ( as a result of 25 years of handbuilt experience) to construct their amps with such exacting standards that each one can capture " the Magic ", as they refer to it. The amp is very rockish and blues tinged. I love it cause it sounds great even when it is not turned real loud. The amp can get very loud.
If it is on the highest setting the amp starts to shake. The distortion can get pretty brutal. But you can turn it all the way off too. It features "DynaWatt" tm power circuitry, which acts as a storage reservoir for transient peak output when played hard. It has a "rhythm", "lead", and "contour" channel, all of which have a gain and master volume controls. Preamp is 4x12ax7s, and power is 2xEL-84s. Speaker is 50 watt Vintage Black Shadow in open back design.
Parallel FX loop with adjustable mix control. Silent speaker switch. Direct line out jack.Headphone jack. This amp will go from a sparkling clean to Class A overdrive in the "rhythm" mode, and the "contour" channel produces a grind similar to a Dual Rectifier....it is simply brutal.
There is barely a sound that I cannot get out of this amp, especially with tweaking the guitar's volume amd amp settings. This amp's best tones are not at full throttle, and no one will miss this sonic level capable of this amp when they are practicing or recording. It is listed as a professional recording amplifier. Since this amp is being discontinued in favor of the new Subway Rocket Reverb ( with an internal digital reverb circuit ), I will hold on to this amp forever.
Remember: Led-Zeppelin 1 was recorded entirely using a little Supro amp The distortion channel has two modes that are voiced drastically different which effectively make this a three channel amp. All three modes are footswitchable but they share the same EQ and presence controls. There is a paralell effects loop and a recording/headphone out.
The back panel of the amp has a mute switch that allows you to record silently. The amp is beautifully built and its construction really puts others in its power class to shame. Several other features would be nice such as reverb and independent EQ controls for each channel.
The amp is pretty darn loud. Also this is one of those amps that gets loud quickly - that is with the master on 2 it is already getting into loud. In fact, there really isn't much volume difference between 5 and 10, just power amp saturation. Unlike other reviewers, I don't find the amp to be noisy or "hissy" at all. First the clean channel - very nice.
This amp has a supris ing amount of headroom and the EQ shapes this channel very well. By combining high preamp settings, extra midrange and liberal amounts of master volume, you can get it to break up nicely if that's what you want.
The distortion channel has 2 modes - "lead" and "contour". I have to admit to being disappointed in the lead mode. Its low end is weaker and the mids are boosted. In theory, this mode could be a really useful alternative. Unfortunately, it is really hard to coax a good rythym tone out of this channel.
The mids are very congested and no matter how much tweaking I try, I can't seem to bring it around. Luckily this amp has the contour mode. In the contour mode this amp simply wails. It is amazing that such a small combo can put out such a big sound.
The contour mode is designed around more of a "scooped" EQ. The bass and treble are boosted but not to oblivion.
This mode has tons of gain (as does the lead mode). I tend like like heavier, harder-edged music, and this amp will really gets the job done. It excells at cranking out dropped-D power chords. The 10 inch speaker can even handle lower tunings. Chords retain lots of clarity through the distortion. Each guitar retains its own personality through the amp.
In the contour mode I don't really miss reverb. Its tight crunch sounds great (probably better) dry. Overall, the clean channel and the contour mode give me everything I could ever expect from such a small amp. Given that the lead mode is not very useable, the amp is not as versatile as it was designed to be. However I have tried several distortion boxes in the clean channel (for different flavors) and have found that this channel really works well with them. The EQ in the clean channel is very effective and lets you shape the tones to achieve a lot of different sounds.
Even though the lead channel is not very useable, the sound of this amp still deserves a great rating. NO amplifier can do everything well and I didn't expect a 20-watter to. I compared this amp to the Marshall JMP-30, the fender Hot Rod DeVille, the ampeg reverb-o-rocket, little laneys, peaveys, crates... All of them had something to offer, and some of them do some things better than the Boogie.
But the bottom line was that this amp's best sounds just seemed to be of a higher quality than the other amp's best sounds. Three channel (clean, lead, contour) all tube (sans rectifier) amp; includes switching pedal. Send / return loop. Headphone / recording jack. I was looking for a small amp with great tone.
This was it. It's sufficiently loud for small gigs, but more importantly, when you have to play at low volumes at home, the tone stays great. I play blues and rock. It's awesome for this. But the hiss! Man, it's bad. Even with my strat in the in between positions. Maybe there's a grounding problem as I don't remember the hiss being this bad in the store. Ignoring the hiss, both clean and distorted sounds are much better than my Peavey Classic 30 and Fender Stage 112SE.
The sounds are not as "full" as my Fender Blues DeVille. But can you really compare a 1x10 unit with a 4x10? I would buy it again. I love the tones. The tones are what matter. It blows away the Peavey Classic 30, and I can really can hear a big difference between my solid-state Fender unit and the Boogie.
Also a really cool feature on this amp is the fact that you can use the volume control on your guitar to control how dirty the signal is. On my other amps, when you crank up the guitar volume the signal gets both dirty and much louder. On the Boogie, cranking up the volume from 7-10 makes the amp go from clean to dirty without much of an increase in loudness.
The amp has two channels, clean and dirty with shared EQ. The clean is a Fendery, with less complexity and shimmer than a 60's blackface Super.
The dirty channel is more for rock than blues. It's got a parallel effects loop I didn't try. The "Contour" switch lets one choose between a very midrangey, almost howling sound on the drive channel, and a deeper one with much more low end authority and less congested mids and h ighs.
The amp seems reasonably loud for a two EL84 equipped amp. It's just light enough to carry it with a guitar on a suway to gig without calling a chiropractor.
It gets nice, Boogie-ish clean tones. Good, but not great headroom, Fender derived, like most Boogie clean sounds. Fine for my purposes, but probably lacking for those raised on blakface Twins and Deluxes. What really bugged me in the store was that the amp, even on clean, seemed unusually noisy on single coil settings.
Humbuckers, and in between settings with a reverse wound type middle single coil nuked this noise very well. Maybe it was the lights, but it still worried me. I guess one would have to A/B it clean with several other amps.
Other than the good clean sounds, its lead channel gets a nice range of overdriven tones, that are best described as Boogie-voiced Marshall tones, though not quite an gnarly as the Dual Rectifiers. The Rocket's dirt is aggressive, and packs authority, but it has the rich midrange common to almost all Boogies. Y'know, rich, but perhaps leaning a bit too much in the butter side instead of the "guns"?
I liked the lowest setting of the contour switch, with it's full range of bass, and less congested mids. I'm guessing the switch in part switches between a smaller .47, .68, or 1 uf cap around the cathodes for the mid boosted tones, and a 10 to 22 uf cap for the deeper tones in the low position.
The mid setting seems like a poor attempt to imitate a Marshall, or a slightly better attempt to do the mids-boosted-by-wah pedal thing. It's a useable voice, not terrible at all, just not as good as other amps with an upper midrange character I've heard. I grooved on the lowest setting, and the 10" speaker did a good job of blasting out this girthy grind. I can only imagine how much better it would sound thru a 2-12 or 4-12 cab.
It's voiced more for rock than blues, but the tones are rich enough to do some Clapton lines with the gain set between 4 and 6. At higher gain settings it still retains a lot of articulation of individual n otes. Though nice and crunchy, the individual notes of power chords each came shining thru, each enveloped by the unmistakeable tubey warmth.
Each voice seemed balanced with the others. The overdrive is very good for rock-thick, with rich harmonics, not too harsh (like a bad Trem-o-verb I once tried). Best of all, the lead voice packs AUTHORITY. Not VHT Pittbull, but for $500, it's very, very good. I'll have to compare it the Soldano's Atomic 16 when that gets here.
It seems to have better, more complex grind that Peavey's Classic 20, and 30. Not as mushy, not as vintagey. The clean tones also seem to have a slight edge- more high end luster than the Peavey. I wish Mesa could make their midrangey voice a bit less harsh, with a wee bit more low end. Perhaps listening to live shows by Shawn Lane and Eric Johnson would help, if they wanted a smoother mid tone.
I don't know if that noise was due to the environment I played it in, or compromises made by Mesa getting the Rocket to market at $499. But if it's the latter, I hope they can fix it and still keep the price down. Rhythm and Lead channel - indepent gain and master volume for each; but only one set of EQ/contour knobs. As our band draws from a wide variety of influences, I needed a versatile amp. The clean channel breaks up nicely; I use a volume pedal live.
At lower volumes the sound is nice and clear, but at full volume it crunches nicely. The distortion is smooth and rich. A "contour" switch dramatically boosts the midrange; it cuts through well for loud solos w/o altering the tone too much. A great deal for the cash! It kicks well for a 20-watt combo. Very portable; it suits well as a practice amp; I mic it with an SM57 and use it for our live shows also. The Mesa/Boogie Subway Rocket combo with reverb is the newest rendition of the 20 watt Subway Rocket, with Reverb.
The reverb's not that great compared to the great all-time tube reverbs, but it's OK, and I have to have my reverb! It's really a one channel amp but has 3 footswitchable sounds.
There's the ' clean' set up and then there's the overdriven setup with the associated 'contour' switch. I use it for classic and retro rock and it fits the bill. There's an adjustable effects loop and a mute switch for silent recording. The only item I'd like to see on it as well as almost every other amp I own is a good Fender style tremelo curcuit.
I use the amp to work out material at home and it's a fine amp for rehearsing, recording, and smaller gigs. It's a loud 20 watts but you won't mistake it for a 100 watt Marshall.
If you're going to mike your amp through a PA system this is all the amp you're going to need. The amp is pretty versatile. The clean sound is pretty useable. It's not a Fender but it is good. You can dial in enough gain to get a good 'blusey' tone in either channel for that dirt when you really dig into the strings or crank the instrument volume pots, and the overdrive channel has one of the best liquid Boogie tones I've heard to date.
Kicking in the contour switch drastically changes the tonal response. It generates more of ...everything. There's some serious, drastic tone shaping happening here and I like it! I use Fender Strats and Hamers with single coils, P-90's and mini-buckers. It works for all of these axes. This amp is a little on the noisy side. I'm sure the sc's and P-90's contribute here...:-) The 10" speaker is deceiving.
It has bottom end and really moves air. You'd think it was a 12" if you didn'y know the specs. Something to think about: A 44 watt version of this amp is on its way. It should be a real good one with plenty of gigging power. I also have a Fender Super Reverb and a Rivera R55/112. I've owned a lot more than this over the long haul.I like the Boogie. It's EZ to transport and EZ to dial in.
I was looking for a small amp to use at home. I like to leave the Rivera at the rehearsal studio. The Fender is in the middle of a restoration. This was the best ampI could find there in this price range. Price range included, this was the one I choose. I like it. I wind up using it more than I expected I would.
I want to hear the new 44 watt version! Something tells me I'm going to lust for this tone and the extra watts. Another 3db of power should make it loud enough for all but the largest rooms, (stadium-arena venues) on it's own two feet. The Mesa/Boogie Subway Rocket head is incredibly versatile.
I think the clean sound works well. However, this amp is my overdrive choice. I sold my MXR dist +, and my Fulldrive 2, because I love the overdrive/distortion this head has. I alternate between a Matchless 2X12 open back Cabinet, and a Marshall 1965A 4X10 closed back Cabinet. I play blues and rock and this is best suited to it.
Messages 1-100 of about 500 matches for search boogie subway: Scr 1. 98/12/30 035 alt.guitar Mike 2. 98/12/25 035 alt.guitar.amps Mike 3. 98/12/25 033 alt.guitar.amps Mike 4. 98/11/04 033 alt.guitar.amps Mirage2all 5. 99/01/04 032 alt.guitar.amps guava-juice 6. 98/12/26 032 alt.guitar Mike 7. 98/08/11 032 alt.guitar.amps tanawana 8. 98/12/24 031 alt.guitar.amps Z woof 8 9. 98/12/02 031 alt.guitar.amps Polfus 10. 98/09/26 031 alt.guitar.amps Jonathan Brown 11.
98/06/25 031 alt.guitar.amps Mirage2all 12. 98/06/10 031 alt.guitar.amps Randy Neifer 13. 98/12/26 030 alt.guitar MikeyJake 14. 98/12/06 030 alt.guitar.amps Polfus 15. 98/09/04 030 alt.guitar.amps Jerome Engelber 16. 98/09/01 030 alt.guitar.amps Incubus Incubar 17. 98/08/27 030 alt.guitar.amps David Swanger 18. 98/04/07 030 alt.guitar.amps Mark J.
Rosen 19. 98/04/07 030 alt.guitar Mark J. Rosen 20. 98/04/07 030 alt.guitar.amps MWS2468 21. 98/12/21 029 alt.guitar.amps Mike 22. 98/12/16 029 alt.guitar.amps David Swanger 23. 98/12/06 029 alt.guitar.amps M P Gilbert 24. 98/12/04 029 alt.guitar.amps Sonic Surgery 25. 98/12/03 029 alt.guitar.amps Tonefactor 26. 98/12/01 029 alt.guitar Zr750c2 27. 98/12/01 029 alt.guitar Greg Jones 28.
98/12/01 029 alt.guitar Polfus 29. 98/11/20 029 rec.music.makers.guit Greg Jones 30. 98/11/17 029 alt.guitar.amps "d" 31. 98/11/10 029 alt.guitar.amps Ednovak 32. 98/11/04 029 alt.guitar.amps Andy Fuchs and 33.
98/10/28 029 alt.guitar Greg Jones 34. 98/10/28 029 rec.music.makers.guit Polfus 35. 98/09/24 029 alt.guitar.amps BB6STRING 36. 98/09/24 029 alt.guitar.amps BB6STRING 37. 98/08/27 029 alt.guitar C.D. Damron 38. 98/08/11 029 alt.guitar.amps tanawana 39.
98/08/11 029 alt.guitar Shafner 40. 98/06/26 029 alt.guitar.amps Polfus 41. 98/06/25 029 alt.guitar.amps Tremolux 42.
98/06/25 029 alt.guitar.amps Gil Ayan 43. 98/05/24 029 alt.guitar.amps heretic1 44. 98/05/06 029 alt.guitar.amps Zzlacc 45.
98/12/17 028 alt.guitar.amps Chris Gieseke 46. 98/12/16 028 alt.guitar.amps Chris Gieseke 47. 98/12/16 028 alt.guitar.amps Greg Jones 48. 98/12/16 028 alt.guitar.amps Chris Gieseke 49. 98/12/16 028 alt.guitar.amps Greg Jones 50. 98/12/05 028 alt.guitar.amps Nick V. Flor 51. 98/09/01 028 alt.guitar fretmeister 52. 98/08/26 028 alt.guitar.amps Sonny 53. 98/06/26 028 alt.guitar.amps Rich 54. 98/06/05 028 alt.guitar.amps Mark J.
Rosen 55. 98/04/07 028 alt.guitar.amps Sonny 56. 98/04/06 028 alt.guitar.amps Howard N Ingerm 57. 98/12/22 027 alt.music.4-track Chris Gieseke 58. 98/12/21 027 alt.guitar.amps Galadriel 59.
98/12/09 027 alt.guitar Ryan T. Eberly 60. 98/12/03 027 alt.guitar.amps Polfus 61. 98/12/02 027 alt.guitar Polfus 62. 98/11/15 027 alt.guitar Patrick F. Cole 63. 98/11/11 027 alt.guitar.amps lholland 64.
98/11/01 027 alt.guitar.amps Zorro 65. 98/10/20 027 rec.music.makers.guit pietrzak 66. 98/10/07 027 alt.guitar Todd Leach 67. 98/09/16 027 alt.guitar.amps BB6STRING 68. 98/07/13 027 alt.guitar.amps Ednovak 69. 98/12/15 026 alt.guitar.amps Greg Jones 70. 98/12/15 026 alt.guitar.amps Greg Jones 71.
98/12/15 026 alt.guitar.amps Michael 72. 98/12/15 026 alt.guitar.amps Adam Jones 73. 98/11/24 026 alt.guitar.amps NAME 74.
98/11/23 026 alt.guitar.amps Richard 75. 98/11/21 026 alt.guitar Zorro_2K 76. 98/11/15 026 alt.guitar Zorro_2K 77. 98/10/09 026 alt.guitar Ron Taxer 78. 98/09/26 026 alt.guitar.amps Nick V.
Flor 79. 98/08/30 026 alt.guitar fretmeister 80. 98/08/10 026 alt.guitar Shafner 81. 98/07/23 026 alt.guitar.amps Norm Berube 82. 98/06/26 026 alt.guitar.amps Gil Ayan 83. 98/06/26 026 alt.guitar.amps kolanus 84. 98/06/02 026 alt.guitar.amps John Kuzemka 85. 98/11/09 025 rec.music.makers.guit Polfus 86.
98/10/01 025 rec.music.makers.guit Not A Speck Of 87. 98/10/01 025 rec.music.makers.guit Matthew Ivaliot 88. 98/09/18 025 alt.guitar.amps Stephen Keay 89. 98/09/01 025 alt.guitar fretmeister 90. 98/09/01 025 alt.guitar Ross M Stites 91. 98/12/16 024 alt.guitar.amps Rob Caton 92. 98/12/16 024 alt.guitar.amps Galadriel 93. 98/12/16 024 alt.guitar.amps rousm 94.
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98/10/27 023 alt.music.4-track Chris Gieseke 100. 98/10/21 023 rec.music.makers.guit Mark Garvin Messages 1-100 of about 400 matches for search boogie rocket: Scr 1. 98/12/30 035 alt.guitar Mike 2. 98/12/25 035 alt.guitar.amps Mike 3. 98/12/25 033 alt.guitar.amps Mike 4. 99/01/04 032 alt.guitar.amps guava-juice 5. 98/12/26 032 alt.guitar Mike 6. 98/04/24 032 alt.guitar.amps MoUsSe 7.
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98/04/04 029 alt.guitar.amps rocket 32. 98/12/05 028 alt.guitar.amps Nick V. Flor 33. 98/11/20 028 rec.music.makers.guit Greg Jones 34. 98/10/14 028 alt.guitar aschuwer 35. 98/10/14 028 alt.guitar Jonathan Krogh 36. 98/09/24 028 alt.guitar.amps BB6STRING 37. 98/06/11 028 alt.guitar Shawn Robinson 38. 98/06/05 028 alt.guitar.amps Mark J. Rosen 39. 98/05/03 028 alt.guitar.amps Jasois 40. 98/04/25 028 alt.guitar.amps Donnie (aka dlm 41.
98/04/18 028 alt.guitar.amps Cindy Chan 42. 98/04/06 028 alt.guitar.amps Howard N Ingerm 43. 98/12/22 027 alt.music.4-track Chris Gieseke 44. 98/12/21 027 alt.guitar.amps Galadriel 45.
98/12/17 027 alt.guitar.amps Chris Gieseke 46. 98/12/16 027 alt.guitar.amps Chris Gieseke 47. 98/12/16 027 alt.guitar.amps Greg Jones 48. 98/12/16 027 alt.guitar.amps Chris Gieseke 49. 98/12/16 027 alt.guitar.amps Greg Jones 50. 98/12/09 027 alt.guitar Ryan T. Eberly 51. 98/12/03 027 alt.guitar.amps Polfus 52. 98/12/02 027 alt.guitar Polfus 53. 98/11/15 027 alt.guitar Patrick F.
Cole 54. 98/11/01 027 alt.guitar.amps Zorro 55. 98/10/20 027 rec.music.makers.guit pietrzak 56. 98/10/14 027 alt.guitar steve_2000 57. 98/09/01 027 alt.guitar fretmeister 58. 98/05/02 027 alt.guitar.amps Jasois 59. 98/04/20 027 alt.guitar.amps Ned Carlson 60. 98/12/15 026 alt.guitar.amps Greg Jones 61.
98/12/15 026 alt.guitar.amps Michael 62. 98/11/21 026 alt.guitar Zorro_2K 63. 98/11/15 026 alt.guitar Zorro_2K 64. 98/09/26 026 alt.guitar.amps Nick V. Flor 65. 98/09/16 026 rec.music.makers.guit Dan Stanley 66. 98/06/02 026 alt.guitar.amps John Kuzemka 67.
98/05/18 026 alt.guitar.effects LJH59 68. 98/05/18 026 alt.guitar.effects LJH59 69. 98/05/18 026 alt.guitar.effects LJH59 70. 98/05/06 026 alt.guitar.amps Zzlacc 71. 98/05/02 026 alt.guitar.amps NOCTURNAL10 72. 98/05/02 026 alt.guitar.amps NOCTURNAL10 73. 98/04/23 026 alt.guitar.amps Mark J. Rosen 74. 98/04/19 026 alt.guitar.amps Cindy Chan 75. 98/11/09 025 rec.music.makers.guit Polfus 76. 98/10/01 025 rec.music.makers.guit Not A Speck Of 77. 98/10/01 025 rec.music.makers.guit Matthew Ivaliot 78.
98/06/20 025 alt.guitar.amps Thomas Dewey 79. 98/06/14 025 alt.guitar.amps Tellyman 80. 98/04/19 025 alt.guitar.amps Cindy Chan 81. 98/04/18 025 alt.guitar.amps dlm 82.
98/04/12 025 alt.guitar.amps tlamdude 83. 98/12/16 024 alt.guitar.amps Rob Caton 84. 98/12/16 024 alt.guitar.amps Galadriel 85. 98/12/16 024 alt.guitar.amps rousm 86. 98/12/16 024 alt.guitar.amps flood 87. 98/09/02 024 alt.guitar Tiptop3313 88. 98/08/31 024 alt.guitar NSR 89. 98/05/30 024 alt.guitar.effects jeffjean 90. 98/11/09 023 rec.music.makers.guit Mic Cullen 91. 98/10/27 023 alt.music.4-track Chris Gieseke 92. 98/10/21 023 rec.music.makers.guit Mark Garvin 93.
98/09/03 023 alt.guitar.amps Steve 94. 98/09/03 023 rec.music.makers.guit Steve 95. 98/09/03 023 rec.music.makers.guit Kamchak Tuchuk 96. 98/09/03 023 rec.music.makers.guit Aaron Turner 97. 98/09/02 023 rec.music.makers.guit Steve 98.
98/07/16 023 alt.guitar.amps Steve 99. 98/09/03 022 alt.guitar ron 100. 98/08/31 022 alt.guitar.amps Admiral Ballsy
best dating mesa boogie amp sim - Mesa Boogie Roadster Best Setting (Subjectively)
• A Bold New Voice • 4 x EL-34 • Multi-Soak™ • MIDI Functionality • Tube Warmth, Tunable Power • Tube Preamp • Class D Power • Semi-Parametric EQ • Your Acoustic Amplified • 2 Channels • 4-Band EQ • On-board FX Suite • A Bold New Voice • 2 x EL-34 • 3 Channels • MIDI Functionality • More Power, More Features • 35/25/10 Multi-Watt™ • 6 Modes • CabClone™ D.I. • World-Class IR Cabinets • 7 Cabinets • 8 World Tour Mics • 8 Studio Legend Mics • Reliable Signal Path • Discrete Class-A Circuits • RFI Filtering • Drive Long Cable Runs • Chart-Topping Tone • 3 Channels • 100/50 Multi-Watt™ • Buffered FX Loop • Tone As Big As Texas • 2 Channels • 30/15/5 Multi-Watt™ • Solo Boost
Guitarists are known for being picky about their tone — and for good reason. Some bands have built entire legacies on their guitar tones. * cough-VanHalen-cough* Years ago, when record labels had robust budgets and bands blocked out recording studios for weeks at a time, it was common to experiment with dozens of different amp, cab, microphone and effect combinations to . Unfortunately, that’s not always feasible for most modern producers and engineers. Guitar amp simulators allow you to audition countless guitar rigs based on the hardware behind some of the most iconic guitar tones of all time.
Take a look at some of the most popular modern amp simulators and what makes them stand out. Ignite Amps specialize in designing custom guitar amps, all of which include an amp simulator plugin modeled after your own unique design.
Ignite is known for working with heavy metal royalty — some of their most popular plugins are actually emulations of amps designed for major artists. The is a digital emulation of a custom dual-channel guitar tube amplifier built for Ryan Huthnance of Emissary Studios. is a digital emulation of a three-channel tube preamplifier for guitar, built for guitarist Cristiano Trionfera.
is based on the SHB-1 Extreme Bass Head built for Federico Fulceri of , featuring six triode stages and a 1300W Class D power amp. is a digital emulation of a three-channel tube preamplifier for guitar, featuring Clean, Rhythm and Lead channels. The Clean channel is inspired by the classic Californian circuits and the Rhythm channel has a hot-rodded British character, while the Lead channel is a custom algorithm designed for very high-gain settings.
Amplitube was originally released in 2002, but it’s come a long way since then. Amplitube 4 is an incredibly robust guitar rig simulator featuring 33 stompboxes, 25 amps, 29 cabs, 12 mics and 15 rack effects units designed to produce hyper-realistic tones. In addition to a variety of proprietary designs, Amplitube also features emulations of the iconic amps from Fender, Marshall, Vox, Mesa/Boogie and Roland.
Their advanced cab room emulator allows you to select different cabs as well as the individual speakers within them to find the sweetest of sweet spots — not to mention room selection, mic selection/placement and a mixer section for . While most amp simulators strive to recreate physical hardware, Joey Sturgis has created a line of all-new virtual amps with Toneforge — many of which were created in conjunction with major artists.
Toneforge includes unique algorithms for a variety of pedals, amps, cabs, mics and post-processors. In addition to the stock Menace amp, the introduced even more options — and now Toneforge has designed a number of processors with artists like Ben Bruce of and Jason Richardson. Designed to “achieve sonic results equal to or beyond those possible in a professional, large-scale recording studio,” Thermionik is a full-blown amp modeling suite featuring 30 legendary guitar amplifiers, 20+ cabinet and five effects pedals.
Thermionik is known for its identical recreations of legendary amplifiers — every channel, knob and switch is emulated. Each model is designed as its own dedicated plugin, allowing you to create your ideal signal chain from dozens of unique pieces of gear.
In addition to classic Fender, Marshall, Mesa/Boogie and Vox amps, Thermionik also features emulations of boutique amps from ENGL, Diesel, Bogner, Orange, Soldano and Supro. Line 6 has been releasing digital modeling amplifiers since 1996. While Line 6 are well known for their Spider amps and Pod amp modelers, their new Helix series is quickly becoming a favorite of many professional guitarists.
Offering a massive collection of emulations spanning 72 amps, 194 pedals, 37 cabs and 16 mics, Helix is designed to inspire. Helix features an intuitive interface that will immediately feel familiar for guitarists. And the best part is Helix Native can be used to transfer tones to the rack effect and pedalboard units in the Helix family, making it easy to transfer your tone to the studio or the stage.
Native Instruments originally released Guitar Rig in 2004, featuring three tube amp emulations. But over the years Guitar Rig has grown and evolved. With the most recent release, Guitar Rig 5 offers 17 amps, 27 cabinets and 54 effects. Their award-winning Dynamic Tube Response Technology puts legendary tones at your fingertips in seconds, Native Instruments also offers a free version of Guitar Rig called Guitar Rig 5 Player with a single amp model, 17 cab emulations and 13 effects.
TH3 offers an impressive list of hardware emulations, including authorized models of boutique amps from Randall, DVmark, Brunetti and THD. Featuring 72 amps, 37 cabs, 75 pedals and rack edicts and 18 microphone models with up to four mics on each cabinet — TH3 is one of the most robust amp simulators available.
As you may be able to tell from the name, BIAS Amp from Positive Grid is all about tweaking the tiniest technical details. BIAS AMP 2 is designed to authentically recreate the sound of real tube amps and allows you to mix and match components to create your ideal tone. Positive Grid partnered with amp legends to develop their component emulation technology, which allows you to select almost every component of BIAS AMP’s signal chain, including preamps, power amps, tubes, transformers, tone stacks, filters, mics and of course, a variety of Celestian Drivers.
In addition to the original standard, glassy, crunch and insane setting, BIAS AMP 2 features new Blues and Bass amp packs for all of your tonal needs. Scuffham Amps has been releasing boutique tube amp emulations since 2008. The Custom ’57 is inspired by the famous Tweed Amps of the late 50’s.
was inspired by guitar tone. brings together elements from multiple classic American amp designs with three channels and several tone-shaping switches, making this a very versatile amp. is Schuffham’s take on a high-gain amp from the 80’s, inspired by Mike Soldano. is another highly versatile amp — inspired in part by the memory of an old red Park 75 head Michael Scuffham had during his time at Marshall. S-Gear includes access to all five amps and can be purchased directly from Scuffham or as part of .
Over the years, Softube has worked with some of the biggest names in the music business like Marshall, Fender, Abbey Road and Universal Audio. In that time, they’ve developed their own bundle of powerful amp emulations, bringing together the best features of a number of classic amps. Softube’s Vintage Amp Room features the White Amp based on the Marshall JCM800, the Brown Amp based on the Fender Twin and the Green Amp based on the Vox AC30. Their Metal Amp Room was co-developed with Patrik Jensen () and tailored to his needs.
Metal Amp Room features upgraded microphone emulations, allowing for stereo mics and adjustable panning. The cabinets were measured in the studio (previously known as Studio Fredman). Check out the presets for some of the studio engineers’ personal favorites. features an emulation of a Hiwatt DR103 amp, an Amp SVT cab as well as a few proprietary options. It would be impossible to do an amp sim roundup without talking about UAD. Over the years they’ve developed some of the most accurate signal processor available — and their amp sims are no exception.
With over 16 painstakingly modeled plugins, the UAD amp collection offers everything from vintage analog tube warmth to modern high-gain madness to thundering bass amps. Honorable Mentions While these plugins may not include the same robust feature set as those above, they each offer unique guitar tones that are worth noting: • • • Now that you’ve got a wall of sound at your disposal the hardest part will be deciding which amp to use.
I guess things haven’t changed that much after all. Check out these amp sims for some free trials and create a guitar tone worth being picky about! Learn more about . Brad Pack is an award-winning audio engineer, writer and educator based in Chicago, IL.
He helps musicians become artists by creating sustainable careers in the music business. Brad holds a Master's Degree in Electronic Media Production from Central Michigan University. When he’s not in front of his laptop, Brad can be found in the mosh pit. Follow him on or get in touch on his .
Mesa/Boogie Dual Rectifier Vs. Mark V