The Edge ditched his tube amps for residency

TubeStack said:
do it party hard GIF
Click to expand...
She looks like my grandma :rofl
 
FuzzyAce said:
If you're curious, here's a track I did with the Mystic Edge and Copperhead > into Helix Native, WhoWatt100 amp and cab. There's a slight flanger going on in helix too.

Mystic edge is the main pedal til 2:00 min mark, using my tele. After that would be my strat with the Copperhead.
Here I have them set similarly tone wise, but the eq is very responsive. The Copperhead has that nice upper midrange snarl.

Click to expand...


Nice! Cool track, and the Mystic Edge definitely sounds really good! Thank you!
 
Sorry to get so off-topic, but I messed with the Essex A30 model a lot more, and.... I can't believe I'm saying this.... but I think I'm actually pretty happy with it haha. It does need bass boost to have the right low end, but I feel this way about a lot of the Helix models. But for me, who isn't a Vox connoisseur or anything, it does the thing.

The Ruby sale goes until the end of the year though, so plenty of time to change my mind lol (I might even change my mind later tonight! haha), but I think my money is probably better spent on figuring out my speaker situation (or better headphones... or a Blue Sky... )

I do want to grab some AC-centric York IRs too. The stock cabs are great, but a lot of times I end up messing with them a bit more than I plan, so I like the idea of having some decisions made for me lol.

Anyway, it feels very nice to play. It responds very well. Maybe string separation isn't quite as good as the Ruby? But maybe not.

If anyone is curious, here are the settings I went with:

Low / High Shelf
Low Gain +7 dB
Low Freq 158hz

Essex A30
Drive 7.5
Bass 4.5
Cut 5.0
Treble 5.6
Presence 2.5
Master 5.0
Sag 8.0

Dual Cab, both 2x12 Silver Bell
Cab 1
Mic 421
Position 4.5
Distance 1.0
Low Cut 90 Hz
High Cut 5.7 kHz
Level +1.0

Cab 2
Mic 160
Position 5.5
Distance 1.0
Low Cut 90 Hz
High Cut 5.0 kHz
Level -17 dB

I made the patch with IEM, so I also threw a stereo Dynamic Ambience in the default settings on the end.

Thanks again, everyone!
 
synthpenguin said:
Sorry to get so off-topic, but I messed with the Essex A30 model a lot more, and.... I can't believe I'm saying this.... but I think I'm actually pretty happy with it haha. It does need bass boost to have the right low end, but I feel this way about a lot of the Helix models. But for me, who isn't a Vox connoisseur or anything, it does the thing.
Click to expand...

Interesting - i thought the Vox models on Helix were sort of widely acknowledged as sounding pretty damn good?

John Cordy posted an AC30 shootout between HX Stomp and ToneMaster Pro some time ago, and Helix compared very favorably.
 
Lysander said:
Interesting - i thought the Vox models on Helix were sort of widely acknowledged as sounding pretty damn good?

John Cordy posted an AC30 shootout between HX Stomp and ToneMaster Pro some time ago, and Helix compared very favorably.
Click to expand...

To be honest, I have no idea how people rate it! I think part of it is really just me not knowing how to get "that sound" with a Vox. I think it's probably easier to fall into those sounds on something less flexible like the Ruby (or an actual AC30), especially when it removes the microphone factor. For me and my Vox experience level, it's not as straightforward to dial in as a Fender or Marshall, so I guess I was just struggling with the number of decisions I had to make.

But I did find that a bass boost really added quite a bit, allowing me more low end without losing some of the metallic quality. I had seen some others like Cordy do the same with the Fender models (in fact iirc he did almost the same boost in his video where he tried to tone-match the Dream 65), and I've started trying it whenever I find I'm struggling with getting the low end tight.

ETA: But yeah, this has been fun. While I've always liked Brian May's sound, I can't say I've ever been super interested in stereotypical Vox sounds for myself until fairly recently. A lot of bands I like use AC30s (though in a more fuzzy way usually), but it's never really been a sound I've focused on. Actually, watching Ruby demoes earlier this year got me more interested than anything lol
 
Last edited:
Last off topic reply, I promise: I ended up changing those settings above quite a bit, changing out the cab too, and I'm extremely happy with the results. It even inspired me to learn a new song! So thanks for enabling me to buy new things just enough that I became stubborn about it instead :p

Anyway, uh, how about the Edge and those delays, huh?
 
laxu said:
Yeah I haven't seen one either. I'm almost tempted to buy the UA Lion just to debunk some of the "so much better than Fractal" notions that are flying around on The Other Place. Fractal themselves have already said in charts&graphs the UA pedals have much higher aliasing. UA also have a bit higher latency than a fullblown Axe-Fx 3 and then there's of course all the feature stupidity on UA.


While UA's amp modeling is good, to me the thing they truly did well is their cab sims. They sound very nice.

Now, I am still confident they are just IRs + speaker drive etc processing under the hood and not some new paradigm or UA would have patented the shit out of it. Their marketing is mysterious for this, with some videos with UA reps claiming they are not IRs but those might be marketing people misunderstanding the product. So far no evidence has been presented that they are anything but close mic + room mic IRs + speaker drive processing.

I expect the main things people like are that the close mic + room mic combos sound good. While e.g the Strymon Iridium also offers a room reverb mixing convolution and algorithmic reverb, it's not necessarily the same thing as room mic IRs from a prestigious studio.
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Is it possible to separate out the amp from the cab emulation and capture the IRs?
 
laxu said:
Not on the UA amp sim pedals since you can't disable the amp sim. You could do so on the OX Stomp tho.
Click to expand...

Well, you could possibly come up with a little trickery as in recording the same stuff twice, once with and once without cab. You could then ask your friendly Match EQ to do its miracles and create an IR of it. Should actually work pretty well apart from the Match EQ missing all kinds of tiny delays (caused by whatever, most typically reflections...).

@synthpenguin, if you wanted, just record something like that and post the two files. Would be interesting to see how well that works.
 
For the Vegas shows he’s confirmed that he has ditched the Vox AC30, and the Fender Deluxe.

He’s gone over to the Universal Audio UAFX Woodrow ‘55, Ruby ‘63, and Dream ‘65 Instrument Amplifiers.
 
Since he and the majority of the audience they'll attract all have less than stellar hearing
it's a no brainer for convenience and consistency sake.
 
  • Haha
Reactions: Elf
It makes a ton of sense for their shows. If the UAD stuff is super accurate sounding and feeling, it's easy to just drop it right into the existing single chain without having to reprogram everything else. If I had more time, money, and space, I'd love to mess around with the UAD pedals including the OX Stomp. Seems like it would make direct solutions quite easy. But I'm trying to simplify and not complicate...
 
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