Had jmp1 and they are ok but nothing like as good as many of the others. Very good interface though.Naah, not even, JMP-1 is smooth and rich and sound more detailed. Triaxis and Marks are kind of harsh and rough compared to a JMP.
Had jmp1 and they are ok but nothing like as good as many of the others. Very good interface though.Naah, not even, JMP-1 is smooth and rich and sound more detailed. Triaxis and Marks are kind of harsh and rough compared to a JMP.
It works great for thatA Mesa fifty/fifty just popped up near me for an ok price. Looks like my Studio Preamp might form Voltron this weekend.
The fifty/fifty is a perfect compliment to the studio and quad preamps. I had one.paired with my Triaxis until I upgraded to the 2:90. The friend who bought it had the studio pre and 20/20. Needless to say, we both were happier after our upgrades.A Mesa fifty/fifty just popped up near me for an ok price. Looks like my Studio Preamp might form Voltron this weekend.
The 2:90 is a monster, used to use one with a triaxis as well. It’s the only Mesa I’ve ever had a rocky reliability history with. I keep looking around for deals tho.The fifty/fifty is a perfect compliment to the studio and quad preamps. I had one.paired with my Triaxis until I upgraded to the 2:90. The friend who bought it had the studio pre and 20/20. Needless to say, we both were happier after our upgrades.
Following up on this - the main feature set pulling me toward the 2:90 is the deep and modern switching, which I could see adding flexibility to the Studio Preamp. The fifty/fifty is very tempting though. I wish it could do bridged mono.The fifty/fifty is a perfect compliment to the studio and quad preamps. I had one.paired with my Triaxis until I upgraded to the 2:90. The friend who bought it had the studio pre and 20/20. Needless to say, we both were happier after our upgrades.
The old 50/50 is very good and easy to find cheap.Following up on this - the main feature set pulling me toward the 2:90 is the deep and modern switching, which I could see adding flexibility to the Studio Preamp. The fifty/fifty is very tempting though. I wish it could do bridged mono.
Here’s the promo Petrucci did for Mesa 10 years ago when they were clearing out their Triaxis / 2:90 stock before discontinuing them. I’ve played a lot of amps and a lot of rack amps, and for me the 2:90 is home.
At least in my case I’m not looking for neutral - I’m looking for boogie tones. That said the LXII is popping up on my radar and seems very interesting in that footprint.It’s a great power amp for sure but it’s not neutral and it needs to suite the preamp.
I’ve had both the Synergy 5050 and the 2:90, so I’ve been LXII - adjacent for sure. If I wanted a 1 rack u, I’d get the LXII or the Syn5050. The Syn5050 is nearly identical, but the LXII has shown to be a more open sound (more presence, overall a bit higher-fidelity), but the LXII suffers from a ridiculous location of the depth and presence pots that 100% steers me away from buying it. The depth and presence pots are on the front of the Syn5050 and I liked messing with the values of those, so I’d see no reason to recommend the LXII over the Syn5050 as a result. But they are both very very good power amps.At least in my case I’m not looking for neutral - I’m looking for boogie tones. That said the LXII is popping up on my radar and seems very interesting in that footprint.
Stop using logic and common sense to try to make this easier for me WHATS WRONG WITH YOU.The old 50/50 is very good and easy to find cheap.