Potential New JP2C Owner

[rarebitusa]

That was actually where I started as a default...

oh ok... hmmm. Did any of them sound decent? or were the ones using Ch 2/3 sound all "thin & weak" I'm only poking around trying to see if there are any clues to be had in from that evaluation.

 

[ntotoro]

oh ok... hmmm. Did any of them sound decent? or were the ones using Ch 2/3 sound all "thin & weak" I'm only poking around trying to see if there are any clues to be had in from that evaluation.

Totally understand and appreciate it!!! No, no version of anything sounded good at all. Both channels, even! I kept picturing the sounds I've heard with, for example JP's settings in videos and what I got was not that LOL!

 

[ntotoro]

For giggles... bought five new pres... just because LOL!

 

[rarebitusa]

Yea, it certainly would seem something is just not right. Tubes do not appear to be the root cause. If it were me I'd still do the preamp out to another amp's power section just to take the circuitry between the FX send and the rest of the amp out of the equation.

 

[bandit2013]

Ok, I think we need to take a step back and think about this.

Most vendors can match tubes to have plate currents within acceptable range based on applied plate voltage and bias on the control grid. Keep in mind that most guitar amps other than Mesa have an adjustable bias circuit. Mesa uses a fixed bias. What it boils down to based on the Mesa color code scheme, is that the tubes with the most headroom (higher fidelity) will fall into the red color, Yellow has a bit less headroom, Green is median, grey has more early distortion, and blue will have the most early onset of distortion. Lets then assume that all of these graded tubes based on a color scheme will be operating at the same bias voltage and plate voltage. Is the plate current different? or does it fall into the same range? I would assume the plate current will be about the same. Calling the colors a bias color as we were lead to believe by Mesa, is probably incorrect. Mesa uses a fixed bias, so what do the colors actually indicate, onset of distortion. Reds and yellows would be late distortion and would require higher volume levels to achieve that characteristic, more hi-fi than and no grind. Green is middle range, good balance from headroom to grind, Grey is early distortion, blue much more distortion. However, when comparing STRxxx to STRyyy they will all be different as each would be a variant of the type of tube, different construction, etc. When it comes to a Simul-Class amp, I prefer a bit more headroom since they force the one pair into distortion to start with. Class A/B , much harder to get into the grind unless the power tubes have an early distortion characteristic. That being said, the same tube from red to blue will probably be more consistent. However, change in the tube type from the STR440 to the STR443, they differ so much that the grey color tubes are not as responsive or have the same gain characteristics. The STR440 is much closer to that of the STR415 as is the STR448 and STR445. I have tried the STR448, lame in the Class A/B amp. Not bad in the simul-Class amp. I also purposely got the yellows for the simul-class amp use. Not sure what the actual plate current is, I assume it is within the same range as the other tubes. It is the "onset of distortion" characteristic that will make a difference. For some reason or another, I think that is more or less what the color code indicates on Mesa's tubes. Too bad they can be blunt and say what it actually represents, otherwise there is no point in having that grading system.

I had come across a vendor that sold Hi-Fi gear that had an abundance of SED=C= EL34 tubes. I tried to order them, and they outright refused to sell them to me. They said they would work but they do not have the desired characteristics for use in a guitar amp. In other words, they have way too much headroom which is desired by the hi-fidelity crowd.

Another point, when I ordered from a different vendor, they asked me if I want early distortion or late distortion. Have to think of this aspect. Same tubes, same plate voltage and bias, same plate current but, the characteristic of a tube with early onset of distortion will saturate and clip easier than the same tube that has late distortion. In order to get that distortion characteristic, most tube amp builders have an adjustable bias to address that characteristic as well as to balance the plate currents and so on.

When it comes to the STR440 Chinese Shuguang 6L6GC tube, I have every bias color Mesa has to offer. Why? not all amps favor early distortion, for instance the Roadster works best with more headroom in the power tube. Same could be said to the Simul-Class models. However, the JP2C as well as any HRG, KRG or even the SRG versions of the IIB, IIC, IIC+ and III are a class A/B power section that will not drive the tubes into saturation like the Simul-Class models (DRG would be the similar designation, R means reverb, G means GEQ. The class A/B versions are the S,H,K and the simul Class would be the letter D). Sorry for the old school nomenclature from Mesa's of yesterday.

Amps that are of the Class A/B that need to have that early onset of distortion: Badlander, JP2C, TC series, RA series. Using a tube with more headroom will take away that desired distortion characteristic.

I am not completely sure if this holds true, but for some reason I think the Mesa tubes will be within the same plate current range regardless of bias color. Tubes will have other characteristics that define how it will be have. Not sure if it is measured with the transconductance or Siemens (inverse of transconductance). It could have more to do with the cathode and radiated electrons. That part of the science is still not understood by myself.

What does early onset of distortion mean? It is the effect of power tube saturation or clipping that occurs with a signal level applied to the control grid once biased at a fixed condition. The gain sensitivity may be stronger with a tube with early distortion vs one with more headroom. If the tube has late distortion (more headroom), it will take a larger amplitude of signal level to coax the tube to clip or distort that signal. As for the STR443, I did not get any satisfaction from them even with the gray color. Keep in mind that is a different construction and will behave differently than a different variant of the 6L6GC. They are not all the same thing. Perhaps I made the mistake in calling the color code a bias color so I was mislead from Mesa from the start. Groove tubes had numbers, that usually indicated onset of distortion. At least it did when I bought the first set of SED =C= 6L6GC from Doug's Tubes.

 

[ntotoro]

I cannot stress how much I've loving the interaction, thought and exchange of ideas here. Even if I don't wind up with this particular amp, I still want one and this course of action I'm taking will hopefully go a long way toward helping someone else who has similar issues.

 

[rarebitusa]

Well I'm just interested in why it sounds that way. It sure seems the issue is in the preamp section and appears not to be directly tube related.

While there is no schematic, it does appear they have leveraged the original IIC+ design. In fact the reverb circuit is before the FX loop, as it was in the original design, which kinda doesn't make any sense to me to locate it there. But they were staying true to the original design. According to the tube chart they split the reverb I/O between two preamp tubes V3/V4 like the original, otherwise I'd suggest pulling the reverb tube to get it out of the circuit. Either way a preamp test would at least bypass the PI V5 and V2A as contributors. Divide and conquer I say. But my guess is it's seems like a deeper hands on dive into it is going to be required.

 

[bandit2013]

I may have been overthinking the color code. However, I feel it is more of a gain description but that in itself could be classified as a bias code. Sure would be nice to have that stated in the manual. "we feel it best that this amp ____________ to be used with the __________ color coded tube for best results. However, you can use any color code, just keep the matched pairs together in the circuit, blah, blah blah." Instead we get a pointless video supposedly describing the color code system that says absolutely nothing in how it relates to characteristics. They will sound the same and you will not be able to hear the difference. I call BS on that. I can hear the difference. Depends on the amp and if it is geared to saturate the power tubes, it is more noticeable than an amp that is intended to be a clean and comforting with little to mild clipping. Ok, the issue is this, if Mesa comes out and states the actual facts, most will be out there buying up the greys and blues thinking this would give them more gain as we want more, give me more. Sometimes things are not what they seam to be. That grinding sound you hear is not because it is high gain, it is because it was done by design to drive a lower gain stage with a higher signal amplitude to force it into clipping. The lead drive circuit does just that. As for the rectifier amps, it is all on the cold clipper circuit. There is a difference between gain and distortion. I will not go there.

Anyhow, you can change the preamps all you want in the JP2C, I still believe the issue lies in the power tubes than with the preamp. I would have bought the STR448 in grey from Sweetwater or other reputable distributor than to side step to a different route. Sure that is fine and nothing wrong with that method. I have often bought tubes that were not mesa branded versions and not due to cost difference, mostly due to the fact I got tired with just the one tube offering (STR440) that lasted for a decade if not longer. Like I said, I should try the red STR440 and compare that to the grey STR440, then try the red STR448, yellow STR448 and the grey STR448 and see if there is any odd things going on with the gain control like you are having.

If there is an issue with the amp you cannot fix with change in preamp tubes or change in power tubes, probably best to let it go and seek out the JP2C that works like it should. Not saying to give up but I still feel it has something to do with the power tubes. I will try to get to this trick over the weekend. Jam night got moved to this thursday. I did not feel up to jamming on the drums all night long.

I took a look at the non-Mesa tubes I had in inventory and made use of in my Mark V90 that was running on the hot side. Most of the plate currents listed on the boxes ranged from 21.6mA up to 36mA. It was different for the different tubes and from what vendor I got them from. The one's that had the 36mA plate current were TAD 6L6GCSTR tubes (bought from "thetubestore"). Those tubes were solid and sinister. Too bad they do not make those anymore. I ran those in the Mark IVB and got that iconic sinister tone I thought was only possible with the IIC+. Mark V could not touch that sound, even with the same tubes. Sure, I say the STR415 are the best I have heard in the JP2C. To be honest, they sounded terrible in the Mark VII. Simul-class is much different than class A/B. Anyways. you spent money and got tubes in a 33mA range. When it comes to other resources, it is difficult to understand what you got as you placed your trust in a vendor who set you up. Nothing wrong with the tubes, but are they in the distortion range you need or do they have too much headroom? I will report back once I get the other tubes with the red and yellow installed and experimented with. I am sort of curious to see if the gain control on CH2 and CH3 responds the same way as it did with the STR443 gray coded tubes. Not sure if there is any value going forward with this. I will do as I said, may even find the time to do it this evening if I am up to it. Still have to move the stuff around in the studio (just a fancy work for one of the larger rooms in the house that used to be the office, my late wife used to run a business from home, so that space was hers to use as she pleased) to make room for the bandmates.

 

[ntotoro]

I'm sure the power tubes can cause issues, but not like this LOL! Whatever is wrong with it, it's in the preamp section. Nothing of this at all happened when I plugged an OD pedal right into the effects return. Matter of fact, it sounded pretty damn good LOL!!! Not the sound I wanted from the amp, but really nice! I'm going to try some tubes for giggles and see. I do want a JP2C, even if not this one.

 

[bandit2013]

OK, you may be correct.

Just for the sake of it. I did run the JP2C last night with the STR448 reds, yellows and greys and ended up with the STR415 tubes again. There was a difference between the red and yellows when compared to the grey but I had adjustable gain across the full sweep of the knob. The tubes with the most headroom did get a bit muddy once I got the gain to 2pm. The low end had a different voice to it. It was ok. The Greys sounded better to me. Then the STR415, I was getting much the same. But yet I started to think something seemed off in my JP2C as well. The preamp tubes have not been changed since I got the amp.

If you are set on the JP2C, then so be it. I can get much of the same characteristics from the Mark VII too. It has a few extra features too. May not have the two GEQs but that is fine with me. Just for grins, I tried both without the GEQ turn on. Not bad, I could do without the GEQ but would prefer to make use of it. I would at least make one recommendation, if you are considering this or perhaps the Bad at some point, I would try a Mark VII while you are at it. The Mark VII is sort of like having the Badlander and JP2C in one package. Not the same thing as the individual amps but close enough.

Your idea it is something else is still a valid assumption. Even preamp tubes have different characteristics when comparing several of the same tube. There are weak ones and stronger ones. Not sure how Mesa tests and sorts them.

 

[ntotoro]

The reason I like the JP2C is that note density. Does the Mark VII come close to that?

It does have MIDI, which makes my life a hair easier using a controller with pedal loops, like the JP2C.

 

[bandit2013]

Mark VII has a similar tone density as the JP2C. Depends on what color codes are in the amp. The first one had the STR445 greens, seemed a bit too much. I ordered some more of those tubes but not sure what the color code would be as I bought them from AMS. Only one full quad was ordered but they messed up the order so I would up with two full sets. First time around they shipped the tubes to some place in Indiana. WTF? I live in North Carolina. So they sent another quad. Got them in two days, and the next day the original one's showed up. Both sets were yellows. Much better that the greens. When I got the second Mark VII, that one also had the yellows.

Has midi just like the JP2C. Also has the IR Cab clone like the Badlander (does not have midi). The other bonus, since it only has one GEQ, you get the FX loop control on the footswitch. Sure, it can be midi controlled like the channels. Too bad it does not retain settings or switch modes for that channel. That would be a huge plus. 9 modes but two are repeats (fat and crunch) so there really are only 7 different modes. The IIC mode is much on par with the JP2C CH2 and CH3. Then it has the IV mode which is the next level of thrill for the gain seeker. IIB is a bit more relaxed so not as aggressive as the crunch, VII, IIC and IV modes. Even the clean channels can be dialed in with some teeth, push the gain up and it rips. Sort of like the Badlander clean, you can get that driven into overdrive. The JP2C, well it stays mostly clean and is harder to get into clipping. The trick is to push the midrange first then adjust the gain control. Not as robust as the BAD or Mark VII driven clean sound.

Comparing the output potential of the 90W vs the 100W, based on a crude method using a rock-crusher recording attenuator, they both push into the 140W peak area. Heck the 45W power mode was much to my surprise loud enough. Its triode mode at the lowest power setting also had some meat to it. I noticed the character of the amp did not change that dramatically across the three power modes. JP2C on 60W sort of changes character of the amp. Also not limited to one type of power tube either. Mark VII has the 6l6/EL34 bias switch. As for the output jacks, two 4 ohm and two 8 ohm only. Does not have a 16 ohm output like the JP2C. I personally like the Mark VII a bit more than the JP2C. I feel the Mark VII has a bit more dynamic range on its input sensitivity which is what draws my attention. I am lazy and like to just run one channel. Guitar volume roll back to clean up and if that works I am set. Bad and JP2C fall into that category but the Mark VII is on a different level, much closer to the Royal Atlantic RA100 character in terms of dynamics. So far nothing has quite topped the RA. Different amp an needs to be used with hard to find tubes (NOS) to sound epic. BAD, Mark VII sound great with current production tubes. JP2C, was not sure there would be a good substitute after running that amp with the STR441 or the STR443. As for the level of gain on tap, based on last night, the BAD and Mark VII have a bit more of that effect. For some reason the JP2C was not performing up to its standard. Could have been the guitar I was using too. Despite the NOS STR415 tubes, that was just a bucket list thing for me to try. I sort of like the one fits all tube STR440 just as much. Considering I was getting an odd behavior with the gain control while using the STR443 tubes, perhaps it is time to change the preamp tubes in the JP as they are still the originals from 2016.

 

[ntotoro]

Oohhhh... I didn't catch that! So you have a larger array of IR's to choose from for live use? How does the IV mode sound compared to the real thing? The VII mode seemed a little over-the-top for me, but I don't have a Recto of any sort, so it could be a "compromise" mode if I played something that required that.

Is IIB mode a pretty good mid-gain mode?

 

[bandit2013]

The IR's are loaded into the cab clone used to cabinet simulation and have no impact on the character of the amp modes or channels when played through a guitar speaker cabinet. I do not make use of the cab clone stuff, not yet anyway. I would rather capture the effect of guitar and amp coupling with a microphone than to have some simulated cabinet to a DAW or PA system. But at least you can make use of that with the Badlander or the Mark VII if you just brought the amp head and left the cabinet at home. Both amps have an internal load that gets enabled when there is nothing plugged into the speaker jacks. The JP2C has a similar cab clone thing but you have to use the toggle switch to turn off the speaker jack to connect to an internal load for silent use.

The Mark IV character I would say is dangerously close to the real deal, if not better. I had the Mark IVB, and felt it had a boxy character, perhaps because it was a combo? I got the same sound when plugging that amp into a cabinet. If it was great I would never have sold it. The Mark III was a pain in the arse to dial in but that had more of a neutral tone to it, not flavored to sound like it has a hint of brit to it. That is how I felt and still feel about the Mark V, boxy sound.

The Mark VII CH2 mode, IIB, is more of a clean mode, you can get some teeth to come out but different character as it does not push the signal into that overdrive triode circuit that gives you more distortion. More headroom and less forced clipping of the signal. I did look up the schematic of the IIB as I was curious of its design, practically the same thing but different sum of parts. IIC+ is the JP2C tone all the way, not as much gain as the IV mode but yet gives you that sound you hear in recorded videos of the IIC+, JP2C that most want to get but find it difficult to achieve. Mark VII was probably the first amp I ever liked with the gain push, treble pushed and the mids and bass dialed out. Now that was sinister sounding. I can't quite get there with the JP2C, may have to change preamp tubes or something.

Mark VII mode and crunch are related to the Badlander's crunch and crush. Similar arrangement of circuits. Different tone stack driver so they are different but on par in character if you can match the output volume of both amps. Last night before the group gathered at my place, I was running the Badladner and the Mark VII together with the Mesa switch track so I can change between amps on the fly or run them at the same time. I was trying to see how I could get that reduced volume and heavy distortion like you get with the Badlander running at 100W. Had to drop the Mark VII to 25W to get the same loudness. At gig level with both amps, they are on equal footing. Since the tone stack is driven differently, there is no limit on the tone controls but in crunch and VII modes, the tone stack is post gain but not driven with a low impedance driver like the Badlander. Mark VII modes is very aggressive too. Crunch can be as well. This is probably the first Mark swiss army knife amp that I actually appreciate all of the modes offered. Unlike the Mark V90, mine being an ice queen as that is all it does, drills into your head with ear piercing top end that is like shoving an ice pick into your ear. I never cared for most of the modes. Only CH2 was useful in crunch mode, the rest was either lame or ice pick. Not all Mark V90's behave this way, just a few made from 2009 to 2015. Those should never have been released to the public. So if you were wondering what the Saturation Mod was all about, using a 12AT7 in the amp to cut the ice pick down so one could use the CH3 to its fullest extent.

I really like the Mark VII amp, It has taken over mostly for me. The Badlander is still the go to amp for jamming though when someone else is playing guitar and I am on the drums. Alone, I gravitate to the Mark VII or may use the Badlander. Have not been making much use of the JP2C, still a decent amp but I feel the Mark VII is a better fit for me. There is not one thing I dislike about it. The only thing I would suggest to anyone having issues with this amp at gig level, check the power tubes. If the matching code (that is what the colors are labeled as) are in the reds or yellows, you got issues, those would be the one's to use. Greens, they are a bit too aggressive and get swamped at gig levels. Greys, would never consider that color for this amp. Having a bit more headroom helps as this is a Simul-Class amp that creates plenty of power tube distortion as that is the nature of the simul-class model. For the Badlander or even the JP2C, both are Class A/B so they need that early onset of distortion. greens, greys, blues (typical matching codes for the EL34) and it may matter what tube used in the JP2C but greens, grey or blue in the 6L6 is probably a good bet you will have a good sound. Exlcuding the STR441 and STR443 tubes. I may put the STR415 to rest for the time being and make use of the STR440 tubes that were the originals. The last bout with the amp I was not overly impressed with it. Will have to try the JJ E83CC tubes to see if that helps. Those tubes sound really good in the Mark VII and Badlander (note that I did not use them in V2 or V4 as I am uncertain what will happen with the cathode follower positions as they are different tubes when compared to the Mesa 12AX7 (JJ ECC83s). The tubes look identical, however the E83CC has a frame grid and the ECC83s has a formed grid. Formed grid is one by wrapping the control grid wire onto posts but there is also a former inserted in the center to create an oval or elliptical shape. Not sure if the wires are then welded onto the posts before the form is removed. As for the frame grid, they are much larger post diameters and the control grid is wrapped tightly around the two posts, no forming tool used. If I ever kill one, I could disassemble it, I am curious what makes it different than the standard version. They do not show any images of its innards and how it is different.

 

[ntotoro]

The only thing I didn't "like" when looking at the Mark VII was that I'd hoped not all the modes I wanted would be on the same channel LOL!!! If I want to switch between MkIV and MKIIC+, I have to hit the toggle, not just the footswitch. Unless you can do so via midi... ?

I would use the Cab Clone or whatever IR's in conjunction with my cab. Just gives the sound guy options. I can get my sound on-stage and make the PA easier for him, just running a line straight to the board.

 

[rarebitusa]

Yea can vouch for the CabClone IR as being a very worthwhile. It was one of the major reasons the BAD made it into the amp fold. While a live cab is preferred, often later in the evening will switch over to the IRs for low vol recording and remain in good standing with the neighbors. Also it works well to slave the power section to other preamps and use the IR.

 

[ntotoro]

That's kind of my thing. I can use a 1x12 on stage for "monitoring," but easy enough to send the rest to the house.

 

[Doug Doppler]

Hey @ntotoro - I read through several pages of this groovy thread, hopefully enough to augment what @bandit2013 has kindly shared...

a. Find another JP2C to try out. Sounds like there something not right with the one you've got and you've spent a LOT of time trying to get to the bottom of it

b. Since there has been a fair amount of conversation about the Mark VII, I figured I'd share my $.02 about the differences noting that you have the JP~2C on hand...

1a. The JP~2C is in many way a VERY faithful recreation of the 100/60 Watt Class A/B Mark IIC+. Per Petrucci's love of a REALLY clean clean channle, the clean banks on the power amp section not giving up the proverbial ghost when played loud. That may not be for everyone, but that is what John was looking for, per the out of the box experience. The tightness of the power amp carries over to the 2nd and 3rd channels
1b. Each of the three channels on the Mark VII can run at either 90 Watts SimulClass (Class A and Class A/B), 45 Watts Class A Pentode, and 25 Watts Class A Triode. This is ALL about how you can manipulate the power amp section, and while it does impact volume this is IMHO all about the tone and feel of the amp in terms of how the power amp resonds
2a. The second and third channels of the JP~2C were created to solve one of the main thing people ran into with the original amps - one setting for rhythm one for lead. Back in the day, many players used two. The dual EQ solves that problem in combination with channels 2 and 3. Many players, Petrucci included do not use the Graphic EQ for clean tones. Partially because of the Black Panel vibe and partially to save the Graphic EQs for the arguably more important task of shaping the gain tones
2b. The Mark VII is in many ways a Boogie's greatest hits and does so brilliantly per the various Modes
3a. The JP~2C has CabClone with three options total. A huge help for live and studio
3b. The Mark VII features your choice of 8 IRs for each channel per the built-in CabClone IR. For stage and especially the studio, this is awesome
4a. The JP~2C is based on the architecture of the Mark IIC+ which did not have any Modes at the channel level. The what you see is what you get vibe is really appealing and as much as I LOVE the options on the Mark VII, the JP~2C is SO good at everything it does you don't miss the options, if you the Mark IIC+ on steroids is your jam
4b. The Mark VII has 3 Modes per channel.The ability to have both Fat and Crunch Modes on Channel 1 and Channel 2 gives you some great options that are not mutually exclusive, so to speak. As the Mark series has evolved the ability to choose different Modes is something that some folks love, for others, they look at the amps and get option overload. Nick, per one of your posts, Modes cannot be controlled via MIDI.

Those, IMHO are the big bullet point contrast points. There are a couple of particularly awesome features on the JP~2C that are VERY much worth mentioning...

Dual Presence controls (push/pull pot) on Channels 2 and 3. The 'second' Presence option is set a lower frequency than that found on any other Boogie. If you've ever wished that the Presence was just a tad bit lower in frequency, this feature is for you. It's noticeable and it's AWESOME.

Dual Gain (push/pull pot) on Channels 2 and 3. The manual goes into detail on the what and the why, but I'll loosely summarize by saying it's based on how people dialed in the Mark IIC+ per soaring lead tones per how much gain you introduced to the circuit.

Shred. Just to the left of the Standby Switch is the mini-toggle for Shred. This name could be misleading for some. This is a rhythm guitar feature designed to 'shred your face', not shred lightning fast solos. That's why the options are Channel 2, FS/O (foot switch / off), and Chanel 2/3.

CABINETS!!!
So here's the deal IMHO, if you want the experience of the JP~2C you GOTTA use a Boogie cab. I'm a fan of the oversized, 4x12 Rectifier Standard cabs. I personally prefer the slants, but also love the straights. Given your Plexi background I'd suggest either one of the slanted 4x12 cabs. The horizontal and vertical 2x12 cabs are great as well, and between them I'd suggest the vertical (it's slanted) per being more 'on axis' with the cab in a live setting when standing on stage. This is tthe same the I love about the Standard slanted cabinets - on axis 'playback' standing or sitting. And yes, 2 of the vertical cabs would be awesome! Bogner v30 cabs are AWESOME as are Marshall cabs, but in IMHO, they work and sound best when using the amps they were designed for. Go with a Boogie cab and you will not regret it. It is a MASSIVE part of the experience...


OK! So I'm currently out of the country, and won't have a lot of connectivity until a get back but figured it might be a help to share the above. Looking forward to seeing how many pages this thread is when I get home


Cheers ~ Doug

 

[ntotoro]

@Doug Doppler

Thanks, man!!! That deserves a much longer reply, which I'll give later LOL!

I am essentially looking for clean, rhythm, lead... done. Some programming to go with my pedals for various stuff, but three basic tones.

 

[ntotoro]

@Doug Doppler

Like I said, I really am looking for three basic sounds: clean, rhythm and lead. Everything else is a combo of those with pedals or changes with the guitar knobs. The JP2C seems cool for those sounds, plus using my BOSS controller to change channels, loops and even shred mode (if I use it).

That was why I was wondering if the MkVII modes were changeable via MIDI since I could see myself wanting to use MkIV and MkII modes in the same song. The JP2C, at least the two gain channels are the same and I can simply add some gain and midrange (with the EQ) on channel 3 to get my lead tone.

I do have a small Boogie angled 1x12 that's so cute LOL! I've been tempted to get a vertical 2x12. The V30's seem to sound different than the typical V30 sound I'm used to... which isn't always my favorite. I'm not sure if it's the cab or what, but it does sound different. A 4x12 is a bit much for me at this point and I really can't even use one live. Too much stage space. I know it doesn't make a ton of sense since the Bogner OS 2x12 isn't much smaller than the average 4x12, but it's an optics thing for some gigs LOL!

It really does sound like the JP2C is the way to go!