Hello all. New member. 1st post. I have my Rec Pre connected to a SwitchbladeGL which handles its relay switching. Obviously this will let you choose between the 3 channels (that's right, 3) Clean, Vintage, Modern. In order for Modern to work it is connected to a 2:100 and coupled accordingly. The 2:100 connects to Cel.Green back and Cream back speakers.
Mode 1: Clean Brit, no breakup. Seems to have unlimited headroom. I have blown doors off with this amp and never any gain out of Clean. Mode 2: Vintage, with the gain at 9 o'clock (2 roughly), treble at 1 o'clock (6?) and the rest of them maxed this is where I get all of my Sag laden touch sensitive plexi~esque creaminess. Mellow. Mode 3: Modern is set with gain maxed and 9 o'clock (T) 3 o'clock (M), maxed (B), & maxed (P).
That's all it does, typically 2 out of 3 modes are usable at any time. They are programmed to a MIDI foot switch and that switches the amp around as needed. To get a few more sounds from my rig I still run an ADA MP1. Since the Mesa is relay controlled by the Switchblade it is entirely possible to keep the 2:100 in Modern Mode even when the Rec Pre is not supplying signal. The ADA+2:100 adds a new flavor of brutality, none of the Mesa's harsh gain. But there are cons to the MP1, itself locked into one world of tones. Despite its programmability.
The recording outs remain unused. I have tried direct numerous times with both preamps and can't identify with what I hear. Moments ago I read a forum poster stating how subjective tone can be. Yeah I could fit it into a background, easy, but for the lead guitar work it is unbearable. As a matter of fact I have other amps that I prefer for lead guitar, the MP1 does most of it with the gains at 7.5. This is in fact lower gain than the rhythm lines often use, but with mids pushed a hair, and stereo delays pushed a bit I find it fitting.
I also record a Fender VibroChamp, not much to say there, as one of 4 microphones supplying the RME Fire face. I do not use effects pedals, and the loop is of no use, but I do have 2 aux sends (digital) from the Fire face that goes to an Eventide Orville setup with a sampler on A and the digital delays (or reverb) on B. The recording is dry with effects mixed to taste. The sampler provides loops, the software does drums, the foot switch can mute the sampler, record, play, stop. It also mutes the effects when needed and selects presets. These are usually a combination of signals.
Finally, I have phase issues, which can be inverted. But the inverted speaker is basically neutered so I opt to run a separate poweramp (Peavey Classic 50/50 el84) connected to Alnico Gold & Vintage 30. That covers all 4 mics. I tend to keep two out of 4, and typically choose the Greenback (2100/6L6) and Alnico Gold (50/50-el84).
Not done yet, I am still shopping for the right tube-rectified Marshall clone amp, for Blues style and classic rock. Obviously the JTM circuit, as they are most touch sensitive. Looks like it will probably be a Granger, and have the MVol option, EL34 to round out my setup. I plan on just running it to one of the unused Celestions and putting 1 of the 4 mics on it, so again things can be controlled by the Switchblade.
Lastly, I use ISO cab (homemade) for the 2:100 speakers. Never really opened up, though I have opened up all the amps, its pretty much unnecessary. The 2:100 has a special mic preamp for it, the GreatRiver Mp2Nv. The others just run thru the fire face pre's. They're not as warm, but with some fullness coming from the Alnico speaker, I can't complain.
YouTube.com/eventual420
(prepare to be underwhelmed)
Regards, Jim
