little onion
6 posts
Mar 07, 2012
10:29 PM
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hey folks-
i am a longtime acoustic player... kind of new to amped modern blues. playing through a sweet old shure bullet and a HG2 sometimes coupled with a 'zoo i bought from gregg. the only effects i use is the lone wolf delay... and while mostly happy with my sound... it needs a little tweaking: \
1. FEEDBACK! anyone address the kinder afb vs the behringer unit. i know randy at lone wolf is about to come out with an afb pedal. don't know when.
any advice?
2. an octave pedal: i know jason ricci was playing the micro pog and folks like randy's octave. how do they compare if anyone knows... will they help with feedback issues?
3. the BBE sonic stomp maximizer? what do you all have to say about this.
i used to be a purist, but when i began driving a distorted mic through a tube amp i realized it is al about effects and there is perhaps a different kind of purism with amped sound...?... that i needed to manage my sound better.
i appreciate any feedback. i have sat with the youtube vid of jason showing off his pedaltrain and scratched my head a lot. .. trying ot figure out what to make out of all that that will make sense for me!
little onion
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MrVerylongusername
2267 posts
Mar 08, 2012
2:08 AM
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Hi Little Onion!
I'll try and answer from my experience.
1. Feedback. I've never used the Kinder, so can't really comment. I understand from other's comments that it is best if you want an overdriven tone, as it can colour the sound. I have used the Behringer Shark (and the bigger FBD rack units) the Shark is pretty effective, but fiddly. As a very narrow band notch filter it's effect on tone is minimal. IMHO the best cures for feedback are controlling the signal gain, careful amp placement and not saturating the sound with long tailed delays and reverbs.
2. Octave pedals are a lot of fun. The most harp friendly ones I know are the Electro harmonix ones as these are able to cope with chords as well as single notes. The Boss OC2 and OC3 do not. I have an original POG which I like a lot. Can't comment on the Lone Wolf - I heard it fattens the tone, but isn't a true octaver. Depends what sound you want I guess - from what you describe, perhaps a subtler, fattening of tone is more appropriate than a full-on, in you face downward pitch shift.
3. BBE Sonic stomp - sounds interesting: I'd like to try one.
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Libertad
43 posts
Mar 08, 2012
2:14 AM
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One option instead of buying multiple pedals is to go the Amp/effects modelling route. I recently bought a Zoom G3 which literally has hundreds of options. Whilst it doesn't have an anti feedback option it does have a graphic equaliser so you can tweak those troublesome frequencies.
Richard Hunter is probably best known for his work with Digitech RP units. There is a set of sample files here: http://www.hunterharp.com/hear-our-new-huntersounds-rp155-patch-set-samples/
For the price of one Delay unit you get a thousand options!
Martin
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Willspear
74 posts
Mar 08, 2012
4:47 AM
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The pog, micro pog and pog 2 are toys. They are not effects you'd use consistently unless trying to make the harp sound like another instrument. The common one is the organ sound. I got a micro pog instead of a pog 2 recently because of ease of use for me. Sounds good and tracks better than boss octavers. I use the pog for a bit of looping. To lay in another instrument backing.
The kinder which I don't own but have ordered is incredible. I use another guys from time to time. Feedback is not always a problem for me. But sometimes at a jam or a cramped stage you find yourself 2 feet from your amp. Nice to have insurance to help with not feeding back by handling a mic like a moron.
The lonewolf octave is an effect all it's own. I use it strictly to help a big amp get a little champified. It helps with feedback slightly. I wouldn't use it with a champ sized amp. Driving a champ hard sounds great no fuzz or distortion needed. But a bassman doesn't always break up like you want it to if not playing cranked.
The sonic stomp is a very minimal effect. Best description is that it is like taking a blanket off your amp. I miss it when it's gone but It isn't an effect as such. It's more in the category of eq effects. Can be had for around 70 bucks when on sale at guitar center or the lIke
Out of all 3 non kinder pedals the sonic stomp is the one pedal I feel is most useful
Most guys don't use tons of pedals. Delay to amp. Or just mic to amp. Effects add a can of worms to the mix. Several connections to deal with and trouble shot when things don't work.
I have a boatload of pedals but honestly good honest simple chains can sound as good. I use a lot of always on or passive effects. And I keep a couple pedals for breakup. To have some different options. I generally keep a chorus pedal on the board as it sounds good on occasion. I dig chorus with a chromatic harp and playing those octaves.
The micro pog is for fun more than anything.
I have been using the harp break and tge harp octave and quite like both when used sparingly.
I use a compressor for minimal compression just a dab but more as a boost pedal in line.
If you listen to Jason ricci the effects are generally like salt and pepper. The amp is featured and sounds true.
My rig is similar in tgat I can get a sound like I am higher in volume then I really am
Kinder pedal exists on its own not essential but a brilliant tool
Last Edited by on Mar 08, 2012 5:09 AM
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HarpNinja
2254 posts
Mar 08, 2012
6:23 AM
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"i am a longtime acoustic player... kind of new to amped modern blues. playing through a sweet old shure bullet and a HG2 sometimes coupled with a 'zoo i bought from gregg. the only effects i use is the lone wolf delay... and while mostly happy with my sound... it needs a little tweaking: \"
Why? What needs tweaking? Either amp should be a great harp rig regarding tone.
"1. FEEDBACK! anyone address the kinder afb vs the behringer unit. i know randy at lone wolf is about to come out with an afb pedal. don't know when.
any advice?"
I am curious as to how much a problem this is for you. You should get great sounds from either without much feedback. I've had a Kinder forever (just sold it yesterday). It works as advertised, but unless you are adding pedals that great feedback, it would be overkill.
"2. an octave pedal: i know jason ricci was playing the micro pog and folks like randy's octave. how do they compare if anyone knows... will they help with feedback issues?"
Two TOTALLY different effects. The POG works great, but with the HG2, the speaker will fart out from the lower ocatves. Same might be true of the Zoo. Randy's pedal won't add much sonically to those amps. It is also not meant to be used like an octave effect, but rather a tone shaping tool.
"3. the BBE sonic stomp maximizer? what do you all have to say about this."
You have no need for this. You have to decide if you are looking to use effects to create your tone, or to color your tone. I use effects like mods, filters, and delays to color my tone. Jason uses them to both create his tone and then color it.
From the info you included, it sounds like you are fine with your current rig.
----------
Mike
VHT Special 6 Mods
Quicksilver Custom Harmonicas - When it needs to come from the soul...
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hvyj
2236 posts
Mar 08, 2012
8:37 AM
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The Lone Wolf Harp Octave is a distortion pedal. The MicroPOG is an octave divider. Two completely different animals.
The MP tracks extremely well and is responsive to playing technique. You can do some interesting things with a MP depending on what settings you use, but it is a very powerful and dramatic sounding device and certainly not something you would leave on all the time.
The MP is NOT true bypass and it heats the signal whether or not it's engaged which can create feedback problems with certain amps. AnalogMan offers a true bypass mod to the MP for $40 which cools it out and makes it usable with amps that would otherwise feedback with a stock MP in the effects chain.
But, as with any effect, the relevant question is: WHY? Don't just buy sound effects. Think about what you are trying to do musically and how does a particular effect device enhance what you are trying to do?
Logistical tip: If you're using more than one pedal, think very seriously about using a pedal board. Life is so much easier and everything is more reliable if velcroed and zip tied to a portable platform...FWIW.
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little onion
7 posts
Mar 08, 2012
5:11 PM
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thanks for all the feedback! (the good kind that doesn't hurt).
1. yes first of all i am overall loving the sound i am achieving with the tools i have, particularly when i am playing with one or two others in a kind of smallish setting or a big stage. problem is that i am mostly playing out with a 9 piece funk machine and often am squeezed onto a small stage in a medium large venue where my amp is miced into the PA but the amp isn't where i would want it or i have to crank my volume up higher than i want. having said all of that, maybe if i really knew what i was doing or had someone who really knew what they were doing to help me it would not become a problem, but driving my HG2 at higher volumes has produced fb especially when i am taking a solo or need to hold my own with drums, lead, bass, wurly, trumpet, sax, and 3 singers. granted, better sound guys and better venues seem to manage this with a better mix and less feedback... and yet it has been a problem... and while i am learning what i am doing i was thinking an AFB would help make the journey easier.
i suspect as i become more skilled i will need it less i guess.
2. the thoughts about effects is that since i am mostly doing supportive background rhythmic vamps in the band, and i work the delay some to vary my sound in addition to my own techniques, that an effects pedal or two in addition to the delay would help keep my sound varied and add textures that i might not be able to achieve on my own. of course used sparingly... but adding a different vibe to certain songs. certainly not replacing the basic me-the mic- and the amp. the POG seemed like a good thing as an occasional toy. (thanks for the advice about the analog man- i'll check it out). and thanks for the guidance about the lone wolf octave as being unnecessary. i will see if i can get a used micro-pog so i don't sink too much $$. since i do a lot of straight upper register fills coming from a fiddle tune and dawg background maybe my HG2 can handle the lower register... then makes me wonder about the upper octave...?
i know where i can get a used used sonic stomp maximizer and figure from what i have heard and read that it might make a difference in bringing what jason calls music in HD.
anyone use and like the optostomp compressor?
yeas- a pedal board is essential if i start on this path. pedaltrain as good as any? i couldn't imagine having to set up the things from scratch every time i play.
a couple of you voice the concern i have that maybe i don't need any of this stuff and what i have is fine... and then i think about adding sounds and textures and pieces of interest to what i do in this large band... and making cleaner better organized signals for my amp to work with... and it starts to seem attractive again... like i need another excuse to spend money on more stuff?
thanks for helping me out so far. i am getting more clarity.
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hvyj
2237 posts
Mar 08, 2012
6:07 PM
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MicroPOG is most effective as a lead voice, IMHO, unless you run it into a rotary effect pedal which will give you a very organ like Leslie sound.
You know, for the amps and mic you are using, a RetroSonic Chorus Ensemble pedal might give you the sort of ambiance you are after. It has two effects: Chorus and Vibrato. Very harp friendly and true bypass. The chorus works well for dreamy stuff and the vibrato gives you a Leslie like rotovibe sound. Works well in tandem with an MP or on its own. WORKS PARTICULARLY WELL WITH TUBE AMPS!
The DLS RotoSim is a quality rotary sound pedal, too, but the RetroSonic Chorus/Vibrato sounds better with the tonal texture of tube amplification and would probably work better with a bullet mic. Keep in mind that, in general, effects pedals work better when they are processing a CLEAN signal. The signal from a bullet is not clean. The RetroSonic would probably handle that sort of texture reasonably well--but i don't use bullets, so i can't really say for sure.
Pedaltrain boards are great. If all your effects are 9v you can power them with a VisualSound OneSpot and zip tie a OneSpot multi plug harness under the board. But if you have effects with different voltage requirements you'll want a Pedaltrain model that can mount a power supply underneath. Either way, Pedaltrain boards are very cool and extremely practical. Don't rely on batteries. Btw, the Pedaltrain "Nano" model is the perfect size for 2 or 3 pedals.
Compression can be cool, but compressor settings can be very touchy and will destroy dynamics if not set just right. I used to have an OptoStomp. Sounded great in my living room, but i could never get it dialed in right at a gig, so i finally got fed up and sold it. BUT, a compressor will smooth out a bullet mic signal if put FIRST IN CHAIN.
I've never used a Sonic Maximizer. Some guitar players I work with use them and like them. My thought is that with the bullet mic and all the tube distortion you have going on trying to get the SM set just right may be more aggravation than it's worth. Might be better for use with a larger multi speaker amp, but since I've never actually used one, I can't really say for sure.
Last Edited by on Mar 08, 2012 6:45 PM
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Willspear
75 posts
Mar 08, 2012
6:24 PM
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I have been using a pedal juice to great effect and convenience for a few weeks. Plenty of juice for a gig with several pedals. No dealing with wall warts and outlet issues.
Great for busking with a pedal board.
No 9 volt expense any more
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Greg Heumann
1523 posts
Mar 08, 2012
11:22 PM
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"9 piece funk machine and often am squeezed onto a small stage in a medium large venue where my amp is miced into the PA "
Unless you have a sound guy who is on your side and constantly watching out for you, hearing yourself on stage will be the big issue. If he is mic'ing your amp he can make you as loud as he wants out front - but that doesn't mean you can hear it. Adding monitor is a real feedback problem as the amp mic goes through a fairly gainy mic pre-amp at the sound board - and the monitors are at the front of the stage where you and your mic are.
An anti-feedback device might help, but, at least with the AFB+, the more you need it to intervene, the more your tone suffers. My advice? You need a bigger amp. A tweaked-for-harp reissue bassman or twin reverb, or harp-specific amps like a Sonny Jr Avenger, HarpKing, Meteor or HarpGear 1210 or 410
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/Greg
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hvyj
2238 posts
Mar 09, 2012
1:47 AM
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What Greg is saying makes a lot of sense. I particularly like my Fender Super Reverb Reissue 4x10 with tube swaps in it.
Btw, the pedal board i use with that particular amp is a Pedaltrain Nano with an Analog Man modded MicroPOG > RetroSonic Chorus/Vibrato > Delay on it. This gives me PLENTY of different sound textures if/when I want to use them.
FWIW, I play through a 545 Ultimate mic I got from Greg. Besides tube swaps, the way i control feedback is by turning volume down AT THE MIC to cool out the input signal and then cranking the amp volume up to its "sweet spot." Works pretty well so long as you are careful about the VC control on the mic, and on the 545 Utimate, turning sown the VC does not degrade tone.
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little onion
8 posts
Mar 09, 2012
11:09 AM
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cool. thanks all!
hvyi- how do i do the analog man mod for the micro pog? is that an off the shelf? i will also check out the retrosonic chorus ensemble. if i get a chance to demo them it would help.
also your point about the mic is huge too! because i also do echo chrom and jews harp, i was thinking about a sm57 or 58 as the second stand mounted mic i could have and use for a clean sound, using the bullet for what it does best.
cooling the volume on the mic and up on the amp is something i will play with.
i saw a couple of used sonic stomp maximizers for sale and may just get one and see how i like it. thanks for your feedback about the optostomp- in concept it seems good but if id doesn't play out on stage then why bother.
greg- thanks. you kind of hit the nail on the head with the onstage situation. money being an issue i was afraid that what i needed was a bigger amp. i have been eyeing the HG35 wondering where i could find the piggy bank to break into to get one. yeah it's all about the sound guy mixing your signal and whether you can hear it!
our next gig is actually at the blue note so i think i can relax about the sound for that one, giving me some time to ponder. is t here a good source for used harp friendly amps. i will look at the for sale page again here. yeah- a stronhger amp would probably mostly solve the feedback issue. then i am still at the place of playing with effects i want to incorporate.
very cool. i appreciate the advice and guidance!
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hvyj
2241 posts
Mar 09, 2012
12:18 PM
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You have to hire AnalogMan to do the TB mod to a MP. You can buy a new one from his web site and he tacks the price of the mod onto the price of the MP (which is what I did)or I think you can send him your own and he'll mod it. Very cool guy and very reliable to deal with.
As far as trying the RetroSonic, if you order from PedalsPlus Warehouse on line they have a 45 day return policy. Buy it, try it, send it back if you don't like it. Again, very cool vendor to deal with, but communications are a little slow with them.
I've never heard anyone who was using a Sonic Stomp say anything bad about it.
Now, a lot of harp players may disagree with me about a couple of things, but I'm going to say them anyway based on my personal experience: 1)In general, you are likely to have more problems with feedback if you use a bullet mic, and 2) Using a small amp and micing it is not as effective as using a larger amp--this is because of the reasons Greg describes AND because unless the amps for the all the other instruments are also mic'd your instrument will sound out of balance with the rest of the amplified instruments.
True story (this is funny): I saw a saw a harp player I know at a club using a little 5 watt amp on stage set up next to the guitar player's Fender Twin Reverb Reissue. i thought the 5 watt amp sounded like shit mic'd through the PA, but I didn't say anything about that. Anyway, on the breaks the guy would come over to me talking about the great tone he gets from his 5 watt amp and wondering out loud why he was having such a hard time hearing himself on stage. I finally had to be blunt and told him that it was irrational to expect to hear himself through a 5 watt amp with an 8" speaker playing on a stage next to a guitar amp with 85 watts and two 12s. His response was "But I'm micing it." No kidding.
Last Edited by on Mar 09, 2012 12:37 PM
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little onion
9 posts
Mar 09, 2012
3:08 PM
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hmmm... so before i start dropping $$ on pedals (which i will eventually do some anyway) maybe i should be saving my pennies for a bigger amp. i cannot justify the HG50 but found a used HG35 for1000. that's seven times the power.
also checked out the other sites. thanks.
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MrVerylongusername
2273 posts
Mar 09, 2012
3:47 PM
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7 times the watts, but the relationship of wattage to volume is logarithmic: a 100W amp is only about twice as loud as a 10W one. In practical terms the difference between 35W and 50W is hardly noticeable though, so the 35 makes sense.
Last Edited by on Mar 09, 2012 3:49 PM
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Willspear
76 posts
Mar 09, 2012
4:14 PM
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It's maybe 2x as loud I forget the ratio but to double volume is perhaps 10 x the amount of watts and it ties into the efficiency of the speaker. Ultimately the loudness of an amp for harp is how far you can go before feedback. A 15 watt Princeton is a louder amp than a 15 watt blues jr in my experience. Way more volume before squeal.
The other factor is how much air you are actually moving. A harpgear 2 run through multiple speakers will likely seem louder.
The difficulty in choice of amps is what to buy. I don't know the answer to that so I keep buying stuff. The most useful for my situation is a retubed 59 bassman from 1990. No other mods the number 2 is a Princeton reverb bone stock and distant third is the vht special 6. All due to air being moved.
If I could Buy any amp around it would probably be a 50 watt meteor or an avenger. I have played a hg50 410 and it would be great as well. There are two people in my general area who own the other two amps. They are tone monsters. There is something magical about the meteor if you dig cathode 6v6 amp growl and grumbles. The others have punch.
If money were no object I'd own all 3.
On the effects. If I didn't have literally around 100 pedals for guitar I would have waited and just bought a delay. I already owned a good chunk of pedals that were harp friendly just by chance.
I mean I have 5 delay pedals and still there is slways a new one that is better in some way so I obsessively need it. I mean a red witch titan delay is the promised land just hard to justify nearly 400 bucks for a pedal. But at the end of the day my carbon copy is the delay I like with a long ish delay. It's warm it has just enough clarity to sound pretty if needed. Can do some awesome slap back snd is long enough that I'd never need more delay time.
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little onion
10 posts
Mar 09, 2012
4:20 PM
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thanks for the physics lesson. whew i forgot the watts/volume ratio long ago. so a bit more than twice as loud...is good and should help me begin to achieve more sound freedom. i loved your story hvyi! kind of sounds like me on stage with these 8 other dudes... mic-ing it. new amp first... and then once i begin to feel my way into it... maybe some of the pedals you have suggested. i sill see what the local music stores have and maybe i can get in and demo them with my mic.
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little onion
11 posts
Mar 09, 2012
4:29 PM
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willspear- do you like the HG35? do you have an opinion about it?growl and grumble sounds cool. i would have to hear that to understand what hat means. what is the best way to try these out?
the effects world seems like a bit of a potentially slippery slope? i have gotten some really good advice and with the one place that has a 45 day trial i really can't go too wrong.
thanks all!!!!!!
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hvyj
2242 posts
Mar 09, 2012
4:58 PM
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Well, if you are really interested in using effects pedal, keep in mind that a signal from a bullet mic isn't going to process all that well.
Also, a very important consideration is what the effects pedals do your tone when they are NOT engaged. True bypass is preferable, but not all pedals that claim to be TB actually are.
The ORDER you put the effects pedals in is also extremely important. `
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Willspear
77 posts
Mar 09, 2012
6:10 PM
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I never have seen an hg35 but if the 3 harpgear amps I have seen in the flesh and played through are any tell it will be a killer amp. And much to loud for home use unless you own or rent a house.
They are great amps and are quite accepting of effects.
As for true bypass some pedals can cause major sonic issues when disengaged. Tone loss is common but it's not always the case really depends on the pedal. I don't have any issues with my current board.
As for effects and a bullet. Some Mics are hard to use with a ton of effects at a given time. I like bullets but if you wanted a more involved and less transparent set of effects id use a mic with a bigger frequency response range like an sm57. Clarity of pre effects signal makes a big difference.
As for order the most important thing to remember is delay and verb and fuzz or distortion don't get along with delay first.
Other effects are worth experimenting. Whether chorus before or after octave if you go that route I change it because both have merits. I use the lonewolf pedals sparingly and sometimes not at all. Really depends on room and volume on the amp. They are best used sparingly
The lonewolf octave really is great and simple to dial in and helps a big amp a lot when you can't crank it.
My board is In this order.
Bbe Compressor
Harp octave
Harp break
Micro pog
Chorus trem
Carbon copy
Sonic maximiser
Anti feedback when I borrow it goes first in the chain.
I'd like to credit jason ricci with the idea to use the sonic stomp and opto stomp book ending the chain. I used both for guitar already but it never occurred to me to use em for harp.
I used the rack mount bbe maximizer for several years for guitar to do exactly what I do with the stomp.
Last Edited by on Mar 09, 2012 6:37 PM
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hvyj
2243 posts
Mar 10, 2012
10:56 AM
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"The other factor is how much air you are actually moving."
Yes. This is really important.
Another true story: I had been playing in a hard rocking blues band using a 1x10 SWR Baby Baby Blue acoustic bass amp and a pedalboard. The SWR has a solid state power stage with a tube preamp and sophisticated semi parametric EQ for tone shaping. Nice deep, dark, thick tone with 120 watts and NO FEEDBACK problems whatsoever even at high volume. Also sounded GREAT with pedals. I used a RetroSonic Phaser (to get a tube compression sound when I wanted it) > stock MicroPOG > DLS Rotosim > Delay on a Pedaltrain Mini. The guitar player was playing through a 1x12. Everything sounded wonderful.
Then the guitar player got a custom made 2x12 amp. My SWR could easily keep up volume wise with no problem, but the guitar just had so much more presence. I tried using an EP-Pre preamp on my board to give me some boost, which it did, but the guitar was still overmatching the harp and we sounded out of balance. Why? Because the guitar amp was moving so much more air which is what gave the guitar more presence.
Solution? I started using my Super Reverb Reissue 4x10. Bingo! The guitar and harp sounded in balance and with similar "presence." My 4x10 Super moves more air than my 1x10 SWR even though both amps can get plenty loud enough. So, it's not just volume--how much air the amp is moving also has a lot to do with it.
Btw, The pedalboard that sounded so great with w/the SWR didn't sound as good with the Super. The effects that sounded so wonderful through the cleaner SWR messed with the more textured sound of the Super Reverb's tube amplification and the tube texture of the amp messed with the sound of the effects. Also, the MP was creating feedback problems whether it was engaged or disengaged. (This is when I starting trying the OptoStomp Compressor).
The Super sounded just fine with no pedals, but the other musicians in the band had grown to like my effects and were insisting that i continue to use the octave divider and/or rotary sound on certain tunes. To meet expectations, I wound up getting an AnalogMan modded MP and the RetroSonic Chorus/Vibrato which both get along very well with the Super Reverb. Still have the SWR and other pedalboard rig which i like a lot and use regularly for other gigs.
So, this stuff is not a one size fits all proposition. It's a matter of the right tool(s) for the right job.
Btw, if you are going to use a rotary Leslie sound or rotovibe effect, my experience is that they usually sound better going into a delay. The delay provides a nice ambiance and without the delay, the treble swirl of the rotary can sound a little too "edgy" especially into a tube amp. But, YMMV.
Another thought: I really love the sound I get from the tube driven reverb on my Super. The Princeton Reverb Reissue also has a tube driven reverb tank and like Willspear says, it is a great OOB harp amp.
Last Edited by on Mar 10, 2012 11:11 AM
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little onion
12 posts
Mar 10, 2012
11:34 AM
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thanks dudes! you all rock. much to ponder. i would love to take different amps out for a test drive... maybe rent some for gigs?
ii found used optostomp and sonic stomp on ebay pretty cheap and will start form there. i have a LW delay and will look at finding the micropog and chorus while i ponder amps. i will have to take a second job or pray that i actually make some money on some of these gigs i am playing. weather's getting warm, almost time to start busking again- trying to imaging how long it would take me to earn enough to buy a new amp?????
have a good weekend.
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hvyj
2244 posts
Mar 10, 2012
12:58 PM
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@little onion: Go to music shops and try amps there. You won't find harp specific amps, but there are a whole lot of other cool amps worth checking out. Also, make friends with some guitar players. Some of those guys own a variety of amps and may let you try them out. Btw, certain bass amps sound great for harp and can often be very pedal friendly.
Go to jams. Some harp players will show up with harp specific amps and will let you play through their rigs. Personally, I have not been all that impressed with most of the harp specific amps I've tried, but that's certainly a minority opinion around here, so, YMMV.
It helps if you know what sound you are after. I haven't changed any gear since i bought the stuff to configure the Nano board for my SRRI about 3 years ago. I use that set up for certain gigs, the SWR and Mini board for other gigs and I have a Princeton Reverb Reissue I use every now and then without any pedals. I feel I'm getting my $'s worth from the gear I have. I know what sounds i am after and I can pretty much achieve the sound I want from each rig. So, I'm satisfied with what I've got and i figure it's been $ well spent.
Now, if you are searching for the sound you want, that can get to be an expensive journey as you go through different combinations of gear to try as you sort things out. Some players try to re-create a sound they've heard on a recording, other players go after a sound they hear in their head. Personally, I'm not into the distortion thing--but there's a whole lot of harp players who are.
Ultimately, the question is how do YOU want to sound? Once you've figured that out, it's easier to select gear that helps you sound the way you want to sound. Do you KNOW the sound(s) you want to create and what you really want to sound like?
Last Edited by on Mar 10, 2012 1:02 PM
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little onion
14 posts
Mar 11, 2012
2:48 PM
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hey folks- i practiced today with the HG2 paired though a passive signal splitte with my zoo2... with my bullet and just the LW delay... and was pleased with what seemed like a bigger sound and that i did not have to crank one amp to be heard. (maybe that will help with feedback?) it seems to be at least a temporary solution for this gig we have at the blue note next weekend. i don't think i will be able to get any other pedals before then... and i wouldn't try to play with them for the first time out a gig.like that and have problems with new gear.
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hvyj
2253 posts
Mar 11, 2012
5:38 PM
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@littleonion: The compressor and sonic stomp are PROCESSORS rather than effects and are going to work as well as they work with ANY amp and mic.
If i were you, before i spent $ on effects, I'd save up for a larger amp. Effects that work well with one amp don't always sound good with another amp (EXAMPLE: see my Super Reverb story above). The amps you are using are very small and a bigger amp will be an entirely different animal that will in all likelihood interact with effects pedals differently. FWIW.
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little onion
16 posts
Mar 14, 2012
4:53 AM
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hey willspeer and hvyi- thanks for your continued guidance,
on the opto stomp compressor and sonic stomp maximizer what settings are your working with? or would you work with as a starting point,
jeez it is like summer here in nyc. in the 70's today. was barely below freezing all winter.
thanks
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HarpNinja
2264 posts
Mar 14, 2012
6:56 AM
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With your smaller amps, you may be underwhelmed with the BBE pedals. For one, the Opto Stomp is going to cut your output from the amp. You'll have to have the volume knob cranked. I am also not certain the perceived benefits of the Sonic Stomp will be so noticeable with low wattage single speaker amps.
I think you need a larger amp. If you found a HG35 for $1,000, that's fine, but used HG50's go for $1,000 or less.
Honestly, I think $1,000 is too much for the HG35. Compared to what you have now, a reissue Bassman would work great and cost $600-700 if you shop around.
I am sure even a Princeton Reverb RI would meet most your needs and be a good medium sized amp.
FWIW, I think for most players in disciplined bands, a 4x10 50w amp is going to be more than you really need. Even the guys who use them as gigging no-pros end up tubing them down so the output is much less than stock.
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Mike
VHT Special 6 Mods
Quicksilver Custom Harmonicas - When it needs to come from the soul...
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little onion
29 posts
May 15, 2012
10:42 PM
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hey y'all- i thought i would share that my new "used" super sonny amp arrived today ushering a new era of harp playing. i have not put the tubes in yet, but i will get to that tomorrow and bring a few harps, a cable, and a mic to work so that i can see what she sounds like. in the end, there was jason ricci's HG50, a meteor, and 2 sonny jr's on ebay all at once and i relied upon greg's advice and made an offer that was accepted on the super sonny!!! this should make all the difference in the world in terms of pedals, once i get a chance to sit with her for quite a while before i do anything else. i am quite a bit poorer and very psyched.
thanks so much for all of your advice!! maybe i will see you at HCH.
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