Do You Hear a Difference

Do You Hear a Difference

  • Total voters
    296
  • Poll closed .
that's because 99% of the folk in here firmly reside somewhere within the autistic spectrum

EDIT: the remaining 1% don't login.. they just leave the nutters in the asylum to get on with it..
 
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yek said:
Anyone who's not a guitar player must think we are all idiots, focussing on whether there's a minor audible difference between those clips, preferring one to the other etc.

Nobody in the audience will the difference.
While most of the audience will hear it when the player hits just one wrong note.
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LOL man that is funny stuff right there Yek, true and funny:)

Do you hear what I hear?
Ringing through the sky, shepherd boy,
Do you hear what I hear?
A song, a song high above the trees
With a voice as big as the the sea,
 
yek said:
Nobody in the audience will the difference.
While most of the audience will hear it when the player hits just one wrong note.
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I guess that's not really the point here. If we just go by audience, a zoom would be sufficient. ;)
 
yek said:
Anyone who's not a guitar player must think we are all idiots, focussing on whether there's a minor audible difference between those clips, preferring one to the other etc.

Nobody in the audience will the difference.
While most of the audience will hear it when the player hits just one wrong note.
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Very well spoken!!
 
MikeyB59 said:
The dyad in the first clip (of first pairing) sounds a little juicier and more dimensional than in the 2nd clip to me. It's not a night and day thing, but one of the characteristics I love about good tube amps is how they deal with the crunchier thing that happens when you play double stops rather than single notes when hitting a somewhat driven amp.

PS. I posted this without having read through the thread. Now that I see 1st is amp, it makes sense. Not a huge difference. I'm really glad Cliff and others worry about all the details because I like playing more than tweaking and obsessing. It's quite clear the Axe becomes better because people do sweat the tiniest details.
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"It's quite clear the Axe becomes better because people do sweat the tiniest details."
 
The op asked if we can hear the difference, and yes I heard a difference.
Does it matter to me? nope!
I don't try to emulate a specific amp or sound. I tweak a tone until it works for me and go with it. I feel the amps that are in the box are a starting point not an end point.
It's almost impossible to find 2 amps of the same make & model that sound identical & we need to keep that in mind when we choose to critique.
 
Even though I like the idea of having the "perfect" tone I stopped caring. I've been focusing more on my technique and being able to learn more about music. Fortunately, my axe fx has made this long journey so much easier.

I respect everybody and their opinion but got "ME", I'm only a closet music warrior. This amazing piece of gear has been able to do things that otherwise could never be able to afford.
 
I hear a difference that only shows if you do that kind of blind tests, so for me is negligible... For me is like comparing two Triaxis. Two "real" Triaxis in the same room with the same PA and plugged in the same cab doesn't sound "exactly" the same and you will like more one or another, but definitely both are Triaxis.
For that reason I voted NO.
 
Well, by loud as hell I mean stage volume to compete onstage with a rock drummer hitting hard in a 300+person venue with full house PA, wedges etc. Floor shaking, pant vibrating loud.
I'm incredibly skeptical of it being a phase issue with any pickups or guitars. All these guitars 'feedbacked' just fine with the Triaxis and with the AXE on the same rig with a tube power amp. (Various Tom Andersons, Trussarts etc)

It's not to say it _doesn't_ feedback, it's just nowhere as immediate and on demand and simple and organic as it was with my Triaxis/tube power amp. In a typical live setting most of the time I could just literally hold a single note on the A string and by muting the other strings in a few seconds it would just bloom. It takes more volume to get close to the same result, and usually requires me to dip toward the speaker. It is what it is. But I'm going to try flipping the phase in the Axe tonight as a test.

Zelja said:
Strange. I can get feedback quite easily with my CLRs & that's not playing too loud & also being off-axis from the wedges. Maybe we have really different ideas of what "loud as hell" means?

Could be a phase thing as someone mentioned - I have a guitar which allows me to flip the phase on the bridge pickup & it does sound a tad different & feeds back differently (low feedback on one setting, higher feedback on the other).,This may also be a function of where I'm standing with respect to the speaker, not sure. I believe some Matchless amps had a switch to change the phase of the speakers. Not sure if that was designed with this sort of thing in mind or just to allow two amps to be in phase, when using dual amps.
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I can definitely hear a difference between the two. To my ears, in the first audio clip the 1st riff sounds best. The second riff sounds VERY close to the first one though. the 1st sounds more crispy, more dynamic, less forgiving to the player.

Which amp was which? was the Axe first or 2nd?

I'd love for the Axe to be the 1st riff on the first recording, but does it matter? Meh not really. You will never hear this difference in the mix of things. Nit-picking stuff like this has more to do with sitting in-room with an amp on it's own ( all by yourself :p ). I can dial in a SICK metal tone on my tube 5150ii - tons of balls, searing highs - but when my bass player and rhythm guitarist (who plays an Ampeg VH140C!) start playing much of the tone that was dialled in is washed out. Same with a lot of the big low end amp models on the Axe. I dial in something that sounds sick - but as soon as that Ampeg winds up all that low end I dialled in is destroyed! So it all depends on application.

Cliff, you HAVE to put an Ampeg VH140C guitar amp on the Axe in one of the updates. They're F'n SICK! :)
 
digitalwaveform said:
Well, by loud as hell I mean stage volume to compete onstage with a rock drummer hitting hard in a 300+person venue with full house PA, wedges etc. Floor shaking, pant vibrating loud.
I'm incredibly skeptical of it being a phase issue with any pickups or guitars. All these guitars 'feedbacked' just fine with the Triaxis and with the AXE on the same rig with a tube power amp. (Various Tom Andersons, Trussarts etc)

It's not to say it _doesn't_ feedback, it's just nowhere as immediate and on demand and simple and organic as it was with my Triaxis/tube power amp. In a typical live setting most of the time I could just literally hold a single note on the A string and by muting the other strings in a few seconds it would just bloom. It takes more volume to get close to the same result, and usually requires me to dip toward the speaker. It is what it is. But I'm going to try flipping the phase in the Axe tonight as a test.
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With a conventional amp rig and guitar cabs mic'ed offstage or in iso and using only stage wedges, it's similar to me. You can get feedback, but it is different than using backline cabs.

To me it feels like the directional nature of guitar cabs provide a more natural or intuitive feel vs. wedges. But its probably due to familiarity with them that makes them seem more "friendly" than wedges.
 
Last comment about the OP. I think a lot of times guitar players think too much like guitar players when evaluating something and put it thru their own fliter and say, 'I'd be happy with that tone, or what does it matter?" The OP asked if you could hear a difference. Not if you liked it. If you think a bit like a mix engineer you'll notice the difference in the first listening pass. It does matter when you are mixing. Every build up of frequencies causes mixing decisions down the road. Especially since today's vocal production is much more mid focused. If you're mixing those frequencies in those clips they will build up in different ways. If you were layering multiple tracks, having a more low mid might be what you want solo'd but the thinner track might allow you to have more space for more tracks. it's not about which one is better - that's a discussion that could go on for years, especially what it feels like to play thru those tones. but there IS a difference. IMHO.
 
Yea, it's a head scratcher as I've always angled my backline (ie Bogner 1x12's) up at me as i'm 6'2 and otherwise they just melt the first 5 rows faces and my feet but I can't hear anything. So I always angled them up forever. And the wedge is basically the exact same angle, so it's puzzling the result is so different.

barhrecords said:
With a conventional amp rig and guitar cabs mic'ed offstage or in iso and using only stage wedges, it's similar to me. You can get feedback, but it is different than using backline cabs.

To me it feels like the directional nature of guitar cabs provide a more natural or intuitive feel vs. wedges. But its probably due to familiarity with them that makes them seem more "friendly" than wedges.
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digitalwaveform said:
Yea, it's a head scratcher as I've always angled my backline (ie Bogner 1x12's) up at me as i'm 6'2 and otherwise they just melt the first 5 rows faces and my feet but I can't hear anything. So I always angled them up forever. And the wedge is basically the exact same angle, so it's puzzling the result is so different.
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Most wedges are designed to have a much wider horizontal and vertical dispersion than a guitar cab. Also, 2-way non-concentric wedge designs, with a horn + lf driver + crossover, are very different than 12" guitar speaker based stuff.
 
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