No idea on the 112 but I reallllly disliked the 108 I tried. I'm coming from always playing through a real cab though. It was just not even close. The EVs, at least initially, I've felt at least can get in the ballpark. Honestly I'm still wondering if I'll prefer them overall to my real cabs. Okay, maybe that's a bit ambitious but initial impressions are quite promising.
Two different things entirely! I found that I started using FR a lot more than a guitar cab to the point where my guitar cabs turned into big chunky flat surfaces that were taking up too much room and collected clutter and dust. I will admit I do miss a good guitar cab sound from time to time!
The difficulty for me is that I had a few custom oversized 2x12s built a long time ago and I have a bit of a sentimental attachment to them. Moreover I recently found not just one of my holy grail 4x12s (early 2000's Mesa straight/slant), but two of them! And I found them locally for pretty good deals. I'm loath to get rid of those too. Luckily I do have space in the house for them all so I don't need to sell them but I'm starting to think about it.Two different things entirely! I found that I started using FR a lot more than a guitar cab to the point where my guitar cabs turned into big chunky flat surfaces that were taking up too much room and collected clutter and dust. I will admit I do miss a good guitar cab sound from time to time!
A pair of PMX's on short stands kill! and will stand up against any 412 and will have no comb filtering, beming and have better coverage to boot! In my book and for what I'm doing it's a good trade off from hearing a raw cab sound.
Ha, I'm not the greatest typist I also grew up dyslexic and still deal with the leftovers.The difficulty for me is that I had a few custom oversized 2x12s built a long time ago and I have a bit of a sentimental attachment to them. Moreover I recently found not just one of my holy grail 4x12s (early 2000's Mesa straight/slant), but two of them! And I found them locally for pretty good deals. I'm loath to get rid of those too. Luckily I do have space in the house for them all so I don't need to sell them but I'm starting to think about it.
I also sent the short stands I had back to Amazon. I didn't even try them lol. I realized that in my space, I really like the low profile of them on the ground. It's just way better from an aesthetics standpoint, so I didn't even bother. I'll post a pic of the space later.
P.S. It's PXM, not PMX!
Having the cabs as a reference makes it a lot easier to dial in your sounds to get close to a cab sound ! At least that's what I found works the best. The little 112 Recto cabs are pretty cool too for the smaller gig! I built a pair of them once. loaded then with V30's and powered them with a a Peavey Classic 50/50 tube power amp! They worked really well but obviously sounded small when compared to the 412's.
Yeah I had one of those Recto 1x12s a long time ago when I had a Mark 5:25. Nice little setup for sure. I also had a pair of the Mesa horizontal 2x12s when I was using the AxeFX II and a Matrix power amp. Then I had a Mesa vertical 2x12 when I was using a TC-50. I love Mesa cabs!
I like the vertical cabs the most! You get better horizontal dispersion from the design! If I were to ever get another guitar cab it would be a Greenback / V30 loaded vertical 212! Though I think it would be made with Poplar! I like the added warmth and resonance of Poplar over the stiff hard knock of the Baltic birch.
I got a TXF122M-AN. It's nice. Not accurate like my CLR's but with the built-in DSP you can get a good tone from it. For the price, you can't go wrong. Certainly better than Headrush.
Yeah I really like mine. I just set the position to 'floor' in the settings and it sounds great. And it being coax I can move around and it still sounds good.
You also don’t want to push them hard. They don’t have much reserve power and can sound really nasty when they are pushed into distortion trying to keep up with a loud band.
I think you’re right about how vocals cut through being the determining factor. And treating the modelers output as if it’s a vocalist and EQing that way results in a horrible-sounding guitar tone.
Wow!
Ha! was it hot?
I saw it on CL and emailed him quickly. Super nice guy who was selling it. He said he was surprised at how many emails he got after mine lol. When i got home with it he had emailed me to say if i ever wanted to sell it bacl to him let him know.
Well you got a really good deal on that box!
yep, this is my number one issue with playing festival stages - the monitor engineers all have a really bright EQ on the monitors, because the priority is vocals. So they typically boost somewhere in the 1.5-2kHz range, which is where the harshness lives for guitar - and they also tend to cut the bass / high-pass pretty significantly. Even when you ask them if your guitar is flat EQ'd, they say yes, because the channel it's plugged into is flat, but once it goes through the monitor bus EQ, it's ice-pick city. If I can, I bring my own monitor to have on stage behind me and avoid having guitar through the monitors.I think you’re right about how vocals cut through being the determining factor. And treating the modelers output as if it’s a vocalist and EQing that way results in a horrible-sounding guitar tone.
A FOH engineer thought he was helping me one evening by, unknown-to-me, routing my FOH feed to some side fill monitors and re-EQing it. It was bright and piercing without any lows, and I thought my rig had fried something and tried adjusting the feed to my EV with no improvement. Finally I gave up trying and limped through the night. At tear down he asked how I liked having my feed through the side fills… um… “side fills? Huh?” and he told me what he’d done. I nicely told him to never, ever, do that again, that my EV is plenty loud for me, and the next morning set my rig up in the garage and turned it up to confirm that it was all working correctly. My girlfriend told me later, after tearing it down and putting it all away and returning to the house, that it sounded really good out there. Heh. 50 feet away through multiple adobe walls in a separate building she could still hear it.
