Proves the old adage that 'something is worth what someone is willing to pay'Someone paid $120K for a banana duct-taped to a wall as "art".
Proves the old adage that 'something is worth what someone is willing to pay'Someone paid $120K for a banana duct-taped to a wall as "art".
Or "beauty is in the eye of the beholder."Proves the old adage that 'something is worth what someone is willing to pay'
Someone paid $120K for a banana duct-taped to a wall as "art".
Anyone who sees 'beauty' in a banana, has only one purpose for it IMHO......and it is devious.Or "beauty is in the eye of the beholder."
Probably the same problem as with a lot of other people - he accidentally discovered the settings he happens to like in his analog gear many years ago and he doesn’t have the time or patience to replicate them with something as flexible as AxeFX with its multitude of knobs and settings.also famous for saying it doesn't have the "wapoosh".
Imagine if there was only ever one Axe-Fx III made, now that would be going for at least a six figure sum. Just something to think aboutThere's a Dumble on Reverb right now for $185K. We paid $50K for ours w/ a 4x12.
There is a cab pack called "V2-Rocky", which is a decent G12-65, in a Divided by 13 "Box of Rock" which is an over-sized 1x12 cab build collaboration between producer Bob Rock and Div/13.I've played one well-known ODS a few years ago, and I have two clones...one of which I built myself, so that's not a good data point. The other is by Glaswerks.
Keeping in mind that the "Dumble sound" varies a bit, since he made each one for the buyer, I think much of the difference in my experience currently is the same as the difference people talk about in terms of the "amp in the room" feel. Real volume helps get the sustain/feel. The modeling itself seems very good, and much more versatile/modifiable than a real amp.
From what I remember of the real thing, I can get close enough using the AxeFXIII. The only thing that I remember from the real ODS that I have a hard time getting with the AxeFX is a certain pick attack "ping" in PAB mode, even when the gain was pretty high.
One thing I'm lacking is a great G12-65 Reissue capture that nails that particular tone. Begging @York Audio to have a crack at a 2x12 with those in it! But there are some pretty good ones among the stock cabs, and the new @Valhallir Red Special EVM-12L capture actually sounds really good where I'd normally be looking for a G12-65, so...
Can you give an ETA, when the separate cab pack will be available as January is coming to an end I would be highly interested in it. Thanks!There is a cab pack called "V2-Rocky", which is a decent G12-65, in a Divided by 13 "Box of Rock" which is an over-sized 1x12 cab build collaboration between producer Bob Rock and Div/13.
Until now it was only available in our Marco Fanton Selection cab pack, but we will release it as seperate cab pack in January. You gonna love it.
Should happen within the next 2 weeks. Some new stuff is about to be released before it.Can you give an ETA, when the separate cab pack will be available as January is coming to an end I would be highly interested in it. Thanks!
Here you are: ;-)Can you give an ETA, when the separate cab pack will be available as January is coming to an end I would be highly interested in it. Thanks!
Evidently, he found the wapoosh . . .Please talk to him again.
... and boughtHere you are: ;-)
https://valhallir.at/shop/v2-rocky/
I have Burgs' Dumbles preset, and I love it. As someone pointed out above, there is no one "Dumble sound". Brett's Scenes include a couple of Robben Ford-sounding versions, and there is a clean scene (great for playing jazz) while my favourite, go-to scene is Scene 3. I've never played a real Dumble, but I have "that sound" somewhere in my head from ones I've heard, and Burgs' version is as close as it gets. But then your ears, and your internal "brain hearing" may be different from mine. And let's face it - if playing in public, no audience is going to notice, or care, or even be able to hear minute differences in tone anyway, so it's all about whether you enjoy playing a sound - and Brett Kingman's does it for me.
....
It reminds me of the vinyl v digital debate.
I prefer CD's purely for the convenience and on a $30,000 Hi Fi system they sound so good that I bet 99% of people wouldn't care what format the sound derived from, and on a cheaper system they couldn't tell the difference even if they wanted to.
I do understand though, and respect, that some choose to split hairs either as a pastime or have got skin in the game.
It depends on which type of Dumble you're searching for. As other people already said, every single D is different from another.
Said this we can also add that, at least, we could divide the "D" sound in two big circuits: Overdrive Special (ODS, two channel, Robben Ford has two of this type) and Steel String Singer (SSS, one super pristine-infinite-sustain channel, 150w, used for example by SRV).
I don't like so much Bruno Super 50/100, but I never played one of them, just listened on YT. I got various clone or amps inspired by "D" such as Fuchs Ods, Skrydstrup Od50 and a couple of Italian Graaled head, made by Tony Dangelo.
If today I have to choose to take with me a single "D" amp on a desert island, I will take as ODS type a Quinn TKT183 for sure and as SSS type one between these:
-Bludotone Hi Plain Drifter
-Welagen SSS
-Two Rock Silver Sterling Signature
It would be amazing if Cliff could add a SSS type to the long list of Fractal Amps.
Please Cliff!
That's not a limitation of the CD format or 16 bit audio in general. That's just an overly loud mix coupled with bad mastering. The un-dithered dynamic range of 16 bit audio is 96 dB. Modern mixes often utilize only a fraction of that. CD's are absolutely NOT the limiting factor there.