NL12 Neolight ( 17lb ) are in stock ready for shipping

Hugomack said:
Ah - Wet Dry.....!

Are you going to make the Wet stereo - as in WDW?
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No just Wet/Dry.

Who the hell is going to hear stereo separation coming from the guy playing guitar standing in the corner of a small pub/club?

Stereo is way over rated :lol
 
you will hear the stereo cos you're the guy stood in front of it...

your sound on stage is the sound that really counts
it's the sound that inspires and enthuses you to play like you're in love with playing

90% of the crowd couldn't tell [or maybe even care] if your tone was the best known to man...
but they can tell when you're having a great day in the office and playing out of your skin..
and that is what will be their lasting memory of your performance..
 
LVC said:
No just Wet/Dry.

Who the hell is going to hear stereo separation coming from the guy playing guitar standing in the corner of a small pub/club?

Stereo is way over rated :lol
Click to expand...

WDW the way I've done it isn't stereo and works very well as an effect - especially as it happens in pubs!

I a/b'd an Eventide Timefactor on 100% wet into the pa (in pub gigs). It makes chorus's huge, apart from doing interesting things with delays.

There's no "stereo picture" or anything silly like that - which probably only works well if you're doing that for yourself on stage.

My thing gives width to a three-piece guitar band, and probably isn't worth doing if there's any other mid-freq players. (I haven't tried so I might be wrong.) BY keeping the levels of Dry up and coming from the guitar cab, you retain all the power, which can be a problem when just using two speakers in a trad stereo rig - as the middle position is virtual. In my set-up it's actually there, pumping out the Dry.... Try it?
 
PS: I tried it using a big FOH at a festival. The sound guy was a bit hesitant. but with both Wet channels panned hard left and right, and the Dry in the middle maintaining its volume levels - the usual source of dissatisfaction in WDW systems, he got it. It sounds best when you bring it in for solos / Intros, then take it out for normal playing.
 
clarky said:
you will hear the stereo cos you're the guy stood in front of it...

your sound on stage is the sound that really counts
it's the sound that inspires and enthuses you to play like you're in love with playing

90% of the crowd couldn't tell [or maybe even care] if your tone was the best known to man...
but they can tell when you're having a great day in the office and playing out of your skin..
and that is what will be their lasting memory of your performance..
Click to expand...

I don't agree with that.. I've walked out of enough pub gigs because the sound was terrible.
 
Hugomack said:
WDW the way I've done it isn't stereo and works very well as an effect - especially as it happens in pubs!

I a/b'd an Eventide Timefactor on 100% wet into the pa (in pub gigs). It makes chorus's huge, apart from doing interesting things with delays.

There's no "stereo picture" or anything silly like that - which probably only works well if you're doing that for yourself on stage.

My thing gives width to a three-piece guitar band, and probably isn't worth doing if there's any other mid-freq players. (I haven't tried so I might be wrong.) BY keeping the levels of Dry up and coming from the guitar cab, you retain all the power, which can be a problem when just using two speakers in a trad stereo rig - as the middle position is virtual. In my set-up it's actually there, pumping out the Dry.... Try it?
Click to expand...

OK then I misunderstood.

to me Wet/Dry is like the set up Larry Carlton uses.

amp Dry
Effects through JBL Eon monitor

Easy enough to replicate on the Axe.

I am not into elaborate setups.
 
Si. said:
I don't agree with that.. I've walked out of enough pub gigs because the sound was terrible.
Click to expand...

the real question is: did everyone else walk out too???
the difference here is that you're a guitar player and you are one of the very few that can tell the difference..

stereo or mono.. bad tone is exactly that... bad tone...
I'm obviously not talking about train-wreck sort of bad tone that no one notices [cos obviously there are limits]..
that said.. I still think it's most important for your tone to be blowing you away first and foremost..
because it has a direct impact on your performance
 
I lent out my 66 Bandmaster to a friend. I think it is time he returned it. Want to try it with the NL12s.

But.... we are talking 4 ohm amp and two 8 ohm speaker cabs.

so how can I connect in parallel?

I found this handy dandy box

box.jpg



Series & Parallel Speaker Adapter Boxes


These boxes are made with Switchcraft jacks and 14 gauge copper wire.


With the series box you can series two speaker cabinets into one amp.
Example: 2 - 4 ohm cabinets would yield 8 ohms at the amp.


With the parallel box a single output jack on the amp can feed two speaker cabinets.
Example: 2 - 8 ohm cabinets would yield 4 ohms at the amp.


Series & Parallel Speaker Adapter Boxes, Bayou Audio Cables

I can also use this to run both cabs from one channel of the GT1000Fx and use the second channel for the Q12

I should be able to run all three cabs from the 2 channel GT1000FX

the two NL12s will run in parallel (@4 ohm load) into one channel and the Q12 into the other channel of the GT1000FX.

We might have the potential for a massive Wet/Dry rig here!!!!
 
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LVC said:
OK then I misunderstood.

to me Wet/Dry is like the set up Larry Carlton uses.

amp Dry
Effects through JBL Eon monitor

Easy enough to replicate on the Axe.

I am not into elaborate setups.
Click to expand...

His rig interested me. I tried Eons and they weren't anything like good enough as standalone backline FRFR monitors. But he's using them for the Wets (I imagine) which actually can sound better if they're different to the main Dry. (Or at lesat it doesn't seem to matter.)

Having the Dry really working well is the key - hence my buying an NL12. My current EVMs will handle two Wets perfectly well.
 
clarky said:
the real question is: did everyone else walk out too???
the difference here is that you're a guitar player and you are one of the very few that can tell the difference..

stereo or mono.. bad tone is exactly that... bad tone...
I'm obviously not talking about train-wreck sort of bad tone that no one notices [cos obviously there are limits]..
that said.. I still think it's most important for your tone to be blowing you away first and foremost..
because it has a direct impact on your performance
Click to expand...

I agree. IMHO you can`t make a really shitty sound with the Axe, unless you or the soundguy are clueless. So FOH will sound good.
Maybe not always as intended by yourself, but that`s just for you to tell, and you`re not in front of the PA.

A great player on a bad sound is much better than a shitty player on a great sound IMO. Because 99% will think that the great player sounds good and the bad player.... well.. you get the point.
 
Kriig said:
I agree. IMHO you can`t make a really shitty sound with the Axe, unless you or the soundguy are clueless. So FOH will sound good.
Maybe not always as intended by yourself, but that`s just for you to tell, and you`re not in front of the PA.

A great player on a bad sound is much better than a shitty player on a great sound IMO. Because 99% will think that the great player sounds good and the bad player.... well.. you get the point.
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This is fundamental to all self expression and art... Asking poets what they meant shouldn't be allowed. How people hear what you play is up to them.

It's good to be very particular about ensuring they get to hear the closest to what you intended, but even if it's totally exact, which it isn't going to be even with fantastic FRFR monitors, great sound guy etc, each person's hearing and brain is different, so they're going to change it inside their heads - even if the sound guy didn't:).

My day job encompasses researching how people's brains respond to music (neuroimaging and other esoteric stuff). The generalities we all share are surprisingly basic - rhythm being the most important factor. A much better electric guitar player than me, who gets incredible sounds from minimal fx gear, always insists that at live gigs, people can only really distinguish between a few basic guitar sounds.

However, it may be that how you feel and look when playing does affect your audience (I'm sure this is correct, but science lags behind intuition, as we haven't yet got the data to prove it).

But definitely, how it sounds is vital to how you play - in a feedback loop fashion. Singers cannot sing in tune unless they can hear themselves, and if what they hear sounds unfamiliar or isn't correctly reproducing what they're doing, they will compensate by doing the wrong things and making it worse. I'm sure guitarists do the same.

The show must go on, but if it doesn't sound right, it's hard to do it well no matter how professional you are.

The Axe gives the best chance of it sounding familiar and good, that I've come across so far. Old valve amps are truly great, but can be hard to get sounding the way you want, plus are HEAVY - my other big 'LIKE" of the Axe.
 
Hugomack said:
His rig interested me. I tried Eons and they weren't anything like good enough as standalone backline FRFR monitors. But he's using them for the Wets (I imagine) which actually can sound better if they're different to the main Dry. (Or at lesat it doesn't seem to matter.)

Having the Dry really working well is the key - hence my buying an NL12. My current EVMs will handle two Wets perfectly well.
Click to expand...

His dry signal is a Dumble ODS.

One of the JBLs is for the wet signal, the other is for his acoustic guitar.
 
LVC said:
His dry signal is a Dumble ODS.

One of the JBLs is for the wet signal, the other is for his acoustic guitar.
Click to expand...

I think is often overlooked in his rig rundown. The EON's are for efx and ac guitar. And yeah, a Dumble for your main tone doesn't suck! :)
 
Matt works for Matrix yes, though he doesnt design or own the company.

Hes been on this forum a while, mainly to help those who have issues with Matrix products but also to keep us in the loop with new releases. He's always fair - never pushes the products, and is usually the first to say try everything and get what suits you best.
 
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