Reactive loads, IR

Just bought a RL/IR from the Verb….
Anxious to see how I like it.

I think, and hope The IR’s on board will make the difference, as compared to the RL with no IRs…. With the RL (no IR’s) I was trying to run everything through WOS…nice for a recorded studio tone. Really nice actually (to my ears, with my amp, nicer than the KPA was in a similar setup). But I found it to be a bit cumbersome. Especially in a play back through monitors or whatever. I’m hopeful this will streamline tha signal chain quite a bit.

Thanks for all the insight! You guys are tops.
 
Devin said:
WOS really does kind of have too many options for it's own good. I like it but man I really dislike it's GUI
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I don't like their GUI either.
Really dig Neural's:

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Kapo_Polenton said:
Torpedo anything -good
Suhr reactive load- better
Fryette power station load box - the best

IR s there are so many .. ownhammer is a good start
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I compared the Suhr rlir to the fryette ps2, in both cases I was using a Soldano hr25 and ran the line outs to a hafler ta1600 SS power amp. The Suhr was more articulate, clear. The Fryette by comparison was darker and had more low end thump. I really think it depends on the amp and what the player is going for as to what is best. If metal is the goal for example, I would pick the fryette, for rock the Suhr.
 
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TheGreatGreen said:
Reactive Load boxes and IR’s are basically the newest and most exciting tech to come out of the guitar industry since modeling. “Yesterday’s news” is the last thing I’d call it.

And the best examples of Reactive Load tech so far only emulate the impedance curve of a single, specific 8-ohm Marshall 4x12 with Greenbacks. And IR tech is advancing all the time. Fractal just announced new “FullRes” IR tech literally yesterday, which is an IR format that supports super long IRs that capture the room reverb of whatever room the cab IR is shot in. Basically it’s “room mic” IRs. There is sooo much farther this tech could go. And funny enough quite a few non-forum-going guitar players don’t even know about it yet.




This is very much not my experience. I don’t have a Kemper so I can’t speak to that but the Axe-Fx III is so close now it’s kind of unreal. Do the Axe’s amp models sound exactly like my specific tube amps? No. But do they sound *as good as* my specific tube amps? Personally I think they do, yeah.

Also there’s nothing in the industry that even comes close to the Axe-Fx’s effects capabilities. Even if you don’t use the modeling, it would be worth it for the effects alone.

The worst critique I can give about the Axe-Fx is that I think it’s really unsuited for live environments or sessions where you have to tweak sounds fast. If you have a laptop running the editor software and a mouse, it’s doable, and if you have plenty of time to dive into building sounds, it’s basically unparalleled. But if you’re playing out somewhere and you need more mids or less gain or something NOW, then yeah it’s going to be annoying.

But overall it certainly doesn’t suck. Not even close.
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Too much talking to justify. Just like the Axefx too much everything. My amp into the RLIR into the new Bose L1 pro is astoundingly good. Knobs at noon pick an IR and go.
 
blackba said:
I compared the Suhr rlir to the fryette ps2, in both cases I was using a Soldano hr25 and ran the line outs to a hafler ta1600 SS power amp. The Suhr was more articulate, clear. The Fryette by comparison was darker and had more low end thump. I really think it depends on the amp and what the player is going for as to what is best. If metal is the goal for example, I would pick the fryette, for rock the Suhr.
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the only reason i nudge the Fryette ahead of the Suhr is because if you don't want to do IR's, the old school reamping through the power amp so you can open your main amp up is going to be tops. Mainly because you will be using a real speaker. On loads though I think you are right, Suhr does it best.
 
Crash-VR said:
Too much talking to justify. Just like the Axefx too much everything. My amp into the RLIR into the new Bose L1 pro is astoundingly good. Knobs at noon pick an IR and go.
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"Me want sound good. Me no want learn how sound good. Just want sound good."

Cool bro, good luck with that. And you're gonna need it with that Bose L1 for anything besides light acoustic guitar too, lol.
 
I use the Captor X all the time. The only gig I have played this year without it was an outdoor show with the PA being used for vocals only. I won't play a normal show without it. Being able to send the sound guy an IR that represents how I want to sound consistently, and not having to worry about crappy bar mics has been a game changer. We also moved to an IEM rig this year, which has also been a huge help in eliminating issues with how we hear ourselves.
 
Absolutely still being used especially because of Covid 19 which saw guitar gear sales go up even though the industry slowed down production.

When you have a loadbox then you are sorted. You can have any amp you want, played dialed in how you want and have a ton of cabs and mic setups in the IR environment.

People who own digital modelers still get tube amps. Why? Because do you know what is better than having a modeling amp and a tube amp?

Playing both together!!!!!!!!!!!!!!
 
I use a Suhr RLIR with all of my big boy amps for recording; Herbert, Dual Dark, Armageddon. Thing slays, does exactly what I want it to.

Anyone running tube amps and recording at home owes it to themselves to check out this tech, it’s fuckin awesome.
 
tallcoolone said:
They are not plug and play, you need to learn how to use them. I got great tone out of the AXE when I had one.
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That's their biggest problem imo.
That, and if you ever think you might have to do some quick editing during a gig?
Better bring a laptop.
 
Donnie B. said:
That's their biggest problem imo.
That, and if you ever think you might have to do some quick editing during a gig?
Better bring a laptop.
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Very true. When I used it live it was just as you say—you hoped what you had dialed in worked for the room, otherwise I had to just lean on FOH. Never had/used a Kemper but the AXE takes a lot more work and preparation than a tube amp. When dialed in nicely it was a blast to use tho.
 
Donnie B. said:
Ahhhh, yes.
Those moments where you wished when you turned around you saw this. :LOL:

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Yup, back to using Marshalls now myself. The AXE is an incredible machine but more of a studio solution than a live one. For a weekend warrior anyway. Back on topic I’ve been enjoying the WAZA TAE with the Marshalls to incorporate MIDI and send IRs to FOH—I love the thing.
 
Very easy to adjust the Axe III live if you need to. Put those parameters that you need into the performance pages and easy peasy. No menu dances at all. There is also a global parametric you can adjust easily on the outputs if needed. On top of that you have some global performance items you can put into the pages for even more adjustment as needed. Things have changed a lot over the past couple of years.

Regardless, even the Captor X built into my Revv is super easy to adjust live. The amp connects via bluetooth so I can just make any small adjustments via my phone if I need to. What I tend to do is store 6 varying IRs for live FOH in the amp itself that can be used in different live situations. Not had an issue yet making it work or having to connect to it.
 
My biggest criticism of Fractal stuff has always been the on-the-fly tweakability also.

I will say that the new firmware that's currently in beta makes attempts to improve this though, as they added the function of double-pressing the front knobs now, which instantly recalls specific blocks. I think it works like this:

double click knob 1: amp block
double click knob 2: drive block
double click knob 3: cab block
double click knob 4: delay block
double click knob 5: reverb block

So that's definitely something that could help a lot with adjusting tones live.
 
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