ADA Depot - A Forum To Support Users of ADA Amplification Gear
Miscellaneous => Rants & Raves => Topic started by: rnolan on June 04, 2014, 07:50:40 AM
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Rant (coz we can here...)
Last night I got to directly compare a line 6 combo thingy with my studio MP2 setup (Anderson/ultrasonic PUs > MP2 > desk (TC M One XL on effects sends 1/2 and return into 2 desk inputs) behringer Truths with Truth Sub). Talk about chalk and cheese, the only sounds in the line 6 (and I fiddled with it quite a lot to try to get it to sound good...) that were almost~usable were the metal settings and every time I squealed a harmonic it compressed (suppressed) it (with a notable poppy sound).
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I've done direct recordings using Line 6 and Digitech modelers as well as the MP-2 and I totally agree. The MP-2 panned hard left (midrangey tone) and hard right (scooped tone) both with Fat hi gain sound really mean on a recording I'm finishing up. The tone I'm getting by doing this is like a cross between Obituary and Slipknot. That MP-2 has a cruel bottom end that I love. Before hearing an MP-2 I figured rack gear was NASA equipment for Steve Urkel but after my first-generation thrash metal friend let me play his I knew I had to get it. MP-2's are very underrated.
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+1 :thumb-up: love mine... haven't heard anything come near it.
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Line 6 combos (IMHO) great practice tools when on a budget, in an apartment, or in high school (parents & budget)...Or just ignorant of the existence of an MP-2 (my generation missed out on racks...go figure :-X). The Spider combos do have a good just-short-of-extreme distortion but which doesn't punch enough live. I do have to admit, I am curious to see how Yamaha's acquisition of Line6 plays out. The THR10 sounds better than Line 6's current models in my opinion and Yamaha has traditionally high sound performance standards at any price point. Line 6 could really benefit.
But I will leave those musings to others...I shall have my MP-2 and forget about all the jack of all trade equipment that I have tried over the years.
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A salient point kawai2g4b, they do serve a purpose at a price point but a Rockman XL100 sounded better (I've still got one).... Interesting Yamaha have got involved, I agree, traditionally they have high standards even in their lower price rang, certainly can't be bad.
But as you say, we have MP2s mmmm
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Through my own experiences over the years, I've found that Line 6's distortion models simply don't cut through the mix in a band situation. Just a big fizzy mess with lots of digital artifacts.
I completely agree with the above opinions regarding the MP-2. A seriously underrated preamp......
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In many ways it's a bit unfair to compare Line6 with MP1/2, but they did start putting them (line6) in guitar cabs with a power amp... Lets see/hear where Yamaha takes it..
On the other hand, I'm happy with my ADA "tube" preamp, real thing don't have to pretend.. and they are designed for live stage use... :thumb-up:
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Well, I think that depends on just what Line 6 gear is being used. They have a pretty wide line, and some is very good, and some is quite crappy.
Most of the Line 6 stuff people end up seeing and hearing is the budget end, and well, those are quite poor (Even the 'Bogner Designed' end of the Spider line).
They also have some very outstanding pieces of gear (Notable pieces I have used are the Flextone II head and cab, and DT series amps, as well as the Pod XT and HD series). I have to admit though, even with their higher end series, I do not care for their combos, but then again, I do not care for the combo (open back) sound myself.
Do not get me wrong, I *love* the ADA tone, but are you comparing apples to apples, or an apple to some piece of fruit flavored cardboard?
I have had and used both (ADA and Line 6) in moderately large venues (Well, actually, large a few times in the 50k people+ range) and they both hold out well.
But, to compare an ADA rig (Even priced nowdays, used, is *lot* more expensive than most Line 6 combos - their budget lines) is rather unfair. Even Marshall and Fender make some really crappy amps in that range.
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I agree with you on the variances between Line 6 products. Advancements in PA systems and a good sound man really have made a home for products like the HD500, etc.
I get the apples to oranges comparison. Counting the power amp with the ADA preamps, there will be a price differential. And that is not including outboard reverb, delay, cab etc. Line 6 products and the like give you a TON of flexibility at that price point. But when professionally recording, the difference couldn't be more clear. And I would always throw out the change for something that will serve me well in both recording and when performing. It just so happens that ADA preamps do that for me.
Got to mention one more thing as well. Line 6 was among the first to attempt to perfect digital modeling technology. When you are the first, you end up making the mistakes or breakthroughs that it takes to become better and better as time goes on, and other savvy designers learn from and proliferate that knowledge. Without that pioneering development from them and others, you have no AxeFX, you have no Kemper. What you do have is a 20 year catalog with its share of misses for people to jump all over while ignoring their breakthroughs and hits. That trap catches lots of people, many of whom own Suhrs. :-X O:-)