Wanted to add to my previous post that we haven't yet tried the harp through the POD. Anyone have experience with POD settings and blues harp? One of the big problems has been convincing our harp player he doesn't need tubes to get tone. Feel free to check our website to get a better feel for the band and any other thoughts on set-up. www.mudforkblues.com
I've never heard a POD and a harp, but it seems to me that that would work well. The other option to consider is a Fender Pro Junior, or Blues Junior ... 15W all tube firecrackers.
The difference is the Blues Jr. has a master volume and reverb. I think the going rate is 299 and 399 respecively.
At 15W you can get great breakup at low volumes that keeps your stage volume at a nice level and the audience only hears the L1.
Thanks Steve for the thoughts. We're having practice this weekend and will give a try to micing a Fender Pro Junior which we have acces to. I'll let you know how it turns out.
Dr.Blues - You could also try running a light overdrive pedal through the fx loop of the harp mic's channel on the PAS.
Now that you (it looks like you're the guitarist) have switched to the PodXT, you probably have some old pedals kicking around. Running a light OD pedal, like a TubeScreamer or SparkleDrive through the effects loop of the harp mic channel might surprise you. If you have an actual tube driven stomp, all the better. You could also try some of the presets for a mic'd speaker cab, rather than an actual mic preset, to try and get that nice honky greasy tone.
If you do try it through the PodXT, try the generic "tube preamp" setting. It wasn't really made as a guitar model - it was made to warm up vocals, harps, etc in the studio - but it is one of my favorites on the Pod. It has a great in-your-face tube tone. I use it for all my Robben Ford style "Dumble" sounds.
Great thoughts on the harp options. We'll try some of them out this weekend. Especially the pedal idea though the effects loop. One less amp to carry around is always good.
Cliff-at-Bose, didn't that amazing harp player down in Philly that we worked with a few years ago use a POD into the system? I believe you set it up. Do you remember anything about the setup? It sounded amazing.
Wanted to post a quick update on our harp decision. After a couple of trys we decided to go with a Fender Blues Junior played into a SM-57 slightly off axis. Used the standard SM-57 preset. Our harp man has a classic Shure Green Bullet from the 1940's. Sound was perfect and it carried well. See the Mudfork Blues post under the "At the Gig and Rehersal" section for my full review of our Gig and our first trial out with the PAS. Remember..."Nothin' Heals like the Blues"
Doc: Althought I had not weighed in on this topic yet, what you described as your solution is pretty much what we have use in our Band configuration for the Harp for a while now with excellent results. We actually turn the miced amp backwards and get an excellent mix.
Posts: 66 | Location: Albion, Michigan, USA | Registered: Thu November 27 2003
Tony Sarno (Icehouse) uses a Fender Pro Junior to get his killer blues tone out of his tele. We aim it sideways and put a piece of foam in front of the speaker, sandwiching the SM57 between the foam and the Pro Junior speaker. Works fabulously and no one gets killed by the guitar speaker death beam.
Posts: 1105 | Location: Framingham, MA | Registered: Thu November 04 2004
quote:Originally posted by User Review: Tony Sarno (Icehouse) uses a Fender Pro Junior to get his killer blues tone out of his tele. We aim it sideways and put a piece of foam in front of the speaker, sandwiching the SM57 between the foam and the Pro Junior speaker. Works fabulously and no one gets killed by the guitar speaker death beam.
"...no one gets killed by the guitar speaker death beam"
LOL... 'spit coffee all over my keyboard reading that one! I know the situation all too well. I've been using jackets, packing blankets, foam, etc for years to make my non-master volume control amps work in lower volume situations.
The Pro/Blues Jr. = great little tube amps for the money. Crate also offered (still may?) a little 5W single ended EL84 that sounded pretty good but at a much lower volume than the A/B EL84 Fenders. Never cranked into one of these yet but I've been very, very curious for a couple years - Z-Vex
Posts: 402 | Location: 3rd rock from the sun | Registered: Tue January 04 2005
quote:Originally posted by Dr.Blues: I think you're right about turning it backwards. We'll probably do that next time.
Thanks for the input.
Doc.
Just be aware that the sound coming from the back of the amp is 180° out-of-phase with what's moving from the front of the amp. If the mic signal is in front of the speaker and NOT reversed electrically in the mic line, you may experience some phase cancellation as the acoustic sound from the back of the guitar cabinet meets the sound from the PA/PAS.
It's not a huge deal but I've had some weird stage sounds in the past that were improved by reversing the speaker phase on the guitar amp to better match the phase and positioning of the sourounding amplification of the mic signal.
I discovered this because late '93 Matchless amps converted the no-longer U.L approved ground lift switch into a speaker phase function. One of the handiest things I've ever had on a combo amp. Especially, because I sometimes turned the "killer death beam" upstage to help lower stage volume. Flip the speaker phase and everything sounded normal through monitors/PA. When out-of-phase things just didn't sound right in the system.
After that lesson, I made a box to reverse guitar amp speaker connections. Also great for running two amps side-by-side.
In fact, I advise experimenting with two amps and one guitar sometime. Start with 'em facing the same way then turn one around. Obviously, the effect on the sound will be more noticeable with open back cabs.
cu
Posts: 402 | Location: 3rd rock from the sun | Registered: Tue January 04 2005
quote:late '93 Matchless amps converted the no-longer U.L approved ground lift switch into a speaker phase function
ASAT - My DC-30 is a '91, and has the coveted phase switch on it. Of course in '91, Mark Sampson was probably still building them in his garage, and throwing anything he felt like into them. Regardless, it IS a very handy tool.
