rwinking

Last year I had a choice of a 50% off relic'd CC or an H-150 for the same price. I like both of them but chose the Relic'd CC. it's kind of cool to have a new guitar that I don't have to worry bout dinging up.

Your collection is a good start! Welcome!

I think he was using Heritage Custom Shop 225s......

That's pretty cool. Like you, I love tube amps. I still play through them for the most part. However, I have done a couple of gigs on my Quad Cortex run through a Line 6 Powercab +. I hate to admit it but it is pretty damn good. While playing through tubes mostly, I have a back up system that I carry. I picked up one of those Carvin 100W stereo pedal amps a few years back. It seems similar to yours except this one is nothing but a power amp so I also carry a POD Express, so if amything goes wrong I have a complete amp and FX that fits in my hand. I actually had to use it at a gig once and it was a relief given that my recurring nightmare is one where I am on stage about to start and my amp isin't working. I fully accept that there my be a Freudian sexual interpretation to the dream about my equipment failing but I think it is about my amp.

I play more acoustic than anything lately. I still want to get into a loud rock band again before I die. I figure my ears are damaged enough so what the hell. There is a power in a lud amp that is cool. I can get a nice tone from a smaler amp or a modeler but still want them to be loud. Oops....totally hijacked a thread here.....

Says the guy who plays in a rock band......

Yeah, tone is in the fingers. I have a 1962 Casino with the 330 style headstock. It is a remarkable screaming rock guitar (ala' Beatles white album sound) guitar but I could never get a nice jazz tone out of it like I can with my L5 or H-576. The same goes for my old tele. If you listen to Canadian jazz guitarist Ed Bickert, he makes a tele sound like an L5. In my hands it sounds like Don Rich.

I am assuming that even though the tuner is covering the brand, it looks like an H-530. This guy gets a nice smooth tone on those P-90s.

I would love to check out a Heritage floater but they are not on their web site. Is there a way to get one? I have an L5 custom that has a Johnny Smith floater on it. It is not bad but I would love to see what the heritage folks have designed and try one out.

Same here. I really was kind of afraid of the learning curve. But after my first experience, which was a Digitech GSP1101 and conquering my fear, I was able to start to undererstand it. Then I got the Helix and other Line 6 stuff. All of these things are capable of doing a shit ton more than I would ever know what to do with. I just wanted a simple pedalboard and it gives me that. Plus little by little, I have been able to do more and more. They are all pretty similar in the same way that most DAWs are similar, meaning if you understand one, the rest are fairly simple

I have never used that GX-10 but having a zillion Boss FX for that price is great. I use Line 6 and Quad Cortex for FX and they are all great. I have messed with Headrush and Ampero and liked them too. Boss has to be great or they would be pushed out, given all of the great competition. Why anyone would spend $400 on a couple of Boss pedals when you can get the same pedals plus a shit ton more for the same price is beyond me. BTW, I like the music you are learning. It will be fun trying to cop those sounds. But you have the gear to pull it off!

I use my modeling stuff for FX too. . So many cool verbs, DDLs, Choruses, etc. I use the QC and LIne 6 stuff in 4CM and it makes it ultra simple to get around sound wise. Maybe it's my old ears, but I had a hard time differentiating between my pedals and their digital counterparts. I find a slight difference in how they feel when playing them, mostly the overdrive/distortion stuff, but I find a slight difference in using different pedals anyway. I am going to get the sound I hear in my head no matter what. It's a matter of how easy it is to get it.

I can actually bend up an octave if I use 8s. As far as strings on a jazz guitar. I have found that using big ass strings gives a certain fluidity to my lines. I have them on my L5 and my 576. I don't bend on those guitars. I did some stuff with Albert King and that man had some big strings and he could bend the shit out of them. Stevie Vaughn could all bend big strings. I can't. I have guitars that I bend on, usually with 9s and guitars that I don't.

Easily affordable for the working jazz musician.

I have never used the capture feature on my Quad Cortex until the other day. If you are not familiar with this feature, in a nutshell, you plug the QC (Or Fractal, Kemper, etc) into your amp and it digitally captures the amp and stores it for you. You can then call it up and voila, you can use that amp sound anywhere, anytime. My friend has a Brown Super and a Tweed Deluxe. HIs assistant captured both amps for me and sent it to the QC Cloud and then I was able to download it. It was mind blowing. Matt took several captures for me and I finally get what this is about. Modeling digitally models an amp.....all controls, eq, bright switch volume, gain, etc. Captures capture only one moment. So I have a capture of the Tweed Deluxe at volume 5 and the tone control on 5. Or another capture of the amp with everything dimed. When I call it up, that is what I get. I can turn the volume up and down, but I cannot change the eq, even though the screen has some eq controls. They work like a studio where you record a guitar through an amp and then you can add treble, bass, etc in the mix but you are not changing the eq of the actual amp. So if I want a nicely overdriven Super sound for a rhythym part, I call that up. If I want a nasty distorted tweed deluxe sound for the solo, I call that up. This thing can also captrueOD/Distortion pedals, mic preamps and a host of other cool things. Again, I am a tube guy, but damn! This thing is pretty amazing. Here is the Anderton boys doing the A/B thing with the QC capture feature. They also demo how to do the captures, which takes only a couple of minutes.