I joke with my friends that one day I'll start a guitar podcast called "Nobody Cares About Your Tone". And while I know that's not 100% true, my point is always you care about your tone WAY MORE than anyone else in the room. Your point in this video of "I need to sound to inspire ME" is maybe my favorite take away from this whole video. Thank you for this channel
I've recently built my live rig around a Torpedo Captor and my 20W tube amp. I've been using the Captors built in analog 4x12 cab sim and going straight to FOH with that. The 1x12 speaker in my amp stays disconnected. I like to run my amp up at around 5-6 on the volume and got tired of sound guys complaining that it was too loud. I'm with you on the attenuator and can't seem to pull a sound that im happy with when using one. The cab sim in the Captor sounds great to me, or I can take a raw output from it and send that to an IR, which I'm going to try out at my next gig via a HX Stomp. BTW, love your channel. You're part of my "Big 4" of Nashville players on RUclips, with Uncle Larry, Guthrie and Jed Hughes. Thanks for all your awesome content.
Justin, everything you say on RUclips makes so much sense. As a home recording only guitarist (haven't played live since about 1986) I use whatever I can to get a sound I like at a volume the neighbours can tolerate. In your case with the setup you have available it makes sense to not use an attenuator. You need the best sound you can possibly get whereas I need to cover all options as quietly as possible.
Very glad my Rivera has all of the built in features I need to play quiet or through IR or direct out, etc. My amp, like many, open up after you crank em a bit, and having modern tools like this are truly amazing.
I completely agree with you about attenuation units but have used the boss WAZA tube amp expander live with a Marshall and that has the best attenuation I have experienced. I love tweed deluxe amps and sometimes run mine through a modern THD cab which can be really great for some cleaner settings. I have also used the ox unit and am really impressed. I love the way that the base settings are pretty good but can be quickly altered to taste. It adds another dimension to recording as it is not practical to have multiple cabs and mic setups in most modern recording situations these days. I’m all for this mixture of old and new technology especially as I am over 60 and simply cannot play at the same volume I did when younger! Thanks again for another interesting video.
Two Notes Torpedo Captor X is similar to the Ox Box and not as expensive. I've been using it for a while now and I can run my amp at about 5 - 6 which is where I like it best with a 1 x 12 IR and it sounds and feels very close to when I'm playing it with my cabs. I think Boss makes something similar as well. Great topic to cover Justin. Home recording is pretty much all us mortals can do and these devices are a God send IMHO.
A friend of mine had a Freyette Power Station he was looking to sell so I jumped on that and it’s been a revelation. Combined with a Clear Sonic plexiglass baffle I’ve been able to keep most sound men from whining in most instances.
I couldn’t agree more! There are so many things you can do to make A sound so damn close to B, but you can never emulate this: I am a Vox guy. I’ve always played with the old 15 Watts Celestion silver T1088’s or Alnico Blue speakers. These don’t need much to get them to start moving, literally pushing air. My old Vox had a loose fitting grill cloth because of a hole that was in it. When I played that thing you could SEE the rhythm I was playing, because the grill cloth was moving by the speakers that pushed air against it. And you could feel it too. You know that feeling of flapping trouser legs. I know you do! 😅 But no one can tell me it’s only a matter of feeling the air moving, or seeing the beat. I’m not crazy. At least, I don’t think I am. I’m pretty sure I could hear an extra ‘thud’ every time I picked a string. They can emulate as good as anything, but I never hear that ‘thud’ (I’m sorry for my lack of other words to describe this ‘phenomenon’). Maybe it’s best to describe it as ‘attack’, although for me the word “attack” always described the directness of the sound, which isn’t necessarily the same as… that ‘thud’. Maybe I’m crazy after all. Do you think we’re talking about the same thing here? Because I think we do. I’m just not good at describing it. 😂 Sorry. 🧡
as someone with a 67 AC30 running a blue + 70th anniversary, I have never been able to get the same sound unless those speakers were on the edge of blowing the cones out. And I have never heard an emulation or IRs that sound right - in a Mix, yeah I might not know, but I also might not associate the emu/ir as an amp that was mic'd
Awesome sounds. Glad there's something for everybody here. As usual -- I can't/won't use all the gear info. But from 5:18 to 6:19 -- I'm using *that*. The playing, I'm using that right now.
Great post and take on this. I used a Fender Bassman with a PowerSoak for years and although it got the volume down… the amp always sounded better with it almost all the way up. 😎👍
Great vid man! I like the comparison to the OX. I use a couple different attenuators live but only to bring the volume down a little bit. Speakers still do their thing, break up and push air. But at low volumes I agree the OX takes the cake.
Dear GOD I love your P90 equiped LP ('56?) just sounds great into the Deluxe or your Sarge. That was a great demo example of how it sounds when the speaker is not involved. "Involved" approaches that Neil Young implosion sound. Thanks for your course BTW, it's great. Am slowly working through it...too much on my plate as usual, LOL.
Great point about the importance of finding the inspirational sweet spots with your gear. We’re all different in preferences and environmental situations though. My rig is incredible (to me) now and it’s taken years (and dollars) to get here. Really enjoy the incremental improvements. It all depends on individual desire and experience. I still play loud with attenuation. Just not as loud. More about the amp’s range and the room acoustics than the speaker when padding the output. Amplifier power scaling usually doesn’t sound that good to me either. Also like to use digital and analog equipment, mix it up, and keep it fresh.
That Maj6 you hit at the beginning of your intro jam sounded cool with dirt on it. I m gonna have to try that! I love when you dial in cool tones. I wish I could get close to dialing in some of them!
Ok, yet another video and a really great one, for that matter, that's helping me with the decision of whether or not to, once and for all, make the move on an OX.. The decision is, of course, I NEED the OX in my life ASAP!!!! Geez, that thing sounds amazing, in regards to how incredibly well and accurately it retains all the tonal characteristics of the the amp. And from what I've heard from so many that own one, it, as well, retains most of the feel of the amp, more so than a lot of the other units out there.. (HUGELY important, if not, essential).. And yes, I agree and have had the same experience with attenuators.. Like you touched on, just listening is one thing, which again, yes, there's really not much difference in the tone, if at all, most of the time, but yeah, it absolutely does affect how it feels and how it inspires your playing, or rather not inspires.. Anyway, fantastic content and playing, as always, thanks for sharing!!! DC
@@saggygnaw Yeah, I've definitely been researching all the different options for the last year or so. The takeaway so far has been that they're all really great and of course, have their pros and cons. But for the most part, they all do the same thing, do it well and could get the job done. However, for my personal taste/preference, the OX seems to be the one I keep coming back to. Mostly, because it just sounds the most natural, when it comes to retaining the original sound/tone and nuances of the amp, again, to my ears. Anyway, we'll see, haven't made a final decision just yet. Either way, thank you for the recommendation!!!
The trick for a speaker soak is to just take the edge off. I never go below half with my carls speaker soak. It makes a big difference for reducing power when playing live in small places
So I completely agree about attenuation. I have not heard an attenuator that I like. That being said…..strangely enough, I liked your attenuated sound in this video more than un attenuated, sounded like you were clipping your interface to my ear🤷♂️ Definitely loved the ox sound. I have the Boss Waza. I think eventually I’m gonna get the OX as well. The Waza is super well appointed for live use, but I think I like the sound of the OX quite a bit better
The wide open tone in this video has that classic 5E3 wooly sag to it that seems to get polarized reactions. I happen to love it (huge Lanois fan). It’s most pronounced when using hot pickups (like the P90s in my goldtop)
I made my own amp, 12Ax7 and EL34 (Power tube) and I have a Greenback 12" Celestion. It ONLY sounds good cranked. I want to squish it into my Fender Twin. My issue is that I'm recording at home and I'm using a UA Enigmatic pedal into an interface but it ISN'T the same as the excitement of the cranked amp (even my little tube one). And, I wish the OX box wasn't so damned expensive. Great video Justin!
There’s a huge difference between playing and listening. When I’ve watching and hearing what you’re playing nothing sounds shabby, just full pelt gets those little bits that make it probably feel much better to play. That Lazy J sounds great.
I have an Epiphone Valve Jr right now. I got a Weber Micromass 15 watt attenuator a while back, and it was ok, but I ended up selling it. I did not care for how it was changing the sound. What I did instead was take a compressor and stick it at the very end of the signal chain before the amp. I cut the comp all the way down so it's not compressing, and I used the volume on the comp pedal to attenuate the signal before it hits the amp. That way, I can crank the amp, and while it doesn't break up (which is fine), it still has great dynamics and it is working hard. The speaker responds well. Since I live in an apartment, even a 5 watt amp is too loud, but I found a solution that works for me.
Justin, great video as always! Your tone and insight are truly inspiring. I was curious-have you ever done a video on how you set up your Ox Box? For instance, you mentioned using the digital inputs-does that mean you're sending files to clients at 44.1 kHz with a bit depth of 24-bit? I'd also love to hear about your approach to setting up mic 1, mic 2, and the room settings. Do you use any of the EQs or modeled outboard gear in the Ox? It’d be amazing to get your perspective on this! Actually, now that I’m thinking about it, have you ever tried setting mic 1 to a mic setting and mic 2 to direct, panning them hard left and right, and recording those as separate channels? That way, you’d have a direct signal to experiment with-maybe even for: 1>Running it through an IR and blending it back in. 2>Sending it to be re-amped through a real amp. 3>Providing the direct signal to clients so they can re-amp it in their own studios. I realize this might be a bit geeky, but I’d love to know if you’ve heard of anyone doing something like this. Thanks again for sharing your expertise-you always inspire deep dives into the possibilities!
I have mentioned in other videos that I simply use the digital out because I ran out of inputs in my Apollo. It is what you’re hearing here. There have been a handful of times where a producer has taken a direct line from me for re-amping or (mostly) for pocketing transients. Those guys usually like to edit drums and pocket everything to the drummer in post. It’s a thing in commercial music (actually wildly popular in metal as well). But I don’t really do any of that on my own
@@JustinOstrander Hi, I hope you’re doing well! I have a couple of questions about using the Ox: Are there ever any challenges with Ox digital files being at 44.1 kHz with a 24-bit depth? Have you encountered any situations where that caused issues? When setting up your sound, do you use the Ox software to tweak EQ and effects, or do you typically just select the mic and cab and run it straight into your soundcard? Do you use the Room mics? If so, how do you incorporate them into your sound? Thanks so much for any insights you can share!
I've been pretty much Ox only since I got it... main outputs go to my interface, headphone output goes to my "B" monitor pair for when I'm not recording
I use an attenuator with my Fender Vibro Champ, as even on 5-6 it is too loud for my home studio. SM57 and/or ribbon in front of it, and sounds great for recording.
I’d be very curious to see your opinions on the Fryette power stations! Tube based attenuator on the amp side but dedicated fully tube power amp on the cabinet side.
I can’t tell the difference when using my Fryette PS to attenuate my RSA23 head into 2x12 cab with Alnico Blues. Sounds great and they work well with non master volume amps. It’s also very tweakable and versatile. You can take line output, add FX loop, and amplify any preamps with it easily. Great unit. Love the Ox Box too.
@ if you can you should try one! They’re touted as being some of the best attenuators because they aren’t traditional resistive attenuators. You’re plugging your amp into a reactive load then re-amplifying the signal (if you want to) with a 50w/100w tube power amp depending on the model you have.
@justin ostrander How long is the cable from your control room to the garage where you have the speaker? And which cable do you use? Thank you for sharing all these tips like this video 👌👌👌
I fished mogami wire through the walls, made some panels with jacks for two mic cables, a speaker cable, and an instrument cable (in case I went to mic up a combo in the garage). I don’t really overthink it and use planet waves cables otherwise.
Feel like i'm the only one but the initial unattenuated amp sound was definitely my least favorite of the three. Just sounds way too unruly and flubby for my tastes. I actually really liked the attenuated tone and the ox tones were also great. Kind of like the unattenuated without some of the flub.
nothing feels like a cranked amp in a room. there was i nice noob question on reddit "how can i turn the mic modelling of so my modelled amp sounds like it was in a room with me?
I think most players love the sound of an amp in a room far more than the sound of the amp itself. I’ve been a close-mic’d guy for about 10 years, but I was the same way beforehand. It’s a live thing
I really enjoy the sound of a real mic’d speaker cab. It’s my most often used setup. But I switch to the OX if I want a different or specific cab sound or if I’m playing at hours that may make the neighbors upset.
![The TPS Red Telecaster Pickup Set By Monty's Guitars! [Short Launch Video]](/img/1.gif)
I joke with my friends that one day I'll start a guitar podcast called "Nobody Cares About Your Tone". And while I know that's not 100% true, my point is always you care about your tone WAY MORE than anyone else in the room. Your point in this video of "I need to sound to inspire ME" is maybe my favorite take away from this whole video. Thank you for this channel
I've recently built my live rig around a Torpedo Captor and my 20W tube amp. I've been using the Captors built in analog 4x12 cab sim and going straight to FOH with that. The 1x12 speaker in my amp stays disconnected. I like to run my amp up at around 5-6 on the volume and got tired of sound guys complaining that it was too loud. I'm with you on the attenuator and can't seem to pull a sound that im happy with when using one. The cab sim in the Captor sounds great to me, or I can take a raw output from it and send that to an IR, which I'm going to try out at my next gig via a HX Stomp. BTW, love your channel. You're part of my "Big 4" of Nashville players on RUclips, with Uncle Larry, Guthrie and Jed Hughes. Thanks for all your awesome content.
Justin, everything you say on RUclips makes so much sense. As a home recording only guitarist (haven't played live since about 1986) I use whatever I can to get a sound I like at a volume the neighbours can tolerate. In your case with the setup you have available it makes sense to not use an attenuator. You need the best sound you can possibly get whereas I need to cover all options as quietly as possible.
Very glad my Rivera has all of the built in features I need to play quiet or through IR or direct out, etc. My amp, like many, open up after you crank em a bit, and having modern tools like this are truly amazing.
I completely agree with you about attenuation units but have used the boss WAZA tube amp expander live with a Marshall and that has the best attenuation I have experienced. I love tweed deluxe amps and sometimes run mine through a modern THD cab which can be really great for some cleaner settings. I have also used the ox unit and am really impressed. I love the way that the base settings are pretty good but can be quickly altered to taste. It adds another dimension to recording as it is not practical to have multiple cabs and mic setups in most modern recording situations these days. I’m all for this mixture of old and new technology especially as I am over 60 and simply cannot play at the same volume I did when younger! Thanks again for another interesting video.
Great video Justin - thank you. All the Ox cab sims and mics sound fantastic.
Two Notes Torpedo Captor X is similar to the Ox Box and not as expensive. I've been using it for a while now and I can run my amp at about 5 - 6 which is where I like it best with a 1 x 12 IR and it sounds and feels very close to when I'm playing it with my cabs. I think Boss makes something similar as well. Great topic to cover Justin. Home recording is pretty much all us mortals can do and these devices are a God send IMHO.
A friend of mine had a Freyette Power Station he was looking to sell so I jumped on that and it’s been a revelation. Combined with a Clear Sonic plexiglass baffle I’ve been able to keep most sound men from whining in most instances.
I couldn’t agree more! There are so many things you can do to make A sound so damn close to B, but you can never emulate this: I am a Vox guy. I’ve always played with the old 15 Watts Celestion silver T1088’s or Alnico Blue speakers. These don’t need much to get them to start moving, literally pushing air. My old Vox had a loose fitting grill cloth because of a hole that was in it. When I played that thing you could SEE the rhythm I was playing, because the grill cloth was moving by the speakers that pushed air against it. And you could feel it too. You know that feeling of flapping trouser legs. I know you do! 😅
But no one can tell me it’s only a matter of feeling the air moving, or seeing the beat. I’m not crazy. At least, I don’t think I am. I’m pretty sure I could hear an extra ‘thud’ every time I picked a string. They can emulate as good as anything, but I never hear that ‘thud’ (I’m sorry for my lack of other words to describe this ‘phenomenon’). Maybe it’s best to describe it as ‘attack’, although for me the word “attack” always described the directness of the sound, which isn’t necessarily the same as… that ‘thud’.
Maybe I’m crazy after all. Do you think we’re talking about the same thing here? Because I think we do. I’m just not good at describing it. 😂
Sorry. 🧡
as someone with a 67 AC30 running a blue + 70th anniversary, I have never been able to get the same sound unless those speakers were on the edge of blowing the cones out. And I have never heard an emulation or IRs that sound right - in a Mix, yeah I might not know, but I also might not associate the emu/ir as an amp that was mic'd
Awesome sounds.
Glad there's something for everybody here. As usual -- I can't/won't use all the gear info. But from 5:18 to 6:19 -- I'm using *that*. The playing, I'm using that right now.
Glad I came across your video about buying uncle Larry’s old tele, aptly named biscuit. You have great feel and command of the instrument.
Great post and take on this. I used a Fender Bassman with a PowerSoak for years and although it got the volume down… the amp always sounded better with it almost all the way up. 😎👍
Great vid man! I like the comparison to the OX. I use a couple different attenuators live but only to bring the volume down a little bit. Speakers still do their thing, break up and push air. But at low volumes I agree the OX takes the cake.
Everything sounded great on this end but you definitely need to feel good to play your best. Rock on Justin!
Man, I really appreciate your videos and your insights. You're real. Thanks for your hard work to share your experiences. On and up, I say! 😊
Dear GOD I love your P90 equiped LP ('56?) just sounds great into the Deluxe or your Sarge. That was a great demo example of how it sounds when the speaker is not involved. "Involved" approaches that Neil Young implosion sound. Thanks for your course BTW, it's great. Am slowly working through it...too much on my plate as usual, LOL.
Thanks a ton! It’s an R5 from wildwood
Great point about the importance of finding the inspirational sweet spots with your gear. We’re all different in preferences and environmental situations though. My rig is incredible (to me) now and it’s taken years (and dollars) to get here. Really enjoy the incremental improvements. It all depends on individual desire and experience. I still play loud with attenuation. Just not as loud. More about the amp’s range and the room acoustics than the speaker when padding the output. Amplifier power scaling usually doesn’t sound that good to me either. Also like to use digital and analog equipment, mix it up, and keep it fresh.
Thanks for a really informative and thoughtful comparison with some fantastic tones-agree entirely with your conclusion.
That Maj6 you hit at the beginning of your intro jam sounded cool with dirt on it. I m gonna have to try that! I love when you dial in cool tones. I wish I could get close to dialing in some of them!
Ok, yet another video and a really great one, for that matter, that's helping me with the decision of whether or not to, once and for all, make the move on an OX.. The decision is, of course, I NEED the OX in my life ASAP!!!! Geez, that thing sounds amazing, in regards to how incredibly well and accurately it retains all the tonal characteristics of the the amp. And from what I've heard from so many that own one, it, as well, retains most of the feel of the amp, more so than a lot of the other units out there.. (HUGELY important, if not, essential)..
And yes, I agree and have had the same experience with attenuators.. Like you touched on, just listening is one thing, which again, yes, there's really not much difference in the tone, if at all, most of the time, but yeah, it absolutely does affect how it feels and how it inspires your playing, or rather not inspires.. Anyway, fantastic content and playing, as always, thanks for sharing!!! DC
The OX is great but I’d suggest looking into the Torpedo Captor X as well.
@@saggygnaw Yeah, I've definitely been researching all the different options for the last year or so. The takeaway so far has been that they're all really great and of course, have their pros and cons. But for the most part, they all do the same thing, do it well and could get the job done. However, for my personal taste/preference, the OX seems to be the one I keep coming back to. Mostly, because it just sounds the most natural, when it comes to retaining the original sound/tone and nuances of the amp, again, to my ears.
Anyway, we'll see, haven't made a final decision just yet. Either way, thank you for the recommendation!!!
The trick for a speaker soak is to just take the edge off. I never go below half with my carls speaker soak. It makes a big difference for reducing power when playing live in small places
So I completely agree about attenuation. I have not heard an attenuator that I like. That being said…..strangely enough, I liked your attenuated sound in this video more than un attenuated, sounded like you were clipping your interface to my ear🤷♂️
Definitely loved the ox sound. I have the Boss Waza. I think eventually I’m gonna get the OX as well. The Waza is super well appointed for live use, but I think I like the sound of the OX quite a bit better
The wide open tone in this video has that classic 5E3 wooly sag to it that seems to get polarized reactions. I happen to love it (huge Lanois fan). It’s most pronounced when using hot pickups (like the P90s in my goldtop)
I made my own amp, 12Ax7 and EL34 (Power tube) and I have a Greenback 12" Celestion. It ONLY sounds good cranked. I want to squish it into my Fender Twin. My issue is that I'm recording at home and I'm using a UA Enigmatic pedal into an interface but it ISN'T the same as the excitement of the cranked amp (even my little tube one). And, I wish the OX box wasn't so damned expensive. Great video Justin!
I like the power scaling on some amps. Not for Volume control but dialing in the room.
There’s a huge difference between playing and listening. When I’ve watching and hearing what you’re playing nothing sounds shabby, just full pelt gets those little bits that make it probably feel much better to play. That Lazy J sounds great.
The low power not working the speaker makes sense to me. I also agree that it has to feel good to you before anything else.
I have an Epiphone Valve Jr right now. I got a Weber Micromass 15 watt attenuator a while back, and it was ok, but I ended up selling it. I did not care for how it was changing the sound. What I did instead was take a compressor and stick it at the very end of the signal chain before the amp. I cut the comp all the way down so it's not compressing, and I used the volume on the comp pedal to attenuate the signal before it hits the amp. That way, I can crank the amp, and while it doesn't break up (which is fine), it still has great dynamics and it is working hard. The speaker responds well. Since I live in an apartment, even a 5 watt amp is too loud, but I found a solution that works for me.
Justin, great video as always! Your tone and insight are truly inspiring.
I was curious-have you ever done a video on how you set up your Ox Box? For instance, you mentioned using the digital inputs-does that mean you're sending files to clients at 44.1 kHz with a bit depth of 24-bit? I'd also love to hear about your approach to setting up mic 1, mic 2, and the room settings. Do you use any of the EQs or modeled outboard gear in the Ox?
It’d be amazing to get your perspective on this!
Actually, now that I’m thinking about it, have you ever tried setting mic 1 to a mic setting and mic 2 to direct, panning them hard left and right, and recording those as separate channels? That way, you’d have a direct signal to experiment with-maybe even for:
1>Running it through an IR and blending it back in.
2>Sending it to be re-amped through a real amp.
3>Providing the direct signal to clients so they can re-amp it in their own studios.
I realize this might be a bit geeky, but I’d love to know if you’ve heard of anyone doing something like this. Thanks again for sharing your expertise-you always inspire deep dives into the possibilities!
I have mentioned in other videos that I simply use the digital out because I ran out of inputs in my Apollo. It is what you’re hearing here.
There have been a handful of times where a producer has taken a direct line from me for re-amping or (mostly) for pocketing transients. Those guys usually like to edit drums and pocket everything to the drummer in post. It’s a thing in commercial music (actually wildly popular in metal as well). But I don’t really do any of that on my own
@@JustinOstrander Hi, I hope you’re doing well! I have a couple of questions about using the Ox:
Are there ever any challenges with Ox digital files being at 44.1 kHz with a 24-bit depth? Have you encountered any situations where that caused issues?
When setting up your sound, do you use the Ox software to tweak EQ and effects, or do you typically just select the mic and cab and run it straight into your soundcard?
Do you use the Room mics? If so, how do you incorporate them into your sound?
Thanks so much for any insights you can share!
I've been pretty much Ox only since I got it... main outputs go to my interface, headphone output goes to my "B" monitor pair for when I'm not recording
I use an attenuator with my Fender Vibro Champ, as even on 5-6 it is too loud for my home studio. SM57 and/or ribbon in front of it, and sounds great for recording.
Play it loud! I can't wait for you to make an instrumental guitar record!
Good point !
Cork sniffery! I live in Sonoma County and would love that on a T shirt.
Ox rox.
if you want to play with headphones there is no way around the captor x. Best headphone experience on the market!
I’d be very curious to see your opinions on the Fryette power stations! Tube based attenuator on the amp side but dedicated fully tube power amp on the cabinet side.
I can’t tell the difference when using my Fryette PS to attenuate my RSA23 head into 2x12 cab with Alnico Blues. Sounds great and they work well with non master volume amps. It’s also very tweakable and versatile. You can take line output, add FX loop, and amplify any preamps with it easily. Great unit. Love the Ox Box too.
Never have used one
@ if you can you should try one! They’re touted as being some of the best attenuators because they aren’t traditional resistive attenuators. You’re plugging your amp into a reactive load then re-amplifying the signal (if you want to) with a 50w/100w tube power amp depending on the model you have.
We dont need attenuators, we need bigger homes in the country with fewer neighbors 😂😂😂
This is fact and how it used to be … and we could breath , and play it loud !!
Still sounded good with the VAC but missing the hair from the speaker for sure.
@justin ostrander
How long is the cable from your control room to the garage where you have the speaker? And which cable do you use?
Thank you for sharing all these tips like this video 👌👌👌
I fished mogami wire through the walls, made some panels with jacks for two mic cables, a speaker cable, and an instrument cable (in case I went to mic up a combo in the garage). I don’t really overthink it and use planet waves cables otherwise.
@ thank you so much
Are you listening to the Ox Box output through powered studio monitors?
I’m referencing through my headphones and monitors as I play in the video. But you’re hearing all of the playing via the direct recorded tones.
Makes sense to me.............
Feel like i'm the only one but the initial unattenuated amp sound was definitely my least favorite of the three. Just sounds way too unruly and flubby for my tastes. I actually really liked the attenuated tone and the ox tones were also great. Kind of like the unattenuated without some of the flub.
No worries at all. I love unruly tones
Mics makit man ...killer playing
nothing feels like a cranked amp in a room. there was i nice noob question on reddit "how can i turn the mic modelling of so my modelled amp sounds like it was in a room with me?
I think most players love the sound of an amp in a room far more than the sound of the amp itself. I’ve been a close-mic’d guy for about 10 years, but I was the same way beforehand. It’s a live thing
1. Do you use the Ox presets or just the cabs. 2. I had a Captor X, the Ox is 1,000,000 times better, well worth the extra money.
I pick a cab and dial in the 57/121 or 57/67 mic combo, turn off all effects, pan to one side, and track as a mono signal.
@ Thank You!!
What is the point of running out to a cab in another room vs just using IR out to in room monitor etc?
I really enjoy the sound of a real mic’d speaker cab. It’s my most often used setup. But I switch to the OX if I want a different or specific cab sound or if I’m playing at hours that may make the neighbors upset.
Would love to hear your thoughts on the tonex
Never have used it
Where do you get the cable for your combo amps?
Do you mean speaker cable? Most combos, you just unplug the speaker from the main out on the amp, and run a cable to an extension cab (or to the OX).
Idk about that speaker breakup, just sounds a little farty? Almost nicer just to hear the amp breakup
There’s something about it in a mix that I really love. It’s part of the sound of that circuit to me.