Thanks for sharing, Robbie! I agree about the tube stuff! But in a mix, arguably, is it that noticeable? Maybe....purists will say. The AGS is a great competitor to my MKIIIs with 12AY7 tube in a driving setting to my ears. But, the MKIIIs has a headphones in, 1/8" in for a phone, and cab sims that the TH does not. The TH does have sweepable mids that makes a difference for me in fine tuning my sound in IEM's since thats the way I play currently. Depends on what you want and what you can afford I guess. So many choices...and TALKBASS does not help with the temptations!
Well I'm pleasantly surprised that the TH stacks up well against a real tube! Yeah, would be nice if the TH had those added extras. Phones and aux connections are definitely nice, but I can live without them since both my amp and my Stomp have them. I am curious about cab sims though for sure - perhaps I need to experiment with the sims on my Stomp a bit more and maybe see if that's something I need, especially since I always play with IEMs. Do you find yourself missing the cab sim when you use the TH?
Ah yes, the old "does anyone else notice/care?" question. I'm going to cheat and say yes and no. On the one hand, yeah ultimately yeah most audience members wouldn't be able to pick out the tone differences in a mix. On the other hand,
I notice and care about the tone, especially with IEMs, and if I'm enjoying my tone more then I play better, which the audience definitely should notice! E.g. there's just something very enjoyable about hearing that extra growl when I dig in a bit more, which makes some sort of tube sim valuable for me. Also, there are things like EQ and compression which help you sit in the mix better and therefore makes everyone sound better, even if no one can conciously pick out that your tone is noticably "better" in some sense.
This is an idea I've been playing with: I might use the pedal engaged (incl.AGS) for parts where I need some breakup...and then I might disengage it (completely) for clean sound. Hence my question: do I understand correctly that it is possible to achieve unity gain between 1. Engage on, AGS on, and 2. both switches off? How does the Engage switch work? Does it disengage AGS function too (when AGS applied to "engaged" regime)? In other words: would I need to make one or two clicks to change between 1. and 2. above?
Yes, you would be able to use the pedal how you intend:
If the pedal is bypassed (i.e. Engage is off) then none of the knobs have any effect at all; you just get your tone and level as received by the pedal. You can turn AGS on and off while the pedal is bypassed, but it has no effect on your signal. I.e. Engage Off + AGS Off sounds the same as Engage Off + AGS On.
Switching Engage on or off doesn't change whether or not AGS is on or off; e.g. if the AGS light is on, it will stay on regardless of whether you turn Engage on or off. (Although, as per the previous point, turning Engage off does mean that AGS would not be affecting your signal)
Basically, they way AGS is controlled, it could have just been a lever switch instead. Imagine it as like a drive/mode selector like on the Pork and Pickle:
* Bypassing/engaging the pedal doesn't change the "position" of the AGS "lever"
* The "mode" selection only applies to your signal when the pedal is engaged
* With one configuration of the knobs you can achieve unity gain between Bypassed & Mode1; with a different configuration of the knobs you could achieve unity gain between Bypassed & Mode2; but sadly you can't get unity gain between Mode1 & Mode2.
Hopefully that makes sense!
Thanks. I am aware of the DG line of pedals. Like you, I don't dig their sound. I feel they have been designed with metal players in mind. The only model which might do it for me is Vintage.
Yeah - from what I remember of the Vintage Deluxe, I think that when DG say 'vintage' they mean growly punk and rock, not motown/soul vintage.
