Kiwi

It sounds like the decision has been made for you. This is not always a bad thing. I missed out on multiple sustainer kit parts at auction last month. Bidding went up to 160 quid for what might have been the majority of two kits. Arguably a bargain but then I found someone where I live selling a second hand one for less. But then someone selling a completely new, boxed kit for a 30% discount off street retail. So I jumped on that because it had everything, particularly the routing/drilling template. And it'll get tossed into a strat that is tone hunting Def Leppard's live Hysteria sound (because the album was recorded using a strat and Rockman X100).

I know that feeling and I'm still trying to find my voice on guitar. It's definitely not widdly, whatever it is. More slow handed.

Please tell me its a refinish

If you start your own thread you can share a little about yourself.

Given Fender released a limited edition Princeton modified by Rivera a few years back, and then Rivera released his own version via Sweetwater, they're already testing the market. Both varieties were scooped up by fans in pretty short order and none of them were made in 240v versions. But if they ever wanted proof of popularity then this must be it. Sometimes I don't understand some of Fender's commercial decisions though. Maybe Rivera wanted to keep a tight grip on production to safeguard his modding IP.

As mentioned in the other thread - Fender should make a TM version of a Stage 4 modified Princeton Reverb from the late 70's/early 80's. My PRII is absolutely killer and my absolute favourite guitar amp of all time out of those I've tried. But it's about 70% of the way towards a Rivera Stage 4 modded Fender despite having Rivera's involvement.

I think it would make absolute commercial sense to issue TM version of the Tweed Champ given it's place in music history. I'm not familiar with the tweed twin but I believe Fender already offer the TM version of the Twin. If they released a TM version of a Rivera Stage 4 modified Princeton, I wouldn't be able to throw money at them fast enough. Especially considering how good their TM Deluxe Reverb already is.

Unfortunately the paper work took longer than expected but I did get to put the Triaxis through it's paces. It's lovely. Tight, thick, articulate, compressed, smooth...everything you would expect to hear on an eighties/nineties rock track. It's a different beast altogether compared to the JMP-1 BUT...my version of Triaxis has a 'british voiced' Lead 1/red channel which I presume is supposed to sound like a Marshall. It's definitely got a bit more midrange but nothing like the unfiltered punch of the JMP-1. For shits and giggles I thought I'd try the pedalboard planned for the Fender PRII through the Marshal 20/20 power amp as well given a couple of the pedals are supposed to be preamps. It sucked! The sound was weak and lifeless - no warmth or mids, slightly harsh top end. Maybe there was an impedance mismatch somewhere.

Given they've reacquired a stash of specifications and other docs from the early 30's through to 1969, I'm expecting a heavy release of re-issue vintage amps with tenuous claims of relevance to 50's and 60's pop music.

I had the chance to check out a brand new new LP Standard during a course and the fretwork on it was shocking for a three grand instrument. Sire do a much, much better job.

Me, definitely me. I got to try my Fender Princeton Reverb a couple of weeks back for the first time, after having collected it from a friend who was looking after it for me. I REALLY liked what I heard, it was very fat in the mids which helps strats obviously. There have been critics of the overdrive but I found nothing to complain about whatsoever and it sounded better once I started using the channel vol control as if it was a gain. I'm really looking forward to getting to know it.

Heh, ironically the JMP-1 is solid state distortion but uses a valve to filter the sound a bit. Their 9000 series preamps sound nice too but maybe a little less sweetened. I have a bunch of paperwork to do today but I'll hopefully have some time to try the Triaxis out later.

Yes, that was the reason for acquiring it but i never realised how punchy it is. I've developed a new appreciation for it. All the recordings I've listened to don't really do it justice. Too much compression.

I came back from the UK yesterday with an entire suitcase of stuff I'd managed to squirrel away over the last 7 years in it's own suitcase. All of it bought for less than market due to being in the right place at the right time. With the delivery of a couple of V30 loaded 1x12 cabs today, I spent a decent chunk of this afternoon, jetlag permitting, putting a couple of the preamps through the MPX G2 (which I already owned). My favourite amp is a Princeton Deluxe which is being shipped over, it nails the sound I've always wanted to hear. But I didn't expect how much I would like the Marshall JMP-1! I even preferred it to the Mesa Studio pre.

Prince's After Show parties at the Indigo in the O2, after the main concert in 2007. Intimate club that held maybe 5-600 at most. I was three metres from the stage and totally in awe of his band leadership. Everyone never took their eye off him and he had a range of vocal and hand cues to drop various instruments out and bring them back in, or cue different sections of the song. They were totally on top of it and the effect was like listening to a remix in real time. There was also one moment two thirds of the way through a jam where the keyboardist wasn't getting a riff that Prince wanted him to play. Prince stops playing guitar, goes over to the keys, plays the riff, the keys player gets it. Then Prince puts his guitar down, goes over to the drums and carries on playing. A tragic loss to music.

Only with a Kemper. If I'm honest, the Kemper profiles actually sounded better when they were created in a top quality setting. Less noise. My set up is pretty simple, I only use pedals in the effects loop and there's no discernable difference in quality with or without the pedal (Line 6 M5). It seems like you have a fairly specific set up and might need to dig into settings and work out what's happening through a process of elimination - if that's possible.

I can't improve on what's been suggested so far but hello from Southern central China. anyway.

A quick perusal of Fender, Gibson, Ibanez and PRS's product pages will reveal all. Music gear manufacturers depend on endorsements to the point where companies like Fender have purchased entire companies simply to secure a list of endorsers. Almost everyone who is anyone seems to have a signature guitar. And where they don't, they'll find one and hype it up (i.e. Nile Rodgers and his 'Hitmaker' when he actually used Tokai during most of the 80's).

EMG active pickups have a fairly specific character to them. Very consistent pickups and noiseless but they lose a little of the highest and lowest frequencies. I've not played their passive ones yet.

Do you have a budget? You could also probably look at a Zoom G3 unit for a hundred quid. I think you might be able to operate it through the software but can't confirm this atm. I'm wondering how you might operate a looper with hands given you would need to stop playing to push a button.

Any thoughts about getting it modified? A Rivera stage IV mod would be the nuts but it's not like Rivera is likely to jump over the pond and those Stage IV mods he did for Sweetwater were USA voltage only.

Great choice...the DR Tonemaster is also getting great reviews. I wonder about repairability though.

Too much. Mesa Boogie Studio preamp Mesa Boogie Triaxis preamp Marshall JMP-1 preamp (technically MOSFet but with valve flavouring) Carvin Quad X preamp Burman GX3 preamp Marshall 20/20 EL84 power amp Burman Pro501 1x12 combo Fender Princeton Reverb II Fender Concert II (in NZ) Chinese made 5F2 Princeton Tweed combo (x2) The Fender Concert has to go at some point. Same for the Carvin because it's surplus. I'm not sure I need the 5F2 combos, Burman Pro501 or GX3 but...we shall see.

Control is more important than speed. Slow at first is always best, only play as fast as your ability to maintain control. Goes pretty much for any instrument really, not just guitar. Also, don't push yourself to complete two hours worth of learning in two hours. Six sessions of twenty minutes over a longer period of time is likely to be far more productive because it allows you time to absorb the learning to a much greater depth and that means you'll be less likely to forget it.

It's great with bass although I'm still on a learning curve. There are some classic profiles - Trace Mk V, Mesa Boogie Bass 400, SWR SM400, GK RB800 etc. but the quality can be variable. I would like very much to profile some bass cabinets but haven't figured out the way to do that yet. The reality of owning a Kemper follows one of two paths. 1) You use it as a portable portfolio of amplifiers for use in different musical situations, dropping in and out different amps as you see fit. You learn how to profile amps and become a bit of a mavern in the brands that interest you most, hoarding profiles for that one time you get to use them. 2) You use it to discover new amps and sounds that you've never experienced before and, once you've found ones you like, you generally stick with them. The Kemper becomes your chosen palette of signature or set list sounds in a highly portable format. You will probably start to question the point of owning any other kind of backline (I know I have). Mine's hooked up to a Line 6 M5 for additional effects not on the Kemper such as Dimension D and trichorus. But the M5 classic effects too like the CE1 and MXR Phase 90 are available too if there's a need for something specific. Some owners use a Helix for effects and Kemper for profiles - pretty much the best of both worlds.