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I am sending Dream '65 into a Canvas Stereo, then interface. In isolation it is perfect. In a dense pop mix it feels airbrushed and loses the pick edge. Do I add a little front-end compression, swap the cab, or stop monitoring it solo like a liar?

The band likes the feel of a cab in the room, but the show file is silent-stage and the capture is what everyone hears. Thinking about bringing a powered 1x12 for air and keeping it out of the main path. Is that asking for phase weirdness or just making rehearsal less sterile?

Microtubes Infinity gets aggressive fast, and the BassRig by itself sits beautifully but a little too clean for choruses. Looking for the smallest amount of grind that still lets the Bass VI read as an instrument, not a distorted low-mid fog.

Picked up a '68 Princeton Reverb. Original speaker is gone, previous owner put a Celestion G10 Greenback in it which sounds wrong to me, too British, too dark on the top end. The Princeton is supposed to sound American, the chime is the point. I'm down to two options: 1. Jensen P10R reissue. The historically correct answer. Alnico, light, classic Princeton voicing. The risk is that the reissues are not the same as the '60s Jensens and a lot of people complain they sound thin. 2. Weber 10A125. Alnico, hand-built, voiced specifically for Princeton-class amps. More expensive, smaller community of users, but the people who run them swear by them. I'm a Tele Custom into a Princeton player, working in the studio, so I need this to record well, not just sound good in the room. Anyone running either one in a recording context? The Greenback is on its way out either way, I just want to make the right call before I pay for a speaker I'm going to keep for years.

Putting modulation in front of drive is a divisive topic. Most guides say modulation goes in the loop or after the drive. I have always done that and I am questioning it for one specific case. The TS9 has a midrange hump centered around 720Hz that's the defining feature of the pedal. If you put a chorus before it, the chorus's pitch modulation hits that hump and the pedal's own EQ filter exaggerates the modulation depth. You get a thicker, slower-sounding chorus through the same pedal setting. It's a documented effect. The question for the forum: what specific chorus pedals sound best in front of a TS9? I've A/B'd a CE-2 (good but not enough range), a Boss CH-1 (too digital sounding for this trick), and a TC Corona (clean and uninteresting). The CE-2W might be the answer but I haven't tried it in this specific position. Looking for analog choruses, in front of an overdrive, that interact with the drive's EQ in an interesting way. Not looking for transparent or clean. Looking for character. Compress before chorus, never after. But chorus before drive is the trick.

Recorded direct for ten years. Jazz Bass into a Countryman Type 85 into a clean preamp into the interface. Sounds great, prints clean, mixes itself. Last month I started miking the Sunn Beta cab on tracking dates because the engineer asked. SM7B on the speaker, blended 60/40 with the DI. The DI side is what I always loved, the mic side adds something I can't name. Warmth maybe. Slap maybe. Something. It's not on the DI. My question is what I'm missing about why this is. The Sunn Beta is a clean solid-state amp, it's not adding tubes. The cabinet is a 1x15, sure, but a clean amp into a clean speaker shouldn't be adding mystery harmonics. And yet there it is. Is the cabinet doing something I should be replicating in post on the DI side instead? IR? Or am I going to just accept that miking adds something real and start doing it more often? I print direct usually because it's simpler. Maybe simpler is wrong. The bass is louder when you play less of it. Maybe also when you mic less of it. Not sure.

The Princeton has no loop so I think the question is moot, but want to know what the room thinks before I commit to a different amp. Looking at either a Deluxe Reverb reissue or an AC15 specifically for the loop. If the loop is overrated for a single fuzz+boost combo I will save my money.

D-28 strung medium gauge, DADGAD, fingerstyle. The room sounds beautiful. Two condensers six feet out, the recording is exactly the instrument. The problem is the DI from the K&K Pure Mini for live work. It sounds like a different guitar. Brittle in the top, no body in the mids, the low D is a thud. I know an undersaddle would solve some of this but I don't want one. The K&K is three soundboard transducers, it's the right design philosophy. I've tried a Baggs preamp, a Fishman Aura, and a bare DI into the Loudbox Mini. The Baggs is closest but it still doesn't sound like the guitar in the room. On an acoustic, intonation is louder than ambience. I'm willing to lose the room sound for live work, I just want the instrument to sound like the instrument. Anyone running a K&K or similar through a preamp/processor combination that actually preserves the body of the guitar? I'm not looking for IR magic, I just want a signal chain that doesn't make a D-28 sound like a parlor.

Asked about this before but never got a definitive answer. Drop C# Jazzmaster, Twin Reverb, three-piece rock band, and I want a fuzz that holds up under heavy chords without turning into a wall of sub-bass and white noise. Things I've tried and rejected: - Big Muff (any version): mud at the low end - Tone Bender clone: too gated, dies under power chords - Fuzz Face: cleans up too easily on the volume knob, doesn't stay nasty enough - Civil War Muff reissue: mud-er Things I haven't tried but am considering: - Octafuzz with the octave OFF, just the fuzz section - Earthquaker Hoof - Catalinbread Manx Loaghtan - A modded RAT with a low-cut Fuzz at the front so the Klon could clean it up, that's the dream chain. But the fuzz has to stay defined in the low end first. Anyone running heavy down-tuned fuzz that I haven't listed? I want recommendations from people who actually play heavy in a band, not bedroom YouTube reviewers.

Same pickups (P-90 swap), same amp, same pedals, same room. Tele feels honkier. Is it me, the cap, or do I have to re-voice the whole chain? The Klon is suddenly mid-forward in a way it never was on the Strat. I assumed P-90s would mellow that out, not exaggerate it.

Para Acoustic DI gets close but the high end goes brittle when I dig in. Anyone running a tube preamp into a Fishman? Tried the LR Baggs Venue too, similar issue. Wondering if a Grace Felix or even just a passive tube DI would warm the upper-mids without killing the attack.