NEVILLE’S ADVOCATE

Nev notes the not-too-dissimilar trajectory of vehicle and guitar amp technology, but he can’t quite relinquish the old…

These days, just as the move from internal combustion engines to electric or hybrid vehicles is really ramping up, there’s a definite move towards ‘going digital’ when it comes to playing guitar. More and more we hear of top players ‘resorting’ to it – even Brian May and Mark Knopfler have apparently been getting Kemper’d up. Now, who would ever have thought that? And, to extend the analogy, while an electric vehicle is unlikely (yet) to appeal to true petrolheads, there’s a certain inevitability about them. I’m not saying the same applies here as I believe there’s no imminent plan to eradicate valve amps, as there certainly is with fossil fuel‑driven transport. But anyway…

Those who have read my musings over the past couple of years will know I’ve been using a Line 6 Helix for my main gig – playing rock ’n’ roll shows in mainly theatres, using in‑ear monitors and plugged straight into the front‑of‑house PA system. It’s worked brilliantly for me and I’ve gone from being an out‑and‑out valve nut to becoming much more pragmatic about what it means to play live these days.

I say pragmatic, because getting a great valve amp sound on stage is not the doddle we’d love to think it is. I’ve played with great guitarists using the very best guitars, amps, pedals and cabinets, and all they’ve done from the start of the gig to its finish is curse the sound. I’ve done it, too, with the best equipment. It’s not our fault, or that of our gear; it’s simply the vagaries of making that kind of technology sound exactly as you want it to, in every live environment. It’s not easy, especially when we’re constantly being told to turn down to the point where the stuff doesn’t sound its best anyway.

Using digital gear takes all of that away (if you’re using it as I do in these controlled situations). You create your sounds – and that’s it. They are mixed into the band at the correct volume, just as an engineer would do on an album.

However, as you may also recall me saying, I like to keep a small but tasty ‘real amp’ setup for those times when I get called to do an impromptu pub gig or guest spot. The problem with the digital approach in that situation is that you have no idea what the PA is like, whether the in‑house engineer understands the digital world, whether the monitors are any good and you’ll actually be able to hear yourself – if indeed there’s a PA or engineer at all. It’s a bit like going back to the Wild West once you’ve lived in the big city for years.

But I still get dewy‑eyed about ‘real’ gear, and am constantly thinking about how I can upgrade my ‘spare’ rig when something new comes out. Last month’s Gas Of The Month talked about Yamaha’s new THR‑II. I will be getting one just to streamline my home setup, but I’m pretty sure I’ll record with it, too (as I have successfully many times with the Helix).

Having recently ditched my pub Matchless amp when someone made me an offer I couldn’t refuse, I’m now in the market for something even more portable. To that end, the new Victory Copper has caught my eye. Again, it’s my preferred EL84 setup but in lunchbox ‘head plus cab’ format. I’ve got one coming for me to try, plus a 1x12 cab as the two‑by is a bit too monolithic for me.

If I ever do get another pub gig, I’ll let you know how I got on. See you next time.