artist1354

The twelve inch is still the way to go.

If you think about the sizes of typical guitar amp speakers, ten and twelve inches, a fifteen seems too big. I don't even like it when our bass player plays through his rehearsal amp which is loaded with a single fifteen. It's too flabby. The K10 lets the nuances of the modeled amps come through and fits in the mix onstage very well. I saw another guitar player in a medium sized club gig once using a Behringer with a POD HD 500. I think it was the 212D, but it could have been the ten inch model. For the price it sounded very good. His tone coming through the mains was great. It really comes down to the fact that if you are pushing everything through the FOH speakers, whatever you are using onstage is mostly for your own monitoring. The advantage of using an FRFR type speaker as a monitor is you hear exactly what the audience hears through the mains.

Got my vote. I use one and run through it direct to the p.a. If the K10 is too expensive, a Behringer 212D is a very good alternate choice.

"I find that punchy, clean preamp tone from the HD500 AC-30 (as long as the treble is backed off) is just amazing! I find my analog pedal board to be muffled, less clear, less sweet tone? Am I missing something? I don't see the pro's using amp modelers? Maybe when u start spending $2000 or $3000 on a tube head you don't need the clean, bright help from the amp modeler??" Exactly! I saw some videos awhile back of Joe Bonamassa giving a walk through and explanation of his stage rig. I forget how many heads he had and when they showed his pedal layout yeesh it was scary. But one thing especially comes to mind. Whenever he talked about making mods to his rig he said "we did this", "we looked at that". I can only assume he meant himself and his tech, or quite likely techs, guitar tech, pedal board tech . . . The point is, guys like that have maybe not unlimited funds to buy and maintain gear, but they have a darn sight more invested than I can afford. I suspect that goes for many guitar players besides me. They also have people to keep it all running right and those guys don't do anything but that, at least when they are on tour. Add to that roadies to haul it all and lots of onstage real estate to move around in, then why not go analog. For me, a JTV59 through an HD500 straight to the board does the trick just fine. I use a QSC K10 to monitor onstage. That's the heaviest piece at thirty pounds or so. I can set up in under fifteen minutes and if my tone is only 90 to 95% as good as Joe's then well . . . dang.