I agree with you on all of those! For me it would be awesome if the same button could have two different settings on scene mode. Kind of like Kemper’s Morph
Yeah, I wasn't sure what would happen. It is logical that the metal pickguard might act like a capacitor in some way, but it was more noticeable than I expected.
@@davlavmusic7070 okay, totally unrelated question, but since you do such great instructional videos on the QC, do you have any expertise you could lend on setting up the send and return levels for the FX loop? I come from a pro audio background and find it really difficult to find documentation and metering on my pedals to figure out how much headroom I should have in the loop fro my QC and tones are not sounding right even though I am sending and receiving at matched levels according to the QC meters. (For ref, my loop includes, in order: Cloudburst, Plethora X5, HX Stomp, CB Generation Loss, Lex V2, The Pinwheel) One example is that when using say a single drive block on the Stomp going into an amp on the QC, it sounds really harsh, but using the same block and settings into an amp and cab blocks on the Stomp (with the exact same HP/LP filters on the cab block and similar amp/speaker combinations) it sounds fantastic.
I don't have any magic tips. The more I play with different things in the fx loop the more I realize that every pedal seems to be different. I typically err towards sending a super low signal from the QC and then pushing the return level.
@@davlavmusic7070 thanks, that's actually quite helpful. Not best practice from a gain structure standpoint in the pro-audio world, but since the headroom for all these pedals are so different from one to the next, it's probably worth going in low and turning up gain later.
I've had similar findings with this on my Strat. I also found with the anodized guard there was more noise when changing pickups using the switch. Because I loved the look of the gold anodized guard, I ended up putting it over the original plastic guard. So essentially a Strat with two pick guards. Sounds great, looks great!
Hi, I've been considering getting first electric guitar and have set my sights on the PRS SE lineup. My question is that in your opinion how do you think of the versatility of these pickups? I need a guitar that's kind of a "swiss army knife" and can do modern tones(high gain) as well as vintage tones(classic rock, blues). I very much like the look of the covered humbuckers of the DGT but I'm afraid that it might not be versatile enough.
Yeah, I'm not sure how well the DGT pickups would do high gain. I think the 8515s would be best in that area and would overall be closest to the Swiss army knife you're looking for.
Hi man, you are doing great job for us QC users. I want you to know that we really appreciate that. I wonder, can you try to make tone like guitarist in Glass Beams. I just heard his tone in melody 'Mirage'. It is really misterious and i think it would be great challenge for you, if you have a free time. 😁
You play tastefully and in a way that gives the instrument the transparency it needs to be the focal point. The playing unlocks that, and we thank you for it!
I have Seth Lovers in a Hagstrom semi-hollow and an SG and they sound amazing. Just had some Mojotone ‘59 Clones put in a Les Paul and they are great too. Neither set is very expensive. I do have a guitar with the Jazz/JB combo and it sounds good, but I definitely prefer the unpotted Seths or Mojos better, especially for a semi-hollow. I keep debating whether to get an Eastman T484 or just keep my Epiphone ES339. The stock pickups in the Epi are actually really good. An upgrade to Seth Lovers or an equivalent would make it even better. I also recently had a set of Bare Knuckle Old Guards installed in another guitar and they sound great. I might try a set of their Stormy Mondays or Mules at some point in the future, but they are both on the pricier side. My wallet needs a little break! 😂
If I listen to it being played and not what it looks like, I hear a tele with a beefier sound and more tones. It may look like a strat, but I hear tele. I'm sure that is an unpopular opinion.
Can you explain how to capture without damaging the QC? I have heard so many things about loads and burn out etc, I would like to make sure I do it right. I want to try and capture the new Satriani amps for my QC. Thank you.
As long as everything is running line level, there's no risk of that. The thing that will damage the QC is if you run a speaker line back into it or some other amplified signal. But for this I just ran one cable to the Tonex One input and the lorne back from the output. It's all line level so no issues.
I made mine with A ( Line Output Converter ) for car audio, Can be had for like 20 bucks or so I put a speaker plug on one channel and alligator cllips on other so i have both coverd. make sure you get one that can handle the amps output thats main thing. turn trim pots all the way down LOC turn up litlle at time till you get the out put you need . works great for me
Thanks for this specific comparison, I've been looking at both, and I feel you demoed each with a minimal amount of amp gain to better represent the true voices of each. I'm leaning more towards the satin 24, though the swampash is more visually beautiful, and better high range tones, and I've never played a 24 fret. I wish the coil configs had more single quack strat tones on the 24 fret. I would probably buy the swampash if it had a HSS set-up. Leaning toward the slightly cheaper HH Satin after this, the tones just feel deeper and more rounded, if a bit limiting. But I'm not and never will be a lead guy, which leads to my dilemma that I like the 24 fret unfinished model better, which is odd, that one should have the extra sc pickup as a lead guitar and 22 frets.😅
After a few months with the QC-this video was simply eye opening!!!!!!!!! That "long press" button to turn devices on? Priceless!! Put it this way-I haven't even created anything-been using presets, plus the one I got from you and recording. I haven't even thought of "Scenes" Am I correct in thinking you would use "Scenes" for "Live" use? Thank you Sir!!👍👍
@@davlavmusic7070 Thank you Sir-Trying to get the Scenes from you, though it seems like it doesn't come thru to my QC. Clicked download, WiFi connected-reset my Neural account-just waiting. First day here with a FRFR speaker and QC (been using JBL's). Feel like a kid again...a very loud kid:)
lol. The RU-vid transcription thinks the same thing. Something about the 'sh' sound into 'sp' sound seems to make me skip the h. The things you never realize about yourself until you broadcast them to the world... 😛
First PRS reviewer that could actually be a Dentist. 😀 Smartass comment aside, well done review and I appreciate your take. For me it seems like it's a rhythm player's guitar. Hope you get a chance to try out one with the rosewood fingerboard.
Play it like a new guitar, different than a strat. What’s the point of playing a new model with its own characteristics, if the bar is how close it sounds to a strat, or a LP, or a P90 guitar.
Really appreciate this review. Lots of gushing in other "reviews" but comparing it to the SAS helped put this in perspective. I actually bought the SAS and have been mostly happy with it but as you mention here the frets definitely needed work. I was also really curious about how these pickups stack up to others including the SAS and when you said these were between singles and P90's told me everything I needed to know.
Nice sounding guitar. On the Andertons Blog, it says "Poplar - a similar tone to alder, though some say it has a better upper-midrange. Although normally understated in appearance, you’ll occasionally see a piece of poplar with stunning grain."
I have the T59V with antiquities and it sounds incredible. You can roll off tone or dial down the pick up volume and get all kinds of lovely tones . What else do you want ?
