Well, that makes sense I guess ... as far as the amp goes. Effects are a different story, all of those need to be just as quickly / easily tweakable as the amp, so if they are buried in a patch somewhere, they are not.Not much different to a multi channel amp. Depends how you use one. I generally use one or two patches mostly so if I did gig no biggy. Many users run a graphic equaliser post modeller or use a power amp with EQ like the
Seymour Duncan Power Stage 170.
Also the giging scene has changed so much since you were giging. A lot of places won't allow big rigs any more. Direct to desk and iem's are common. If I was giging I would probably change my rig. Though that could be to a Atomic Amplifirebox that works just like a 2 channel amp, with real knobs. Or into an amp with EQ. The basic patches wouldn't need to change as the eq changes needed should basically be the same for all patches. What I do know trying to use amps at home the modellers can get a great consistent tone whatever volume you play at. The real amps can't (still wishing I could crank that real JTM45 at home). Some of you guys over there may not have a neighbour for miles. Our houses are a little closer together. A good sound at family friendly volumes is what is needed.
cheers
Al.
In addition to the beano tone he achieved with the JTM-45 and allegedly a Rangemaster treble booster, and the Cream era "woman tone", there is also the Layla sessions tone (my favorite) which he used a Fender Champ.
My understanding is the Rangemaster was simply a rumor and an attempt to explain the brighter sound that people couldn’t get out of a stock model 1962 “Bluesbreaker”. I believe the real reason for the tonal difference is Clapton’s late 1965 amp still had the Alnico speakers which have that bite, whereas the later production amps had the greenbacks. If you ever get a chance to compare a Bluesbreaker with greenbacks and a Rangemaster (or clone) and a Bluesbreaker with Alnicos, you will quickly hear the latter sounds much closer to the Beano tone.