jimmarchi1's forum posts 8022

looked it up and its a Jensen, looks like a C10R or Q reissue or similar, maybe its more of a MOD series thing only in a 10" with a 'special design' sticker on the back, which would put it in the celestion H magnet camp. If it sounds good don't stress. I'm not sure what I would tell you to put in that laney even if you had unlimited resources.... 1x10's are tricky

we are so off topic

I enjoy the LFO madness of fruity love filter, especially if I am recording guitars direct... honestly I have use the crap out of fruity free filter since always because its handy with low CPU usage, the sytrus filters are those, some of the filters in the sampler, just the usual image lie shit.... nothing special, but handy

do you want a list of awesome, FL friendly freeware subtractives? just go on my equipboard and read reviews. I have GOBS of virtual synths, but I only post the stuff I use regularly because tis efficient, good sounding, etc

It's not very clear, but it looks like a "Jansun"?

take the back panel off so you can fucking see it

the way the top boost is wired, if you turn both treble and bass down to zero you get a giant mid-boost on top of what's already a pretty mid-heavy sound with the controls at noon, the amps are already mid-rangey for various other reasons involving the power section too... marshalls are actually less midrangey clean than a vox, they start to get really mid-focused when you get them overloading (at which point anyone without ear plugs has gotten a nose bleed and passed out and instead of playing you should be going through their pockets).... but yeah, the vox 'normal channel is HELLA mid-rangey in the tweed deluxe and supro sense, even if it has a bright switch to engage to add more treble and cut some mud, STILL MIDRANGEY from clean to scream

the vox doesn't seem that midrangey till you play them for awhile against guys with fenders and such.... totally different EQ curve, you need to work to get them to sound scooped with super extreme control settings, voxes don't sound the way people really think they do, there's a lot of misconceptions based on Beatles LPs and guys playing them in stores at 1 or 2.... and the fact that the custom classic is not voiced like a real ac30 in ay way and is even less like a legitimate ac15

Bonn, Germany.... its where Beethoven was born

the man changed everything

who cares though? Anyone can live a long time when they're boring....

Laney used to always use Celestion modern Leads or Classic Leads.... can't you just look at the speaker?

EDIT:

in the 90s and early 2000s! its been awhile, but that's what the laney cabs I've had were loaded with

other than the switching circuit for the gain 'channel' I would bet money I could schematic your amp pretty closely just by guessing... if I had to guess the preamp sits somewhere between a plexi and an ac30 top boost, these are not very different preamps, its really jut the EQ that's wired up different, still 2 gainstages before EQ with a cathode follower stage to lower the impedance to the phase inverter. The gain channel probably adds a spare 12ax7 triode stage out front to make it like a JCM800. Long tailed pair phase inverter for sure feeding 2 cathode biased el84 tubes with solid state rectification.... the question is whether they gave her any negative feedback in the power amp (its a vox VS marshall design thing) and whether your bright switch is voiced Marshally or Voxy

website or manual?

no, its probably a treble bleed cap tied to the gain pot.... if its wired as I expect it goes back to the birth of guitar amplifiers and is a simple highpass filter that has less effect the closer the gain pot gets to 10 until at 10 its finally out of the circuit.... the old idea was to compensate for the way pots tend to sound dark at low settings and ALSO to fight your ears tendency to hear loud sounds as brighter than quiet ones.... eventually it became a stylized thing to get V1 to react certain ways to the input signal like on a Vox or Marshall... obviously being tied to the gain control on a modern master volume amp it will not be behaving as intended unless the master volume is wide open, but the JCM800 series made a virtue of this (there's a bright cap of this style permanenty tied to the gain on those amps) by using it as a voicing control

hahaha... no, there's no BEST CLEAN OR DIRTY AMP! some will love the mesa, err PEAVEY 5150 for example, I do not, even if I wanted that type of sound I prefer a Soldano (less overall gain, but I don't need that much gain).... The JC120 is great at a certain type of clean, sure.... hard to explain.... JC120s are in stores, they are affordable, try one I guess... I suppose some will use the JC120 as the yardstick of clean tones, but most people would not, no

I like my mids so far out there that I haven't owned an amp with an actual midrange for years and I typical play through channels without tone controls or with the tone stack disengaged on my HW amps.... why? MORE MIDRANGE... I'm like Christopher Walken with cow bell on this score. That's why I played Marshalls for years. MORE MIDS and while you don't think of Voxes as being middier because of the Beatles? They are SUPER MIDRANGEY as long as you don't get carried away with the top boost channel

I wouldn't be expecting the CM-2 to be very gainy, sounds tubescreamery, enough gain to make a full, classic rock kinda OD into a clean amp, best set lower pushing an amp that's just breakin' up.... there's just a lot of 2 band EQ tubescreamer/SD1 variants these days so its hard to get worked up about it... Xotic, MXR, Way Huge, etc etc

this is more upsetting than when Dio died, a lot more.... I expected Lemmy to live forever, like Keith Richards

apples and oranges comparison.... sytrus is more tweakable in a live performance context (if you assign some virtual knobs and sliders to a midi controller) than my DX7, but still there is stuff with all the complex envelopes and such that, like a DX7, are too digital for real time control.... there are parameters in sytrus that wouldn't even make sense in real time... if sytrus isn't instant enough for a sound that can be handled by a subtractive or additive synth? switch synths maybe? common sense here.... no need to slowly pound screws in with a hammer if you have a screwdriver. Sure, the hammer will get the screws in the wall eventually, but why not just use a tool that's purpose built to put the screws in? it'll go faster and come out cleaner

I forgot a pedal, the MXR Blue Box, script logo... fuzzy 2 octave down effect blendable with a Nintendo/Velcro heavy fuzz tone. Fun with or without the octave, not suitable for a lot of music styles though. I had that for a while and was getting a real kick out of it at shows. Its a lot more refined than a lot of other octave fuzzes, but that doesn't make it more polite. Not the same sounds as using a pitch shift with a fuzz. Everyone should own one once.

big muffs are tough, everyone thinks they are awesome and easier to get on with than more primitive fuzzes, but almost every version ahs issues playing well in a band or in certain rooms or with certain amps... fortunately for those who must muff, there are SO MANY muff variants now that you can probably find one that suits your guitar, amp and band

your description of the CM-2 sounds a lot like a juiced up bad monkey, but the sc-2 distortion sounds seriously interesting... have you used either with a drummer and bassist yet?

I have nothing to say about the DS-2 other than to sneer that Boss managed to ruin the few things about the DS-1 I liked. You ay like the discontinued Boss Overdrive/Distortion. It always felt to me like the pedal the DS-2 SHOULD HAVE BEEN. I wish I knew where I put mine. I was just looking for it today....

huh, there ya go Starguitar! that'll work for most guys playing since the 90s or old guys who stayed in music but evolved with the times... even 80s guys had big racks (bad pun, sorry)

releasing another derpy track

hrrmmm? you got me to raise my eyebrow... I still need tog et motivated to brave the suddenly wintery weather and but cigarettes.... gah! damn you smoking, damn you straight to hell.... well maybe not that far.

hmmmmmmm

the JC120 is its own thing, wasn't my cup of tea... it will sound extremely tight and sterile compared to your laney, but more... hmm, whats a good word? precise! it has a precise sound. On the hifi side of things, but not unflatteringly hifi. Its also one of the 'warmer' sounding solid state amps, similar to a polytone combo... BUT! it is HEAVY! even by tube amp standards

the chorus is just to die for though

doesn't GC own Musician's Friend? there's a couple other big ones like zzounds thata re always spamming me to buy new stuff from them online too...

a degree and a certification are not exactly the same..... just because you have enough credits for your degree does not guarantee that you will acquire a professional certification.... I assume the whole certification licensing system is similar in both the Medical and Trolling fields

so you're the guy in charge of troll certifications? do you administer a test like when I got my Medicare billing certification or is it done with a visual inspection like how the USDA grades beef and certifies some as Angus? Is he a bridge grade troll or merely a certified internet troll?

the 120? dual 60 watt power amps, 2 EV 12" speakers (1 per side), mono preamp with typical controls, crappy distortion circuit and Roland's finest stereo chorus gluing it all together.... solid state all the way

its a little thing, sure, just sayin' that what's here is consistent and it works well for every artist assuming anyone has bothered to research and populate their board

great, Happy New Year, keep makin' music and contributing to EB

and by the way, I saw every episode of House when it was on... I had given up on TV until Hugh Laurie renewed my faith in the curative powers of hour long dramadies! Loved him in Black Adder too...

You're more looking at it from a detail oriented viewpoint, and that's fine, but there's a visual design aspect you've overlooked here too that has to do with uniform presentation of varied content. This is probably my art school training talking, LOL, but hey, you are who you are.

I personally like the clean and homogenous format of the pro pages (and am looking forward to when they CHANGE THE USER PAGES TO MATCH as promised) regardless of the artist's genre and this would change that a bit, but maybe you are right and I am wrong here and it would be killer.... I was more playing devil's advocate.

this only makes sense for electronic musicians and artists who work partially or completely at home.... I cant remember the last time I had my home studio set up and really I prefer to make records in commercial facilities anymore so were I a pro this would not work for me.... this would be great for David Gilmour's houseboat studio or Tom Petty's rehearsal space studio, Dave Grohl? sure! but it wouldn't work so well for Neil Young....

you're the OP in this situation (original poster).... but its no big deal, I wouldn't have made a joke out of it (twice) if it were... I was hoping my original joke would give you a gentle heads up as well as prevent additional comments flying your way but it didn't quite work out so I wound up writing 3 paragraphs of hippy BS... shit, I need more cigarettes

maybe a different blackstar HT would be more to your taste.... I feel like I tried one of their tube pedals in a store and liked it a lot.... I don't think it was the 'dual' though

yup, the 55b, 90s pedal, not really the same as the 55C, similar topology, different sound

Oh for god's sake, guys, drop it... you are not going to see eye to eye and it snot essential that you do. This is not a major life issue we're talking about here. Its Michael and GChiaren's site, they will figure out the dupe situation in their own way. Everyone who cares has voiced an opinion, its going to be settled at some point. Until then, stay outta eachother's hair.

EDIT:

Narcy, you apparently have the feeling that the debate over this small issue has become circular in nature. Trying to get the last word in, even to point out that its getting repetitive? That's perpetuating the circular argument, not ending it.

You guys are getting snippy with eachother, and for what?

that's a good list of criteria to be a pro, because the last 2 lock me out from being a pro these days and otherwise I would squeak in even though I haven't done anything but the odd studio gig professionally for the last decade and despite some good press, my most popular band was a regional act at best.... I know better than to start my own pro page, but maybe when someone adds a new one you should require them to post some documentary evidence to justify the person as an EB-worthy pro so that accomplished amatures and failed pros will refrain from creating their own pro pages with the intent of usng EB to hype their projects? The forum is a great place to share your music, a phoney pro page is not.

the sorting algorithm is totally fascinating, I feel like a luddite for not knowing these things existed....

as for behavior? we can all be unintentionally rude sometimes (I mean, some of us are grimey punk rockers and many of us are opinionated, egotistical guitarists -- wait, did I need those 2 adjectives? there's no other kind of guitarist and in case you think I'm pointing the finger at anybody I am as bad as they come) BUT we all know how to blow eachother off and move on even in lieu of an actual apology. We don't get flame wars on here even when the forum's buzzing with activity. Its not gearslutz, thank god. A behavioral code? Pretty simple. If its something you would feel embarrassed to say at a family dinner party then you should consider keeping it to yourself or rephrasing it.... even on an internet forum (and unlike a dinner party its hard to just blurt something out and wish you could take it back because you have to TYPE it first ;-) Whenever a forum lays down rules, I head for the hills because that means its littered with people who think there is a different standard for polite conversation on the internet than there is at the bar (fear of getting punched in the face for saying something universally offensive keeps people in line in real life, the internet relies on common sense.... maybe the world needs an angry barfly app that drunkenly threatens people with violence when they cross the line j/k).

The name of this thread was potentially offensive, maybe even a little offensive TO ME before I reminded myself that the OP probably meant nothing by it and doesn't have any way of knowing that my beloved cousin Jenny is handicapped in this way. I don't think it was lost on anyone that the OP is a younger member, probably a highschool sophomore, so a little sophomoric language is par for the course. He's a kid and I am not a big fan of beating on kids, literally or metaphorically. Adolescence is about testing boundaries and we all did it and we all hurt some feelings in the process, probably without thinking twice about it. Most of us who are now adults probably do not even remember all the foolishness that came out of our teenaged mouths. Its always harder to point the finger at yourself than at someone else, right?

Rather than make a rule it's easier and more effective to point out that "retard" was being used in an inappropriate way for a public forum with a hit of comedy mixed in to keep it all friendly. You want to talk smack in private with your bandmates? That's your business (they probably know you mean nothing by it and that you are not really a knuckle dragging bigot... after all, there are a lot of potentially offensive pieces of slang that are still common parlance whether we like it or not), but you wouldn't use 'retard' this way in your bands' 1st rolling stone interview, would you? you would never get another scrap of press if you did and you would know that. If everyone would try to handle this sort of thing with some finesse on the off occasions that it happens? Well, we will all get on better and have a better time. In my experience, a little wit and wisdom go further in making the world a better place than all the laws and rules you can dream up. Tact opens minds, not a big stick. I hope we can avoid laying down any forum rules. We're all smarter than that here, even the youngsters.

now, in the spirit of humor that I wlaked into this thread with I am compelled to say that the new thread name, "Dummy" ??? potentially offensive to ventriloquists everywhere!

And before Narcy says anything, please excuse my piss-poor grammar and stream of consciousness sentence structure (or lack thereof). LOL

what's with everybody lovin' on NI's Massive? I tried it. Its a great Wavetable synth with way more capabilities than any hardware with similar architecture, but there's not a lot that it does that Image Line's Harmor doesn't do, plus there are a load of other similar VTis that keep up with it. Is it the sound quality? It did feel like I could make deeper modern basses than similar plugins, but once in the mix that low end fidelity left me a little flat. I wound up heavily tweaking the bottom with EQ, multiband compression, etc to make space for my kick to punch in ways that tamer wavetables don't require. I would call the 'sound quality' more of a hyped low end, like a microphone with a lot of proximity effect through a transformer balanced mic pre with a ton of bass coloration. I know I am pretty much alone on this one, so straighten me out. I just couldn't shell out for this synth, and I like NI stuff. Love Absynth, well worth the price of admission!

every time someone pulls this I am tempted to switch my board to a pro board just to be a tool... at least I have and have used lots of great vintage gear

AHHHH! necropost, but thanks for confirming everyone's love o the pedaltrain.

I have noticed that there are some iconic classic rock players with well-documented gear who have shockingly incomplete equipboard (including some fucking Beatles).... I am working to remedy this miscarriage of gear documentary justice. If anyone sees a guitar god of classic rock fame with an incomplete equipboard please let me know so I can work on it next! Up until I decided to glance at George Harrison's page I assumed the classic guys were all done and done right. Apparently only Jimmy Page is (even Hendrix has holes, but documentary evidence is slow going for him, so much mythology, not enough photos and interviews)

I hear ya on all counts, but I get what Abrams was going for too. Fun movie overall, right? I did NOT sit in the theater picking it apart like I expected to, I just enjoyed the ride for the most part, which is what makes it a worthy sequel.

I am seconding GWAR, I have fun every time I see them.... they're like the P-Funk of heavy metal

Your Laney came with a manual, right? READ IT!

A) I used to emphaticall say "none" but if you are getting a lot of preamp tube drive then any time-based effect is good there as are moduations if that's your sound, experiement... a lot may depend on how your master volume is implemented though. If it is like a JCM800 then the effects loop should come after the master and allow you to dial in preamp drive before effects that sound better into clean power, if its like a matchless then it is post-phase-inverter and there is no real benefit to using the loop in this way unless it sounds better to you. I really like a flange in the hi-Z loop of my HC30 set to sound like a Leslie even though the HC30's master volume is a post-phase-inverter design (I rarely use master volumes in any significant way anyhow, if I want to be less loud I go to half power or play a smaller amp), the effect doesn't sound the same out front... depending on the loop implementation (and it sounds like yours has the right sort of buffering) it can be the only decent way to use LO-Z, line level 'studio' gear with your amp and guitar and get optimal gain and frequency response without purchasing some impedance matching devices to use out front of the amp's HI-Z input... this is also an interesting place to put a compressor and it gives you the option of using a studio unit instead of a dynacomp pedal (the pumpkins used alesis 3630s in the loop in this way on MCIS), try it

B) an impedance mismatch on a tube amp is straining the power amplifier and output transformer (if you want the electrical reasons, look it up, its hard to simplify and I'm no teacher), unless the transformer is heavily overspec like a vintage fender OR you are running at half power with 2 tubes pulled to halve the strain (impossible on a 2 power tube amp) you WILL blow your output transformer, the most costly component in the whole amp... if you are lucky the power tubes won't arc before the output transformer is done melting because if they do they take out the tube sockets (and if they're mounted to a PCB they take the whole amp out). As a beginner in tube electronics I strongly advise you to make sure you have a 100% impedance match between a tube amp and speaker(s) before taking the amp pout of standby. If you must be an idiot remember it is safer to run High impedance into low than low into high and that if you go low to high running 4 into say 8 is safer than running 4 into 16. But.... DON'T TRY IT KID! the fact that you had to ask that question makes me worry about your Laney, but I am glad you asked before you tried to do anything stupid. Even if you have selectable impedance on your amp and feel you can match speakers with impunity, when we get into say, celestions? The 16ohms and 8hms are built a bit different to give them a different impedance and they sound a it difference. As a rule in celestion and celestion inspired speakers the 8 ohms sound a little sweeter in the top end, but if you are wiring 2 speakers in parallel or 4 in series/parallel the damping effect of that wiring will even the playing field a bit. However, in purely series wiring or used singley I favor 8 ohm celestions, end of story. But YMMV, I have crazy ears and am a bit OCD about my amps, so my love of 8 ohm celestions and certain old tubes is maybe not worth taking seriously. Just be sure to take that 100% impedance match between amp and speaker(s) seriously, in tube amps its the LAW, Duke.

C) put it in a rack, slave it with other midi units and control their functions and presets like 1 big machine via a floor controller of course... you can probably use it as a basic preset and tap controller for another effects box with midi in too, as long as they are both TC effects they should handle midi program change data the same way... the point of this would be to change patches and set tempo on 2 different processors simualtaneously using the X4's footswitches only

D) wow, a big one.... read the manual, there's a lot to this and your amp ahs 3 fairly well-thought out options that al have a very real purpose. There are set-in-stone dos and don'ts based on the input and output impedance as well as the dBu level cominginto and from your effects units (if you are overloading an effect's input or the output sounds anemic and fizzy even with the level cranked then you fucked up), but there's also a lot of personal preference when implementing HI-Z stomp boxes for instance. Personally I like a straight up dumble-style HI-Z poweramp in and out if I am going to use an effects loop for stomp boxes, but your mileage may vary

did that help without getting too technical?

On these giant gear experience threads, can we all refrain from rating gear we've only puttered with at the guitar store and ehard demoed on youtube? I meant this to be EXPERIENTIAL. How's the gear really peform at a show? Based on cost and popularity I stillf avor a lot of cheap, old and common designs because they work really well IN THE MIX. Some much-beloved boutique stuff has been utterly worthless in a band even though I loved it when I first tried it at home. I actually omitted stuff I've owned but hardly used.... if it didn't go to a gig or recording session I am not going to voice an opinion, that goes for the amps thread too.... plenty of stuff left out that wound up just being an investment piece and didn't get played.

I am unsure how POG + Muff is timeless when I can very easily put a date on the POG sound, anything in that octave/pitch additive style is very much 'of the moment'... but awesome if that synthy sort of guitar sound is your bag

heads up, the fuzzfactory is basically a fuzzface, man.... its just got lots of controls instead of fixed value parts controlling transistor bias and such as well as some adjustable stuff going on at the gate and drain of both transistors.... try building a fuzz face, Sola or Vox Tonebender (essentially the same pedals but for a few components that voice them) from the schematic with a handful of parts and then start modding it and you'll be ready for a fuzzfactory, basically all the madness of the fuzz factory is about being able tos et the thing like the components have drifted over the years so tis not working right anymore, LOL