jimmarchi1's forum posts 8022

Why not just get a sitar?

I actually have to play guitar on a band's record for a few minutes and got everything wired up to cut a lead this week... the pignose woulda been easier. And I still didnt decide what echo to use... echoplex out front or space echo in post or maybe I could tap the speaker cable signal with a DI, echo that and put an impulse response on it... and there's something up with the vibrato channel on my old ac30 so I'll have to open that and find the cold solder joint... see? Mo gear mo headaches.

Digitech is DOD. They never go anywhere. Sometimes they get bought out and the new owners play the name game. When I was a kid both names existed side by side for awhile but after some really goofy genre pedals inspired by the boss hm2 and mt2 culminating in a dirtbox with delay built in that was always on and of course the grunge pedal with butt and face controls they lost a lot if their street cred... oh man, there was the icebox chorus which was an analog bbd chorus intentionally voiced to sound cold and hard... let's Face it, the fx55b while interesting is outright bad by any metric, not a ds1 competitor. But digital was still a really hot marketing term so in comes the digitech sub brand with a different array of goofy pedals like the whammy but in this case people actually liked them. Eventually DoD licenses to exist and the remaining did pedals get a digitech facelift and a boss negative tip adapter. The goofiest stuff gets discontinued and some new stuff like a tubescreamer with 2 bands of tone control comes in. And today tu he name game carries on... DOD made some cool stuff sometimes especially in their early days but they were always a knockoff company despite being american. The old stuff is directly knocked off of MXR, although sometimes improved like the od250 and to my ear the dod 1 knob phasor.

What did all that have to do with the monkey? Nothing? Everything? I still own a bad money to the best of my knowledge but no longer have any other TS apart from the VL sparkle drive knockoff in my TC nova drive (rat section's better). There's hardly any time I wouldn't prefer an od1, sd1 or mxr badass od which is just an sd1 with the green rhino treatment. If there's a need for SRV tone I keep the monkey around. I was really surprised that I couldn't tell the centaur apart from the monkey in that video although it was on phone speakers. I would do my own shootout but I wouldn't pay bill finnigan the asking price for a new unit in the 90s and if I had ponied up my barista tips for one and it actually got made I woulda sold it by now and bought a new car. Or part of a new car.

Wow, after I posted my Echoplex and sre-555 the whole thread died lol

. You're just doing a huge disservice to your own stereo guitar sound by cutting corners in the quality of the effects IMHO.

I just caught this as I played equipboardcatchup (doesn'ttake long anymore)... Liam isn't in stereo and wouldn't be using that feature. Totally wasted on a guy with a single integrated tube combo.

If cabling is a problem, make the cables. You'll get precisely what you need for the cost of switchcraft jacks and a spool of low capacitance coaxial wire. I can't imagine what would be so custom in a guitar rig that you can't make it yourself. Literally anyone can make a cable with some solder and electrical flux. And maybe, just maybe, some heat shrink. Even if you hadn't mentioned finances I would have recommend making your interconnects. It's not like you have a balanced signal or weird insert snakes. The core wire goes to tip, the screen goes to sleeve. If you have a ground loop make some cables with the screen detached at one jack and see if breaking the audio ground connection in a few places kills the buzz. You have a lot of gear and it may not all have the same ground potential. As long as your audio shields are all grounded at at least one place, preferably together you're good.

If you have to buy shock proof racks just bite the bullet and buy ATA approved cases. Nothing less will give you peace of mind. Cheaper cases aren't meant for heavy travel and especially not meant to house vacuum tubes on the road. Better to save money on DIY cables. I recommend Calzone cades if they're still in business. I haven't bought road cases in like 20 years.

Then you need to check you gear acquisition syndrome before it breaks the bank. Frankly your rig seems insanely excessive for you to be playing what you're describing as solo gigs in bars. I don't just mean that in a financial sense. A rig like yours is put together for 500+ seat venues.

If you really want a career playing guitar you should consider auditioning as a sideman for any style of music that can pay you and it's not hard to learn to read Nashville notation... your rig can handle more than prog metal. Go where the pay is.

Personally I was getting burned out on the whole thing when I was about your age (and my band was getting pretty successful until a lawsuit really kicked us in the ribs, but I was mainly hanging on for the studio) and I don't recommend pursuing it as a lifestyle but no one listens to middle aged dudes.

I have a behringer FC-whatever#s midi controller in my gear closet I'll sell for 50 bucks. Works fine once you program it... which isn't exactly fine, but that's midi rigs. I barely use it.

Making your living solely from music is probably not going to happen. Anything is possible but in the current environment it's less likely than ever. Especially as you pull up to your 30s. It's lways been a young person's game, now more than ever. Making further investments without knowing you'll recoup is probably not in your best interest. If you dont know when or if you'll see a return on music gear investment, stick with what you have and make it work. I've made some bad investments in my home studio based on paying projects that fell through and I truly regret them. I don't really want to liquidate those pieces because I'm doing work with them but they've barely paid for themselves. The way work was coming in at the time it seemed like a good idea to expand my arsenal... with a rig like yours for a guy without a paying music gig further expansion of any kind is probably a really bad bet.

My 2 cents. Do what you want.

I want to change string gauge not because tone. It's because I can't normally control that strings.

Then my advice from 30 years of guitar playing is to slap a stock set of ernie ball slinkies on, cheap investment and a good baseline for 10-46 (some brands have more or less tension in the same gauge), see how that feels. If your bottom feels too light then you can try heavy bottoms or if you want more tension across the board without gauging up look at DR strings, fenders or if you want coated the elixir nano webs...they all have higher tension from a straight 9 gauge set than ernie's. In fact DR makes extra high tension strings as well so you can a set of 9s for example that have the tension of 10s, god knows how that works but they make em. For less tension in 10-46 or10-52 there's d'adario and ghs which in my experience have the slinkiest feel.

The real question is how much do you bend on the wound strings? When I was kid I played jazz at school and heavier music in my bands (grunge era) and used 10-52 because I was mostly playing rhythm and LA style jazz solos with no bends at all or just on the plain strings. In college I went to 10-46 because I incorporated lots of string bending into my style and wasn't playing jazz rhythm in a big band and nor was I chugging power chords much either. Think about what your needs are. Easy wound bends ir rock solid tuning stability while palm muting and strumming with heavy down strokes. 46 will fight you less if you bend a wound string, 52 won't bend when you wail away on a power chord like Johnny Ramone.

How old are you?

I'm totally confused, are you flying?

If money is tight, stop spending on music, it's hard to get a return, particularly playing solo gigs as some kinda program metal guitarist. Tje world economy is not going to be improve. Whatever you have use. Hoarde your income.

If the music scene is that hostile then a single heavy rack will be more of a theft deterrent than 2 lighter racks. Another guitarist could easily swipe that 6u while they load their own gear out... my experience with bad actors from other bands is that it was always my lighter stuff that got ganked to the point that I started breaking down and locking my small stuff and guitars in the band van right after the set... no one ever attempted to grab my heads, cabs and 10u ATA rack though... too big and noticeable. As far as my gear getting tampered with? ATA flight cases have decent enough locks. Unlock for setup and immediately following the set disconnect the cabling and lock them back up. Always worked for me.

I think Billy gibbons and brian may have conclusively proven that the influence of string gauge on tone in standard tuning is greatly exaggerated. Play what feels most comfortable for you. As an engineer I can assure you that better playing produces better sound. When someone is fighting their guitar, even if they're getting the parts out every take, they're not expressing the song unless it's a tune about a frustrating struggle.

Boutique gear is great if you have a nice bus and a good case and a team of sound engineers. But if you're a low level musician, go for Boss or MXR.

Agreed. You can also replace most boss and mxr pedals before showtime at any big box music chain.

My basic rig: 62 ac30, echoplex ep3 from I think 67 or 68, various guitars. In my gear photos. Lots of other stuff I never use. Hell, my main amp and Echoplex have been sitting in a bedroom closet lately because I don't play much anymore due to eczema on my hands that flares up when exposed to guitar strings for prolonged periods of time. When I'm persuaded to play guitar I usually just plug my favorite SG into the Echoplex and run that into the vox and turn it most of the way up. Sometimes I engage the echo.

Powered up my ep3 and snapped a photo for my gear porn photos if you want to bask in the warm, red glow of a 60s pilot light.

A bit of pedal history that passed me by - what a tragic loss at just 37! That's some dreamy reverb though!

I'm only aware because he was an acquaintance and a mutual friend emailed at the time. It was weird, we're roughly the same age.

Anyway, yeah, the fx500 is a good chunk if the spx90 engine. Personally I'm a big fan of the spx90, it gas it's own personality. Those higher end, old japanese reverbs by yamaha and sony all rule as do their multi fx units like the 500 and 90 and Sony's 90s modulation box... roland and korg give Japanese digital fx a bad name although both those companies made some sweet delays and a handful of interesting, if not precisely good, multi fx.

I cannot recommend yamaha and Sony gear highly enough as it packs huge value on the used market and is built to a very high standard. I currently own an spx90 1 and 2 as well as a sony mu series reverb and some mu-e041 eqs. But if you just need a stomp version of Yamaha's fx the catalinbread seems like a good bet based on the sound samples!

https://catalinbread.com/products/soft-focus-reverb?fbclid=IwAR0ZmgoGmxus-qOeUOxqING8UHvspvP1_sbFP1NKozLvyerhYXXgVvwFqgs

Based on the ever popular fx500 half rack space multi effects box if my youth. Though Nick died and I no longer know anyone at Catalinbread, this seems hard to screw up and should deliver the shoegaze goodness of 80s and 90s yamaha processors.

Incidentally, Dumas' father was black, I shit you not my friend.

I think if I were in this situation I would pick up a less popular combo like a Mesa 22 caliber for older Santana or a nomad for the rectifier era, either or... then re sell as soon as I was done with the gig before it inevitably breaks like all Mesa amps eventually do.

There was also that rectifier studio rack awhile back with the "rectory directo" ads in all the trades. Slap that sucker into your 2 notes and you can probably cop those cheeseball Smooth licks all day out front of a suitable band.

EDIT There are some really unpopular mesa models that can be had for good prices if you've got a mom and pop store with a solid used section in your area. If you're in the eastern United states atomic music in MD is avoid bet for less desireable but very functional mesa gear. They always have a half dozen mesa combos around... the daddy's junky chain in new england will usually have some decently priced boogie gear in each location and those dudes really haggle, no need to pay sticker price. Stay off reverb and ebay, not real world pricing at all.

Well gearslutz sucks, always has, and muff wiggler had pretty strict off-topic rules last I checked, I think to avoid becoming gearslutz. I can't speak to reddit. I'm old and tend to avoid reddit, quora and dischord. There's just so many bozos floating around.

I would get you were banned less about specific political content and more for potentially stirring up controversy of any type. Gearslutz for example has enough bad behavior just from the discrete Neve purists duking it out with SSL guys and fans if later Neve gear containing ICs. I've seen those discussions get pretty disrespectful and heated when ironically everyone arguing is making music with quality sound in their own way...

What forums?

For classic album tones I doubt the signature models were used in the studio. Particularly in the 80s... they were using whatever acoustics they owned or ones belonging to the studio or producer. As an engineer I can say a good tip for acoustic in a hair metal full band mix is compress and high pass agressively... a lot 9f these tracks are less about the guitar itself than the 87 or 414 placed super close to the neck joint and the heavy processing in post.

As far as stage goes, in the 80s I remember a lot of ovations in the hands of dudes with silk scarves and ripped jeans!

I've owned both. The esq1 is easier to program and more versatile. I still have it even though it needs service. A lot of what it does can be covered by my modal argon8. It does not have a floppy drive, that's the improved version, the sq80. As far as distinctovely 90s Cevin sounds? SY series. An SY22 or 35 is a slimmed down version that's easier to program as a result. Both produce very industrial sounds with a little effort and overdrive added as needed. In big complicated SY type synths the best bang for buck is the ex5 as it's a full sy99/dx7II plus a monophonic physical modeling engine and it's got a full spx fx engine built in just like the 99 only better... downsides are the impenetrable programming interface if the 77 and 99 and some wonky midi timing that limits the amount I use mine. All post DX yamahas have a floppy drive. It can be replaced with a usb emulator more easily than the dx7 cartridge drive if you don'thave old floppies in your attic.

Yamaha's synths are much more durable than an ensoniq. If you get an esq1 or sq80 plan on servicing it right away. There are design flaws and the encoders go bad.

For puppy influenced patches do not discount the kawai k series additive synths. I'm not sure puppy used them but they can really do the business for 3electro industrial and are a huge bang for buck. The k1 us the lamest entry level one and if I recall the 3 is not additive synthesis, it's more like roland d50 and therefore a bit like the vector engine of the SY range. The k5000 was the pinnacle of the k line and one version has a bank of assignable knobs while the other is also a sampler...

For puppy sounds I've also had good luck with the korg dw synths. The 6000 can be had for peanuts and has lush analog chorus to boot. The poly61 style filter loves distortion. The 8000 lismore popular for some reason and offers a different array if sampled wave forms and stereo digital delay with a very crunchy SDD sound.

For 242 it depends on the era. They used all sorts if gear and their sound evolved a lot... NIN the esq1 can help with but neither an esq or sy was used by trent as far as I know from Charlie. Thrill Kill? I was riding along in their bus one time when my friend was the live drummer but we were not talking gear. They're very guitar driven. Bill Leeb has owned every synth ever marketed and then some. By flavor of the week things had gotten out of hand!

If you're married to a 77 or esq1 just buy a serviced model of either or have some funds set aside to have them serviced... if, like me, you use Belltone here in philly go esq1, I think they'll work on that but probably not a post-DX Yamaha.

A modal Argon 8 will do everything both synths you're talking about do. It has it's own twist to it but it does wavetable, subtractive, FM, complex envelopes assignable to anywhere and sports the nicest joystick ever put on a synthesizer which can be assigned to basically any parameter with a different parameter and range for each direction... and yes you can assign it to oscillator shapes and effectively program it to do vector while utilizing the FM features. Just a thought. My argon is the reason I haven't serviced my esq1 and I rarely use my sy35 or ex5 now...

Hope I've been some help!

Were you stoned when you posted that?

But seriously, a friend of my dad wrote this when I was a younger msn and it sums up all of these ancient questions really well, my friend:

https://www.goodreads.com/book/show/15251818-the-questions-of-moral-philosophy

Think of it as "Ethics, the Succinct Version."

Pattern? You mean multi-tap delay? Multiple delay lines?

I forgot the zoom 1201... not the 1202 or 1204 which are 'better' but tamer. Also the 1201 can be circuit bent by a guy in your country. Mine came with a sticker that exhorts me to 'drink petrol for jesus'. The modded unit does all the stock stuff and can also sound like nothing else, from mildly broken to malfunctioning robot on acid. It has a giant knob to adjust digital clock rate that can induce seizures and a bank of switches that... well they ummm... anyway, even stock it has very unusual patches for a 90s processor, particularly a budget zoom unit.

In rack fx the Yamaha spx90 is one of the kings having been heavily favored by MBV and also used in post on just about every Alan Moulder mix in the 90s (the symphonic preset is a definitive bass sound of the 90s) and so many were manufactured until they were discontinued that they are very affordable.

A lexicon reflex is another good call for far out sounds. An Alex, mpx, mx series or TC g series processor can provide 1 to 4 engines of bread and butter digital fx you'll hear on all of those ride and slow dive albums. Anything eventide was used by bands with the budget.

There's ofcourse the digitech whammy pedals. Mutron and ADA boxes were quite popular and there are clones available finally. A vox wah and boss auto wah as well as BBD delays, flangers and choruses of the 80s are de rigeur for shoegaze... stompbox digital delays were used in addition to rack units. You'd have to narrow in on specific bands that I've actually heard of to talk dirt boxes. I remember the morely wahs being popular too...

In goth rock the progenitors are Bauhaus, the sisters and the cult though none of them identify as goth... analog boss pedals for Daniel Ash and Billy Duffy in their 80s heyday. Boss DM2 or 3, CE2 etc. I've met Ash and he was still using 80s boss stomps into the 2000s. I think Duffy has done premier guitar rundowns recently.

I know a lot of bands employed a dynacomp or boss compressor post wah to heighten the effect so a basic ross/mxr type compressor could be useful.

In recent stomps there's the strymon stuff that one of our members constantly talks up... a modern alternative to repurposed studio processors with modern ad/da conversion. Youll sacrifice some of the lofi crispiness of the old gear though. In esoteric weirdness no one tops EQD. You might like afterneath, transmisser, depths etc for shoegaze. EQD goes from extreme to over-the-top most of the time... total soundscapers.

A modest patchbay isn't that complicated to design but even using 1/4" in favor of solder in the back to tiny telephones out front there's a lot of margin for error with a modest 48 point set up. And you will make errors because you'll need to drink while you wire to avoid losing your mind. You get tired and reverse things and get very annoyed with yourself... but it can be done. Clearly labeling cables first is the key. Masking tape is your friend here.

On success. I would like to have some modest success so I'm more financially stable but that's the main reason. I had a brush with local fame in my old band and after being stalked by a college radio DJ that was enough for me. The older get the less I share stuff I've work on even with peers. Its probably not good advertising policy but there it is. If I ever endorsed or designed a plugin it would be something insanely practical and boring like an expander/gate with really adjustable time constants to an ADSR level of detail and envelope curves with God's side chain, a whole channel strip of processingfor the detector. Not glamorous but useful.

Happy holidays to you too!

Depends on the model. Anything with poly (esters or urethane) finish is quite an undertaking. You can sand all year and not find wood or sand so hard you damage the top. A lot of people use boat stripper and a putty knife to melt it and peel it up in big strips...which is pretty noxious and potentially lethal if not used with proper ventilation.

I'm in my 40s. I can play an SG for hours without hurting my back. Lighter than a tele

Les Paul's? Not exactly

Sound difference is primarily that you don't hear me shout 'fuck my back!' While playing and SG but 'fuck myback!' Is a quintessential part of my les Paul tone.

Have you considered going wireless? The pack hanging on your strap might help prevent your not-a-hofner from diving... the line6 stuff with the cable simulation is pretty tolerable.

While I know nothing about Warwick's pedal boards I would definitely trust them. Warwick is a high end manufacturer with a heavy duty reputation to protect. Every Warwick bass and cabinet I've encountered has been of exceptional quality. My best friend plays a semi hollow Warwick and damn is that a great bass! I think you can trust them to pull off a pedalboard and PSU!

Now that this thread has been necroposted I read the whole thing and there was some real insanity in here. Wow. Things were simpler when I was starting out. I think there are too many options these days... you shouldn't be this distracted by rig decisions, getwhat you can afford and make your own sound with it. Be yourself,be original. I've heard shimmer verb, we've been doing it in the studio since before I was old enough to get served at the bar, once something becomes a preset from every manufacturer it's time to move on,... do I like my fancy gear? Sure. Did I make music with a single squire strat and a soundtank ts5 or a broken down radio shack poorman'smoog as a kid? You bet. Did we record through a shack mixer to a pawn shop tape deck in a basement with microphones we got at yard sales? Check.

Telling a guy with 1 practice amp to build a wet dry wet rig? Uncheck

What was my point? I don't know anymore. Take what you will from it.

The HoF and the whole toneprint family? Great value for dollar. The whole idea is brilliant and they sound pretty decent. Looks like the OP got a zoom multi. Cheers! There was a zoom rack unit in every mid level studio in the 90s. Quality working man's gear. Everyone should get what they can get and use the hell out of it. Every piece has undiscovered sounds hiding inside waiting for musical context. Work that multistomp to death dude! Rock the fuck on.

Center of gravity. No guitars neck drive when worn 50s style. It doesn't make immediate sense but it has something to fo with strap length and body contact...

Once you go flat wound on bass you never go back.

I actually now have 2 SGs that don't neck dive even at Jimmy page crotch position ;) The silver one was dumb luck though. I was buying it on general principle no matter what.

Remember, you have nothing to fear but something-something...

I can't really discuss herb as it's not a good fit for me. I've just never enjoyed it like most people do. Once in a blue indulgent but it needs to be in a really controlled way. If I get the giggles I'll likely get vertigo and feel bad in no time. No idea why it has always gone south for me but I swore it off 20 years ago and seldom look back. Before you ask I was always offered 'good shit's so it's just my body chemistry. I stay away from all elicit drugs these days. At my age the thrill is gone and it would be a bad example to my son.

Have you considered designing a patchbay? It's the single most helpful thing you can do for yourself. You don't need 100s of points like I have. My patchbay system has all the iso transformers and impedance matching hiding in the back hardwired to the gear I know to be finicky so everything I use regularly is plug n play. A lot of the stereo gear for bus work I keep calibrated specific ways with tones so I have a starting point for every mix that forces me to gain stage properly from square one so every rule I break is conscious. When I zero at the end if a mix I'll recalibrate the stereo gear with 100, 1k and 10k tones to get a clean slate...

I'm pretty good, can'tcomplain even though the workload to payment ratio has been abysmal lately! Took too many buddy projects this year... hitting up a trash godz noise music jam tonight, trying to choose a wild card synth. Lately I plsy my prophet and usually an odyssey but I might sh as ke things up and use something modern tonight... the mopho is top of the list but my argon8 is tempt9ng me. I have nm o idea what things will sound like. If its m ou re rhythmic the punch sound of the mopho cuts the mix but the argon is amazing at making soundscapes... guys like us have high class problems !

I hate to say this but adding weight somehow will theoretically change the sound of an instrument. Being hollow a violin bass will be more susceptible than a solid body.

Some designs just dive. It took me forever to find a decent sounding SG that didn't :(

Did you really try to guitarsplain the Eno/Lanois/Edge shimmer verb gimmick to a recording engineer? Do you know how many times I've been asked to add this cheeseball effect to a perfectly CV lean mix? It was really trendy about 20 years ago, man. Not parallel, all series... I usually setup an octave maybe with some dry underneath (50% or less) with a little modulation or modulated delay for extra cheese and then set up a hall verb on a unit with nice tails with at least 20ms predelay. You do not want dry pitch shift transients poking out, its 100% wet. I've been known to destroy the transients of the day signal with a fast compressor like an 1176 before the digital units just to maintain the easiest possible sound like on Joshua Tree. Ony desk I'll spmetimes return the effect to a channel and then use the aux end the shimmer is on to return a little of the effect to the input to create a feedback loop. I think this has been documented ad nauseam by Eno and Lanois at this point.

I'm sure the strymon stuff is great at this particular moment in digital history but it's still in pedal format. It looks convenient if you play in a band and use a pedal board. I have a studio and don't really play anymore. When they make a rack unit with 2 stereo processors, a detailed user interface ir plugin controller, digital i/o so I can bypass their converters if I want and a dedicated high voltage PSU I'm a be up on that. Right now they're just pissing me off by ignoring non-guitarists. I play, but I'm pretty happy with a tape echo and an ac30. W as en I'm mixing I need stuff like big sky but with plenty of knobs and i/o

Once the idea is solid on my vintage gear I move it to a VST because it gives me the utility to collectively save state (i.e., I have a Yamaha DX7, Roland D-50, Korg M1, and a Roland Juno-106. I also have the VST versions of these synths that I use in my DAW. Even though I use my vintage gear to generate ideas, all of the sequencing and printed tracks are derived from the VST’s; I don’t track with my vintage gear because it is much more efficient to use VST’s in production).

Weird, I'll go the exact opposite route

I've never had a problem with an spx90 I or II. I don't know where this stuff comes from. I guess they're getting old but the newer spx units are also great. Typically if a PSU dies on old gear it's just a voltage regulator or drying electrolytics. Not a biggie.

I'll buy a strymon when they make a rack unit with a proper bipolar power supply. I guess there's no percentage in the studio market anymore. It's not like I can't do a great shimmer with aputch shifter and a reverb i already own. Got a pile of multi fx and reverbs...

80s detune? Spx90 symphonic. Way cheaper than an eventide!

The eventide 2016 reverb us pretty iconic... I recently spent time with an h9 pedal on a session and I think we unplugged it on that session after it wasted hours fiddling. It might be on 1 song subtley. I was always more of a lexicon guy...

Those bolt on Gibsons from the ripper/marauder era aren't worth all that much because they're kinda shitty. Why not buy an actual 70s Gibson bass? Get a beater. It'll retain its value or even net you a profit. Everything made before 1990 has good resale no matter how crappy it was at the time! Obvious this suggestion involves saving up because itll be 3 to 10 times your goofily low budget. Buying used from Japan is probably a good bet in your region.

If it was me I w old buy an eb0 bass in shortscale gibbies but whatever floats your boat.

Punk? When I was a young thug with a twinkle in my eye and a warrant to appear before a judge on charges of vehicular manslaughter in a magical decade called the 90s we had a little technique called drink some vodka, turn it the hell up and play with a fender extra heavy as sloppy as you can! Which is pretty sloppy after a couple of screwdrivers.

Don't listen to anything or anyone. That's not punk rock, duder. Especially don't listen to a prog metal guy... that's minus 100 masterclass punk points. Although good luck cashing in your punk points because there's no bank of punk rock... look, I hope you're getting the joke here. If you ask about punk you're not punk. The first rule of punk rock is you can't explain punk rock. The second rule of punk rock is I'm going to head butt you if you intellectualize punk rock.