jimmarchi1's forum posts 8022

if you pledge $1000 to PBS tonight you can have an easel of your own as your free gift. Thata and a tote bag of course.

i wanted a used ac4 they had for 200 but he talked me into the mustang by telling me how it had all these presets and all of them except the bass man and twin reverb sound terrible. the guy played me like a fool

the ac4 is a really specific niche within the whole vox realm... especially old nes and the ac4tv... they don't do a ton... not the ebst amp for a guy who is starting out and isn't sure what eh wants.

have you been getting reacreational snake bites again? that might explain the tactile hallucinations

this guy knows how to draw a tree.... a happy little tree

https://upload.wikimedia.org/wikipedia/en/thumb/7/70/Bob_at_Easel.jpg/220px-Bob_at_Easel.jpg

this guy loves the tree analogy:

http://az616578.vo.msecnd.net/files/2016/07/15/6360422084426850861047257775_dr-seuss-the-lorax-884674l.jpg

he speaks for the trees, you know

oh come on, kid... that's the classic along with the motown song George Harrison accidentally ripped off without thinking about it!

I Dled an isntaller but didn't install it yet, I will this weekend

there's so much wrong with that sentence I don't know where to begin

used a kodified tubescreamer for harmonics for a few bars for extra cot on this one, otherwise plexis 18 to 100 watt, the oddd BF fender and I think and ac15 somewhere.

https://soundcloud.com/james-marchione-1/no-compromise?in=james-marchione-1/sets/under-your-bed

the 100 watt marshall bits are like dynamite

or this:

live recording, no sub100 watt amps used, all superleadsm showmans and SVTs. nd theya re blsiteringly distorted with no effects but some flange on the bridge and fuzz on the solo (I overdubbed the rhythm on my side under thsolo later I am cheater but it worked). I ahd my rig and my rhythm goon used one of my spare supers and borrowed the ngineers single showman.

Blake, get where I am coming from though, I did this and like this sound and think its not terribly broken up on any track and the cleanest guitar growls I guess in the bridge:

and this isn't pedal heavy, maybe the odd phaser here and there but tis amps on meltdown and no high gainers, not even a JCM800, all 60s and 70s shit

also how would you go about getting a similar tone to the lead guitarist for these guys ... i know he's running a clean fender but im not shure how to dial in the delay and reverb, and im not sure if theres anything other than delay and reverb runnung

no idea, that's the shittiest guitar sound ever. soudns like a fucking banjo in a trashcan... try a a good amount of repeats with a slap or faster delay time for bathtub reverb and then don't let me ehar it unless you want me to taunt you

slightly less ehadroom for truly clean than a BF princeton but mor e volume range into light OD, it ahs to be pretty broken up before it compresses even with the stock rectifier from the 60s which none of them have in current production. With a soid state rectifier they are about the same as a deluxe reverb and with a GZ34 they are between a princeton reverb and deluxe reverb with more of a range of a grit to your touch, less abrupt. I am fond of vintage AC10s too, absically an ac15 with inefficient speakers. the enw AC10 is nothing like that. But its good at what it does, like a voxy princeton. its about alf as loud as 100 watt non amster amp at similar settings though the same speakers.

also mostly no effects superleads, a little 18 watt marshall and a few bars of showman:

https://soundcloud.com/james-marchione-1/american-idle?in=james-marchione-1/sets/under-your-bed

every single one of those superleads sounded different toa degree even though they were similar to the uninitiated and only 1, my #1 stage one had a any mods. And they were minor. switched to 69 higher gain split vathode circuit, no bright cap on the bright channel and a grid elak bias nrmal channel for supro girth.... biased a smidge cold compared to the other 3 I think for more dirt. one of them had old 6CA7s or KT77s too, and one had orignal mullard tubes I think. 60s ones. Still pretty similar thogh a smidge sweeter clean and at middlig crunchiness.

BUMP

http://imgur.com/a/8XyUw

this the control room amps and there are probably 2 more superleads and a 20 watt T&B head on top of the cab(s) and then a vox ac15 in the isolation room for when iw anted to play lead in the iso room with the cab to summon feedback and get some coupling. See 2 plexis right there? I see my leg and my ancient wwII leather jacket there. You need one of thsoe tosummon this sort of distortion from a low gain amp. I think I can say that 3 gain pedals were use don this whole record, a BYOC tri-boost quite a bit for rangemaster stuff (not on this tune anywhere), an MJM britbender3 or a burns buzzaround (forget whichm basically the same thing) and a tubescreamer copy with a million switches to change the mids, cipping etc for some ahrmonics on one song for a few bars here and there where the aps weren't cutting it with just a line driver. the pedal at the bottom is DI. Notice 2 fender showmans ar plugged into for mlayered fender grind in this shot. A lot of rhytms sounded great with a showman with 2 tubes pulled driving 16 ohms and my early dual showman at full pwoer slightly driven for definition into a 4 ohm modern marhsall 1960A or B. one with rbbo another with a dynamic and balanced. Easy trick. Hot plate is on the 16ohm halfpoer shwman to goose off 2db so it can be run at 1o for about 30 watts of fender grind. There's a V4B there too, early one too.and an 18 watg clone... valve jr probably heavily modded, a magnatone.

but plexis, yeah

I'm aware of their wasp/warrant thing. Just not super hip to them otherwise. I am shooting for like an EVH thing. I can pull that VH1 thing surprisingly well off my matchless through low wattage ceramic celestions. I think the VH1 chasers discount those early G12m greenbacks and G12s speaker he used to cut volume. They play a big role as does a fet with a smidge of boost out front and some mid/treb shaping. I don't know what's come over me except getting ym chops back I realize I could easily cop that stuff i just didn't. I kinda want to now and be in a cheese ball power trio and do some doom suff and like early van halen and just that alte 70s thing before it turned into hair bands. Just ebcause its aprty music really and it might be fun as a weekender. I really like my Greco for non-trem stuff, the stock PAF copies are not high output but they tend to drive an amp powefully in certain frequencies thata re so RIGHT for that sort of thing... I wanna do a trem guitar like it though for silliness. I think the all american might be it, SG-like fret access, already routed for a strat trem.... locking tuners and a humbucker might finish it. There's not really a lot to that EVH sound as it turns out. I got it ltos of tiems touring with a plexi. Not every superlead does it but a 69/70 one or the right RI does it. Isued to abck off and tweak controls to reduce the EVHness and be mroe alt rock on stage. Now I wanna embrace it or a flavor of it. My traynor does it too.

I justs tarted talking at you and it kept going:

I wouldn't call the pricneton reverb a budget fender, vintage examples are starting to cost as much or more than an original deluxe reverb.... I actually prefer the non-reverb models, both brown and black/silver to the reverbs event hough i sued to play reverbs. Now the non-reverbs are still a deal in vintage fender! And if you aren't a reerb junky they sound clearer and brekup with more crunch and less swamp. I had a friend who owned like 2 from every cosmetic including some white knobs and brownfaces which are awesome though i really kinda slant towards th brown deluxe for small bownface tone. Anyway, I guess you cna tell I am not a huge reverb guy unless I am playing jazz. For rockin' rock, even playing clean, i don't want any cloudy bullshit. Slapback or ping pong delays to me feel way better and clearer. Guys who double up delay and reverb are straight up nuts. What you can do to a recorded guitar in a mix is totally different than what you can pump into the frnt end or even what you can get away with in an FX loop. Anyway, i gotta tell ya that a well serviced vintage princeton easily make 15 watts clean power, man. Use a sesitive speaker (I had an old JBL in mine) and it can hang in any situation but super loud rock bands. Al though I sued one in every rock band Iw as in in highschool, just turned way up into overdrive and Iw as the only guitarist, always trios back then. But you might wanna check it out, you could run it at 5 right ebfore it breaks up versus 3 on the super reverb which is a little below where the reissues start to soudn respectable. Tools for the job, man. If you wanted to get all power tube drive I would say to get an ac4 for a church gig! If I were allowed to play in churches (I don't kow if I am allowed in them) I would be a dick and brng one of my EL34 amps and disconnect the volume control. Iw as always talking about doing that with my superleads because I ahted when soundmen would ltierally walk up and grab my volume control at sound check in rinky dink venues! And they did even though I usually had an attenuator in line just in case. Its like the lsoer soundmen at small clubs in like Maryland or North Carolina didn't get what the hot palte did back then. instead f asking me to take another 2 bD off they just walked up in a huff. I almost hit one guy. I knocked his ahdn away because I ahd decided to take out a vintage amp as my main amp instead of the '88 reissue and I know I said soemthing like "don't even touch that volume knob or your grubby figners will hurt the resale on this! Don't you know its blasphemy to play a 60s marshall below 9? I thought this was a ROCK music club!" I'm sure we got a lousy mix that night but I ahd asked him to keep me outta the PA and he miced me anyway. I just wanted to rip it and use the PA for vocals and some drum reinforceement and maybe some extra sub for the bass.

my 'new-waviest' (I like that word, you can use it) band was in highschool, also used a princeton reverb with a JBL alnico speaker, back up was eventually a princeton reverb with a JBL ceramic, ibanez chorus, boss flanger, tubescreamer and that was it for a long time. Played at 5 to 6 I think. Semi hollow with coil tappable buckers so i ahd a wide range at that elvel and even wider with the OD aailable for lead boost. But I definitely didn't just cop cure tones or anything, iw as doing my own thing with those modualtion pedals. I don't think I sued the ampreverb in that group. Anyway. You can do anything you (blake) wanna do with that set up. As long as there's a strong PA or the room is small with a quiet audience.

On the other hand, as loud as a vox is, its the right volume for so many situations because the sweet spot is super wide for clean and it'll start breaking up at a surprisingly reasonable volume, you justa ren't getting to gain-banger territory at low levels without soemthing in line. I do find that even a 30 watt vox tends to peak out at a point that will make some sounden groumble but its not unbearable, you know? After that it gets moredistorted and comrpessed but not much louder.

A lot depends on your attack. i find I sound more distorted than like anyone else I know through the same gear at the same settings with the same guitar. Its realy weird because my right hand is really controlled and I don't fret very hard. But for some reason what comes out of the guitar jack is super high voltage. Its really weird. There are so many people who tell me that with a plexi at 10 they can't get past acdc levels and I am shocked because every different superlead I ahd would get past acdc at 9 for me just right off the shelf the day I bought it. soemtiems at 8! It'd be in a 80s hard rock territory with anything stronger than a 60s style strat, no pedals. Its soemthing about how I play. I know it wasn't always the case because when i went from princetons and amster volume amrshalls in the alte 90s to superleads I ahd a lot of trouble for a couple years and then after while it clicked and now every amp seems to wanna give up the goods for me. The small amps seem to roll over and fetch now too. But these days I have a lot of trouble with overdrive pedals. Even 'transparent ones. I have one I really like right now and its all rpeset in for soemthing subtle that melds with the amps, and yet its not great for everything and it just ruins my tone soetimes or eats a great lick. I play into an OD and its a mess. Boosts I do fine with but they are looking for an amp that's dirtier (read louder) so its not managing things like an OD where its doing a smidge of boosting but bringing a little dirt to the party along with the voltage jump. One thing I always loved about OD versus clean boosts is that classic ODs have some tone shaping. Many of them roll off too much bass for my taste and don't put it back but if you use them as always on pedals they work wodners at helping you cut a mix and over the eyars I've gotten away from boosts that are flat or trying to be flat and have embraced treble boosters, mid-boosters, the boos fet bost, dod bifet preamp, the echoplex, the dynacomp, EQ pedals and the colorsund overdriver/power-booster. They all have tone controls or a built in EQ curve and that's the shit. Right now I kinda go abck and forth between the gasdget I built which sits between a brian may treble booster and soemthing likethe echoplex or boss fet preamp or I sue whatever is in my ABY switcher whch si really nice, has a mid only boost with 2 fixed mid humps boosts or a fully variable gain boost where you cna click in one of the 2 mid hums or go flat. I like to do just a few dB of gain and a mid boost to get my thang going. Tightens everything up, gets a little extra out of the first stage distrtion wise adding soem swirl to the sound I guess. Or grind? dunno. WHatever you would call it. So on your original point, if you are going to gauge down to a princeton tog et it to the edge of breaup on stage at church then I woudl say boost, but not a clean one. I would find an always on type of boost with some shape, try the EP boost or the dunlop echoplex maybe. And I would work the volume control to get different shades. Or stick adynacomp before it with the comrepssion up and the elvel down if you wnnna keep your ssutain clean and also not ahve to reach down for the volume all the time. I think this amp-based approach will be less of a rabit hole for you. Boost at the back of your signal chain, even maybe after your delay. I think the transparent thing will give you grief. Nothing si transparent and I find that once you start to extract a lot of juice from that 1sts tage it sounds funny unless you DO have soe eq in the voltage increasing device. Even a little 5dB lift can make your tone all funky with weird harmonics. A lot of tiems guys are like "wow that soudns rgeat" with those boosty soudns ut then they get in the band and thigns sound funky and they dislike it after that or the band dislikes it LOL

that guy's named Russ Parrish, I am totally going to try to fnd that guy on social media and pick his brain.... I wanna build more of a van halen frankenstein guitar. maybe I should just work with my Gibson All American as the base to be different. Hmmmm

I don't know anything about churches or guys named joel so I will just smil and nod there... a lot of people think theya re blasting when they get room sound and echo bouncing back in weird spaces, but ti doesn't take much to do that... that's my practice level. In a band situation i am usually looking to feel my pants flap. interestingly, once you are getting a lot of reflections you're already loud enough to cause eharing damage so you might as well just pop some Rx earplugs in and go for it. For real, an ac30 use dinanger will tke your fucking head off. Most guys do not turn them up very far. My traynor and selmer are only rated at 50 watts bt even goosed down with ienfficient speakers they are rpetty damn loud to the point that I have to warn my neighbors if i wanna use one past 2 outside my isolated walkin clsoet. Like, i don;t feel that loud though but i know it is. I was ued to superleads turned up for the longest time so 15 to 50 watts at full tilt seems conservative.

you should try a princeton reverb though. If you are in a polite ensemble I tink its really a great amp. i was able to sue it for a big band in highschool with no issues cutting through and a great volume-turned-down jazzy clean with classic 60s reverb and even swampy trem when eneded (think killbill 2 intro tune)

that doesn't sound primitive.... that's worrisome

2 of my guilty pleasures from being a kid LOL! throw in simple minds, psychadelic furs, depeche mode and frankie? mmhmmm. Iw as way more into music in the 80s and 90s then as an adult. i eman, into music fandom LOL.

oh, I forgot you play in church, it doesn't really matter how big the church is they never wanna let you really use your amp so justs tick with the OCD, good enough for how loud they will put up with. I'll ebt you my buming aorund the house volume is louder than you usually play with a band. I am not dick measuring, just saying. I like to work them amplifiers nice n hard son, nice n hard! You might really wanna go with soemthing super small like a princeton reverb for praise and worship and just mic it, then you can really get it cooking. I eman, the DRRI is only a biscuit louder but it has a stiffer feel way further for the clean spectrum. Even vintage DRs are like that. the little princetons are great. They have a wider sweet spot for sure though the full on voerdrive is loose and a little mushy comapred to a deluxe reverb. There's defintiely some looseness and grit you get from the cathodyne phase inverter versus the long tailed pair as well as the sweetness of 6V6 tubes being run right in their sweet spot for palte voltage and wattage disipation versus the DRs which are a 6V6 pressure cooker goosing 22 to 25 watts from 2 tunes designed to peak out at 18 when pushed with really high plate voltage. I loved my pricetons when iw as in highschool adn even after. If my favorite one hadn't beens tolen I would still have it.

I just got rid of 2 vintage super Ds in 2016, hate 'em, no articulation, definitely not like the better 80s tones.... i am not talking METAL

i ahev a babicz on an oddball gibson, but I didn't put locking tuners on that guitar, it already had grovers I liked, so I its not stable for extreme stuff, hwoever the babicz is very, very good and soudns better than any other trem system i've heard.... people claim that you don't need a double locking system these days if you have a trem system that's fairly stable already and get locking tuners and keep your nut deburred and lubricated. But I don't know anyone who ahs actually gone that route. I know friends of friends and wouldn't know how tor each out to them.

I will take your advice notto take your advice, soudns like you know as mucha s I know about the shred stuff... I was kinda hoping to hear from some shred loving Van Halen or Dokken nut. You know the kidna guys I mean.... if they don't wear a headband ons tage they tiea a bandana into a ehadband and their drummer wears a headband or some of those tennis sweat absorbing fuzzy rbacelets and drumming gloves and shit. I need that guy to answer my questions LOL

Try yerasov bb10 or yerasov scsbb10 for booster, or also the yerasov ts20

3 suggestions of teh same brand? your company or your friends company?

EDIT:

yerasov? that soudns so familiar. Do they make a JCM800 clone? Russian folks, right? They make an 800 that looks kidna like a Diezel... is that you, do you build those 800s? I always see the lsiting on ebay and get tempted.

on a sort of related note, the quilter I bought is the msot imrpessive thing in amp development in a long time.... its almost a tube amp. So close, so much closer than modelers and just great. And tiny. I think a bigger quilter might REALLY suit you. One with mroe features, teh FX loop for spring reverb or a simualtion....

I'm excited because I am in a real guitar mood and it emans I can also jam on guitar AND I don't have to use mdoellers I can throw up a microphone and playone of my amps which deserve to get turned on more

maybe its not well implemented yet, but we are tying this in July man, it is so happenin'!

that's like a late period Cure sound.... any fender blackface reverb amp and a chorus (robert smith actually used a flanger whenever he was using an amp other than a jazz chorus) out front, CE2, BF2, CS9, FL9 are your best bets, the FL9 i ahd really covered a wide range of 8s chorus and flange tones you hear on Cure and Bauhaus records... but the amps settings won't jive with your other sounds as the robert smith sound tends to be like bass below 3, midrange around 5 and trbele up or maybe a nomral 5 to 7 settin with the bright cap on (he's more a twin guy in fender if I recall, so tehre's bright switches versus the deluxe reverb)... its really a signature sound to me that just says Cure and I've always beena fraid to do it even though I often have the right tools (a vox will get there with treble and bass gunned for the hollow jangle trick, but you might need some reverb)... one thing is the cure sound I always think of is more solid state amps with digital reverb, but the sound of that new band is very post-disintegration Cure when Smith went all fender. Kinda Johnny Marr too, like modern Marr, very similar sound. Smiths is more distinctive, solid stte mixed in a lot, mulstiple amps you know? and gibson ESes.

anyway, I wouldn't expect a vintage tube amp to do all this stuff in one set. Its asking a lot of an amp designed to do 1 sound at a time. I guess if you used an AB box to change ebtween the 2 channels, they are fully idnependent so you can do that, though they are out of phase which would bother me... but you could dedicate the first channel to crunch and tryan amp in a box and then the other 2 soundscould probably share the vib/verb channel though I imagine they will have very different settings? maybe not... whadaya need the boost for with all this pedalage already? I eman, I think guys miss the point of a boost or a super low gain OD that's pretty flat, they assume your non-master amp is already breaking up and you want a level and distortion/comrpession boost and they kick your fist preamp tube in the ass causing it to squish and maybe dirt up some more but also send a louder signal along so you can step out. guys get obsessed with flatness of this boost but my experience is that an always on boost with maybe 2 levels is the way to go for this application and then it might need some shaping because your preamp isn't expecting to see like 3 volt peak to peak signal, a passive guitar pickup, evne a hot one, is lucky to produce a half a volt peak to peak! you whack V1 with a full range signal real hard and you might get some flub or harmonics, inf act you WILL get it. guys seems to ignore that but that's the perennial popualrity of the tubescreamer as a boost because its all id focused and lweor mdis at that so into a fender with NO low mids to speak of you get that back and its fat like a small tweed that's honkin' midrange and little else... i am not really getting the transprent OD thing usually and I think guys are always chasig because the only way to just get more of the same is to whack the amp up louder, nothing you add out front will be more of the same! the flatter it elaves the signal with all the boost the more it will effect the voicing of the overdrive away from the guitar-cable-amp tone because the first stage is not emant to get that big a signal swing, tis nto voiced for that. in gain bangers there is a lot of shaping on teh second stage and subsequent stage to keep them sounding good as they voerload for this very reason. Its like teh amp is already boosted but with extra tubes. this is called cascading. Wanna know more? Blocking distortion, look that up.

this is really interesting and I downloaded it.... I like that I can you use my MIDI controller on VSTs (including other people's VSTs) or even put a microphone in front of one of my amplifiers and play the guitar or use a hardware synth or whatever. I'm actually taking my son to the beach for the week with my parents and my uncle's family, but after that we should mess around with this.

I will be honest, I do not like the Soul Food much so far and have not given it too much attention, i find its tones thin and a bit shrill so far, disappointing straight out of the box to the point i almost put it back in the box, which is why i am using it as a boost... Maybe i will dial in a better tone somewhere. and if the eq doesnt do the job, just use it as a shaper to grab your #2 tones

It had too much bass roll-off for any of my amps, even as a boost, no matter how ahrd I hit the amp it still kicked on and made a drop out and I don't play with much low, but when I engage an effect and the lows roll off a little mroe it soudns weird. Ia lready cut the mix just fine. I am middy and bright. As an always on effect I loved it with my settings dialed in to flatter its existing EQ. But if Iw ant a drive on all the time or a boost on all the time I will actually leave my 1 off boost on into my overdriven amp as I have it set up right now after my slap delay into a matchless turned way up. Boom. that's a jim sound. Kinda Echoplex driving the 1st triad 70s rock tone but glossier because of the boutique amp that's got some magical dust in it. I foudn the clean boost to be kidna lame because it wasn't perfectly flat like tis meant to be but it was too flat and boring to be worth leaving on all the time and the dirt it adds is just okay until its turned up to more of an OD. I like how it adds it in parallel with extra clipping tied to the tone circuit though but it just only works for soem guys and some gear. maybe if I still had a amrshall plexi.

none of these soudns have any overlap.... you cna fake 'em but the 60 70s crunch sound done right will involve turning your fender way up and maybe hitting it with a mid boost (not a tubescreamer) if you aren't using a gibson guitar. There's refinement from there... I eman, crank up an old british amp or a tweed amp and problem solved though. Catalinbread will apriximate the crunch for you with amp in a ox pedals optimized for a DRRI. its what they specialize in anymore. I've not tried many but the oens I ahve tried soudned decently close through a DRRI in a store surroudned by bad stairway and smoke on teh water renditions. I also really like the Bogner Ecstacy Blue pedal. Great pelxi like tones, higher gain modded amrshall crunch tones of the 80s, can cop some harder 'new wave' liek the cars etc. Has a great built in boost that just lifts the existing settings a preset amount, very cool. also has a front end boost fucntion I think. Did not try it witha fender amp though. But nothing is like making an amp crunch. a DRRI will do it, that's the Ric Nielsen sound though he always drove big marshall cabs back in the day (heads were props) and now he uses Gibson goldtone cabs for some reason.

the first sound you mentioned is basically too many effects, a fender guitar and a new fender 1x12 amp run at sissy levels like a hotrod deluxe or DRRI with 8 billion devices out front, 2 of everything plus a bit crusher and a pog! its a sound i could never hear again and never regret it. Its been everywhere for like 15 years. I could not escape it on the club circuit, at big venues, on college radio and now on TV commercials. When will the hurtng stop? all those 'chill indie' hipsters with their newfound appreciation of abnds I always liked such as the turtles or zombies really get my goat and have me lsitening to Van Halen this week! Soemthing Iw as neve rinto but now it feels all the better because tis so cheesey, chowy and unhip. All swagger and doofus posturing, no pretense nd not a lick of sensitivity.

I am not sure what you mean by that retro 80s tone.... I think post-punk and I think of PiL trading in their marshalls for JC120s and yamaha solid staters. Plenty of chorus. And then some BF2 flanger.

Everything you're talking about is so night and day i would just use 100% different stuff if I eneded to cop all those different tones at different gigs. Borrow stuff if needed. Long ago I realized that building a rig that does every sound ever is nigh impossible and even if you get close none of it is really right and all the shit you add degrades everything, adds noise and just MEH. Pick a core sound that's you and run with that until its perfect. There, that's your stage tone just like Miles ahd 1 horn and one way he played it and thatw as his tone and we all know it. If soemone is paying you or you are overdubbing on your band's record? by all emans experiment, but focus on 1 range f tone that's you is my advice. Maybe have some shades of it, an echo version, some modualtion, but get that core amp/guitar thing rock solid and suiting your playing style to flatter your chops.

I think too many guys playthrough teh kitchen sink these days and its just nutty. The tone is your touch and your sensibility for the msot aprt, the ampneeds to augment it or get out of the way and your effects are like seasoning not the meal. The opposite view was cool when it first emerged with new wave and bands like U2 but its doen tod eath now and its killing rock n roll.

When i jam with guys who have always played all these epals and I just do things the jim way and just do MY sound and make it work across whatever covers we wanna fucka round with by just adding echo or a chorus and messing with my guitar controls theya re always blown away by how good i sound.... and I suck now as a player, i am kinda slow and pedestrian so tis not flash guitar wizardry... but all these friends of friends are like "why does your tone sound good, what's the secret back box there?" And I am like, just a knob, a jfet and a handful of caps dude, you could make one now voiced for your hands to give your amp a little push! And its always on LOL, end of the chain isntead of a flat buffer. Everything else is just TC and line6 shit and usually off. The amp is just a stock amp all the time. Tuned up, sure, but stock. Half the time I don't even sue a a channel with toen controls or I just turn them all the way down (whcich is flat on a top-boost vox type channel versus marshall which is wired opposite where maxed is flat, its a few parts difference changing them around and that includes the mid control, the custom classics had a switch from classic vox to custom which is marshall and tweed wiring of the same basic tonestack).... I think kids have just enver sat down and elt their guitar and ahnds do the talking through an amp set to let that happen. Now hen you fuck it up its really bad, but don't overplay and you'll be safe. For a while I used ZERO effects or just my boost i built. I would get modualtion effects through sheer hand technique vibratoing, headstock diving, behind the nut bends and pinch ahrmonics moving around to simulate phasing and stuff (you cna do thsi clean on arpeggios if you know how, helps to use the 3 finger pick technique isntead of the hybrid technique for this one)

feet and inches? english here, metric is still metric, although there's some debate about whether temperature in emtric is degrees centigrade or degrees celsius

don't hit it too hard without compression, you'll overload the preamp!

you know what I don't underestimate? your ability to fit at least one emoji in every fucking post you make, jeez man

in the parlance of my 20s, you go girl!

outta time but I'll give it a listen when I get a chance (soon). Just go buy SOMETHING for shits sake after we do. YOU ARE THINKING TOO HARD.

yeah, seriously, I buy shit all the time that I don't even need and if i don't like it I return it after a few days HAHAHA or in old gear I just put it right back up for sale or trade. But with this whole thing man, i thnk FL will do him fine if like he would just buy it and then the other stuff, if he tries it and hates it then he should return it. A lot of the good big-box online retailers have 15 or 30 day no-questions asked return policies for almost everything. But he's going to like whatever he gets because he ahs no experience of anything else! Or he will hate whatever he gets because even with a neve channel and a U47 he doesn't know how anything works yet anyway LOL

It like a 9 yer old can make all my fancy guitars and highly tuned up vitnage amps sound like shit. I remember when i first got into marshall plexis Iw as an decent player but Iw asn't used to powerful non-master amps and i couldn't ontrol that ebast, took me owning it for years to get it down. i amde it suck all the imte and had to make it my bitch. Recording equipments like that, right?

I think from talking to Nikhil ebfore you were oN EB I remember that I thought his writing and arrangement and tehrefore productions were more of a mess from a lack of decision making then from not knowing the gear. Like his naiivete was less of a problem then like just not being able to decide what he was going to do and just spitting teh difference everywhere. And music is about boldness. What young guys who gos traight into computer based recording and also aren't actually accomplished touring players first don't get is decision making. BOLD decision making. On tape and shit we ahd to decide, right there and print! Options were limited, you ahd to erase a take to do another one unless you had a huge budget.... and like ons tage, you gotta just decide if you're going off scipt or what you'll do to cover a major fuck up someone makes or like the bass amp dies, should you ifnore it or try to make it soemthing cool and aprt of teh song that night while it gets swapped out? Don't stop! just fucking decide, right? And be confident with that shit and live with it.

FUCK those Martins. Only ones I've ever liked are in the bankrupcy price range. I'd take a Gibson, a Guild, or a good Epiphone over a Martin any day.

I pretty much just like oens form teh 30s and I like thos gibsons better too... I mean, i abrely know froma cosutic guitars to be fair. I usually will record with whatever anyone else says good when i am playing on a real project LOL. But whenever I try a enw martin, even like that clapton replica one that costs what a BMW costs I just wanna stop playing it. They all feel clunky and sound clunky even set up for jangly strings or whatever else one might do. And the old ones don't feel clunky to me. Stiff but not clunky. I feel like I cna't get any real music outta msot martins. My uncle ahs a high end martin he loves and while its less clunky than some it still doesn't sound like music to me. Even when he plays it. Although he doesn't usually make any guitars of any type sound too good. He gets music but guitar? He jumped to bass mostly and thank god. He's a guy who made some of my best stuff sound mediocre and lifeless.

seems functional, that guy should stick to singing, he obviously knows how to play the guitar some but I really can't stand his playing and its biasing my impression... the vocal and guitar sounds decent and that's a tough one with a single microphone. Maybe tis just that I don't like modern martins a whole lot. SO i am going to say the mic is a functional condesner that soudns like what you put it in front of if you have a clue about mic placement, yeah. Sure.

but tis not liek I cna play the guitar anymore, I decided to practice again and I swear I'm getting worse, not ebtter, my hands are all out of sync for anythign worth doing. Maybe ebfore you can be as good as you used to be you have tog et as bad as you were the week you started playing as a kid? Sorry, thread hijack. I've been ahving like amid-life guitar crisis all month or something. All ym stuff sounds so fucking good but I think I sound terrible.

I'm an idiot. Took me about 3min to get this.

reaching for coffee

that's some punishing punnage

its the English system here... or did yu mean the royal family? they don't take our calls so we don't worry about them.

I am not a huge shred fan, nt a big EVH guy, was always a brian may and slash guy as a little boy, but for some reason iw ant a poodle-metal super strat. Anyone try the EVH frankenstein humbucker? Or I could get one fo duncan's classic EVH/lynch type pickups I guess. Or stick with my favorite hot bucker, the custom/59 hybrid.... that EVH brand frankenbucker is pretty hot by mys tandards and the shred tone I like is kidna early EVH. Not sure that shit was 14k dcr back then in the 70s.... although i really like anama's sound, that soung is a guilty pleasure....

anyone know about floyds? worth it these days? or should I do like a babicz and locking tuners? I really hate the way floyds decimate your bass response, so if a shred guy thinks the floyd is not eneded I don't wanna floyd!

I'm just going to throw someparts together and see what I get, but I don't know a ton about this and even after reading about EVH, the progenitor, there's so much misinformation that the only think I get is that Ed liked superleads turned all the way up before he went soldano and then had his own knockoff soldano made and I'm not stranger to the giant marshall sound with everything near 10 LOL

they are idiots, I legitimately like every 40s eries mic! I stll religiously use audio technica on AC30s, I think that is a perfect combiantion and I've tried everything.

do theys till have the sizzler? I haven't passed one on the road in a decade.... I should have said red lobster, but the sizzler is a far funnier 80s seafood chain. Probably because I am a huge fan of that Alan Arkin movie "slums of beverly hills".

https://youtu.be/7nJrimemQvU