solusash's forum posts 241

We're talking mid/side mic placement, right? Ribbon/other figure 8 pattern mic, with a condenser mic placed above it? I'm talking about the Woodpecker for the ribbon mic in that equation.

Not wordsing very goodly, I guess. TL;DR: I've got a couple of SDC modeling mics that sound pretty damn nice, original plan was to use them for spaced pair, get an all analog SDC for to go above whatever I run for figure 8 in the mid/side-mic/side (which is it called, actually?) equation, but the spouse thinks that may be a bit overkill because I'll be double tracking anyway.

Gods above I should be in bed.

I'll have to find audio clips of all of the above, but aye, the mid mic is likely going to be a ribbon all said. I need a good ribbon. Leaning heavy Blue Woodpecker here lately. I like the warmth it has. I feel like it'll play really, REALLY well with my KDG70.

Originally, I was thinking have the modding mics for spaced pair, and then use analog for mic/side, but the more I think on it, the more I think I'll just use one of them for that paired with an analog as well. I'm really liking the sounds I can get with 'em, and it'll save me quite a bit of dosh going that path. That's not to say I'm NOT going to be building out further, just at the moment I'm not sure I need to go all out with having every possible way to record an acoustic guitar set up at once. My partner reminds me "That's a bit overkill, probably. Need to pull back just a bit."

Well, I say I need a good ribbon, I don't have one, but it's probably more of a want a good ribbon. Right now the nerve/tendon situation is such (along with general health) that I just can't record like I want to anyway. Basically just trying to get my studio in order for my grand (assuming such a thing ever happens) return. I WILL record again.

I have to keep telling myself that. The alternative is just... it's not an option.

So just to come back to this, I found a thing.

https://vcvrack.com

Uh... I'm going to lose a lot of time to this. But it'll likely save me a lot of spending money on things I don't need, and allow me to refine my tastes, my technique, and figure things out in a musical manner.

So that's a thing!

What I've found out: no, the matched pair thing doesn't matter as much these days as it did back in the day when batches of microphones could sound very different from one mic to the next, so having a so-called "matched pair" ensured as close to the same EQ curve as possible.

As regards to which mics for what, jury is still out on that, going to be masking up tomorrow and going to my FLGC (friendly local guitar center) and checking out their demo rack on LDCs with a figure 8 if they've got any. If no, I'll just roll with my Blue Yeti for the nonce and upgrade it later, probably snag the SDCs next payday. The modeling mics should be here by Tuesday (if you're looking for those, you'll really want to snag them, according to one of the places that I tried buying from (the first £100 off, thank the gods for price matching) Antelope can't keep up with demand so they're going out of stock EVERYWHERE).

After I get them, I'll maybe do a demo showing them off.

Soon as the weather passes, I'll be bene, but thank you!

The Notorious, I believe is what Tim Henson of Polyphia uses, so for math rock, that should work, and work well. And should balance it out pretty good, too.

Ya can't go wrong with DiMarzios. I've got original Super Distortions in my Lotus L-400 (red guitar under my name), they bloody rock. Super 2s are kind of the reverse, more top end, less bass, and the Notorious is kind of even across the field. A P90 is a totally different beast. So that's three very different sounds, just depends on if you want more top end boost, really. Can't say I know much about the SD P90, not a fan of SD pickups myself (even though my current favorite guitarist uses them--I just... I don't like 'em), but if they're like other vintage voiced P90s, it'd be kind of equal overall, just a bit top heavy.

So taking that info together, you've got three pickups, two that skew top heavy, one that's more even keel, so you seem to be tacking towards the treble side of things. If you're going for balanced overall, the P90's EQ values line up closest with the Five Twos, whereas the Super 2s just bring a lot more top end. The Notorious actually roll some of that top end back, and bring a little more low end.

That's basing everything off of what the EQ charts say--not actually listening to soundclips or what have you, bit of a migraine right now--bad weather in my area. But should give you an idea of where to go with it.

So I'm about to drop dosh on a pair of Antelope Audio Verge modeling mics, those are set in stone, getting a deal on them. In addition, I've got a chance to possibly get either a pair of MXL 603S or 606, I was wondering if anyone has any insight into either. The 606S come in at roughly double the cost of the 606, but they're also a true matched pair (does that actually make ask that big of a difference?).

They will be used almost exclusively for recording my Kay KDG70 and Ibanez EW2012ASENT guitars, as I'm currently shy an acoustic drum kit.

All that being asked, another question is what would be a good figure 8 pattern large diaphragm mic to pair with any of the above for mic-side configuration? Then again, I may pick up a single SDC mic for that job, so I can have the matched pair close in, the Antelope modeling as a spaced pair, then the LDC and SDC as mic-side.

Yes, all three. Different post processing on each side of the stereo track, with different EQ, swap mic positions for the double track, and see what happens.

Anyroad, the modeling pair is set in stone as I'm getting nearly 100 quid off. Just curious about the other sets, or suggestions in that similar price range.

I have went back to absolute basics because of the nerve/tendon damage in my hands. Spider walks, scale drills, alternate picking, and right hand fingerpicking de-synchronization with the left at tempo. Make sure you're practicing with a metronome always. My favorite right now is 8th notes at 100BPM (it's all my hands can take), just up the frets, 1234 on the right hand, pulgar, indice, medio, anillo on the right hand. I throw in the pinkie and skip pulgar every 4th measure to keep things interesting. Skip strings, alter what order your left hand plays, 2431, 3142, whatever. Alter what order your right hand plucks, IPMA, MIAP. Just keep the tempo and dynamic consistent, that's the key. It's harder than people think.

That for 15 minutes, after stretching your fingers. People overlook stretches. I don't understand that. I have a list of stretches from my therapist (again, major nerve/tendon damage in my hands), I've just been doing those before each playing session. You can probably look up some decent stretches you can do, I would suggest at least 5-10 minutes of that. You stretch before you exercise, it should be no different playing guitar for an extended period. Your hands will thank you later--trust me.

You can mix up your warmups, too. Doesn't always have to be fingerpicking. Swap out alternate picking and speed drills to keep from getting too static. But always, always, always with a metronome. I just recently bought the Soundbrenner Core Steel edition. One of the best practice aids I've ever had--YMMV. Super expensive. But I needed a new watch anyway.

So yeah, that's my advice!

Have made sure to post it to all the relevant places and parties that care about my music, even some of the ones that don't (to rub it in). So hopefully you'll get a few more listeners!

No worries. If you play it, let me know how to listen to it, I'll be sure to get you some people tuned in.

Showed that to my kid, and they went NUTS on it. I mean absolutely nuts. Super fast arpeggated riffs, very frenetic stuff, basically exactly what I expected out of them to make. But yeah, they're learning a bit, and showing more interest than ever. I hooked 'em up with an old Casio £50 keyboard (I wanna say CTK-2000?) I had laying around, so hopefully they'll go nuts with that as well.

Now I'm trying to cipher out a decently priced actual factual workstation to get them. If this were the 2000s, I'd lean towards the Roland JX305 (if it were priced at what it's going for on Reverb right now, anyway)--but today, that's kind of a shite workstation it seems. I want them to have something GOOD, but not overly complex, but also not bank breaking, since they may not stick with it.

Again, sorry for delayed responses--likely going to be in and out over this coming year--my health is... well... If I make it it to 2022, I'll consider it a win.

I cannae believe I'm actually about to do this, but after twice in the krankenhaus in the past month, I figure what have I got to lose?

https://drive.google.com/file/d/1F1vi07LKTqOyXZAtS4NyihQCBaFinZMk/view?usp=sharing

There's my most polished song at the moment--just under a year old, I've sadly not had much time to work on aught else due to my health. It's called "Rain Under the Waves," and other'n ambient, I'm not really sure what else to call it. Soul of Ash is my musician name, feel free to play it if you like the vibe. I'm not about gaining a huge following or whatever, I think I have more followers on Twitter because of my human rights activism than my music, but having a few new ears hear something I did would be pretty neat. If it don't fit what you do, no harm no foul. I'm hoping to do some recording again in the coming weeks (health permitting), that may be more in line with what you're looking for, so if this ain't it, let me know, and I'll slip that your way if/when I get it done.

Put it this way, just found one sold on reverb for £300, and from all the reviews I'm reading about 'em, they're a pretty solid little player. Shouldn't take any time at all to get it set up and playing the way you want it--should have a much easier time with it than I did with the Lyon, that's for damn sure! Even pulled a few clips off the YouTubes, they sound pretty decent as well. Trem looks solid, even if it's just a knock-off FR. All in all, if you're getting it for £50, you may want to check for the boaby, as it looks to me like you're going to be doin' a robbery! :D

For two tanks of petrol, I'd tag it and bag it anyroad, good or bad--it'd make for a great modding platform, learn how to work on an axe, a junker to throw in the back seat and not worry about getting banged up on a weekend out with the mates... I picked up a Lyon by Washburn Strat copy some 15-16 years ago for about that, it's still going strong, has been my backup guitar at many gigs, first guitar I ever put a killswitch on.

Seriously, for 50 quid, I'd jump all over it, with almost no exception (Maestro and First Act... those arenae even worth smashing for firewood).

Course, others may disagree with me, but that's my 2p worth on it. Get it, mod it, learn to work on guitars with it. Worst case, you're out two tanks of petrol, or a fairly nice night on the town with your partner--which, I mean, it's the 'rona time, that's not really happening any time soon--so yeah. Snag it, grab a toolkit from StewMac, AmazonSmile, or wherever (if you're going to use Amazon, use AmazonSmile), and learn on it.

Michael and Giulio just updated the GearIQ system yesterday. Everyone’s GearIQ got a boost as a result.

Oh good, I thought I'd stepped into the Twilight Zone, mine went way up from what it was. I mean, I don't mind, just... it was in the 300s, and suddenly, BAM, 5x what it was. Need to keep a careful track of it now, I'm closing in on the dream goal of 2112! (bet you can't tell what band I'm a fan of!)

Framus makes good kit. Ibanez is my go to brand (if you look at my page, you'll see I own quite a few), and their guitars in that price range are better equipped than most (in my opinion), but I'm not loving the AW54CE. It really just depends on what it is you're wanting to sound like, as from what I'm hearing in clips, have very different sounds. The Takamine has a darker, warmer sound, while the Ibanez is brighter (acoustic mic'd). DI'd, I actually don't love the sound of the Ibanez, though that could just be the cat playing it was playing awful close to the bridge, and it had an almost banjo like brightness to it.

So at the end of the day, it does come down to what sound you prefer, but acoustically, they have very different sounds, and their electronics have very different sounds.

One's bright, and projects, one's dark, and has a warmth to it not unlike my Kay KDG70 (which is my go-to Acoustic for literally everything but 12-string work--it's the acoustic guitar pictured under my name over there in the sidebar).

Of the two options, I think you can divine which one I'd go with (the Takamine, I'm saying go with the Takamine--but again, it's all up to what kind of sound you personally are looking for).

I'm Scottish. There's nothing political about two pence. There's no typo. Pence is subdivision of the pound, similar to how you yanks have a penny as the subdivision of your dollar. I mean, if you want to make it political, you do you. I'll have no part of it.

Sorry I didn't know, I'm from the U.S. and we have a former leader by the last name of Pence, that's what I was joking about, I also thought you had misspelled cents (which again, is a U.S. thing.) My apologies.

Three things I try not to ever talk about: Politics, Religion, and Sports. They're rather sore spots for most people, and my opinions on all three are rather... well, let me sum it up: Born Scottish, but grew up in Africa under a theocratic totalitarian regime. Very opinionated am I.

No worries, though--water under the bridge, as it were.

Just my two pence.

...How to be political with just one typo haha.

I'm Scottish. There's nothing political about two pence. There's no typo. Pence is subdivision of the pound, similar to how you yanks have a penny as the subdivision of your dollar. I mean, if you want to make it political, you do you. I'll have no part of it.

As to the guitar thing, the question has been answered. Expensive guitars are like expensive cars. Higher end appointments make them more pleasurable/easier to play, more collectable, nicer to look at, etc.. Essentially, anything after £1000 is up to the person buying the instrument and what they want out of it. Personally, I want the EndurNeck on a .strandberg* because it's supposed to help with tendon/nerve damage, something I struggle with. That falls under the "easier to play" category. They're also made out of exotic woods, so "nicer to look at, more collectable."

Fanned frets give multiscale, those usually come on £1000+ guitars, so more features.

Again, it just depends on what you as the player define as important.

As someone who has driven a Ferrari, no, they're not. Lambos are where it's at. Better gearing, better shifting, just so much better (yes, driven a few Lambos in my day, too).

Just my two pence.

Shelby

that is all

1967 Shelby GT500 is a nice ride. But still doesn't hold a candle to a Murciélago. Seriously, once you drive one, you understand. One day, when I have £500k lying around I can blow on whatever Hel's Bells, I'll have one (and a certain Gibson Les Paul "The Les Paul" as well--take a guess what serial number). I've never driven any car that handles better, shifts better, or feels better driving.

One of the benefits of being in Europe during your teenage years, getting to go to some of the fancy raceways and drive different "luxury" sportscars. And I have yet to find any car that comes close to a Lambo. Don't know I ever will. Nothing I've driven has shifted even close to as smooth. Just... such nice gearing. Oh my giddy aunt, so fine. Just beautiful. Gods above. Perfection in a gearbox.

As with many things, “better” is subjective, ie I would say a $2MM Ferrari is infinitely better than a $20K Honda in every capacity. I truly believe your comment on, > if it brings you joy, is what it’s all about.

As someone who has driven a Ferrari, no, they're not. Lambos are where it's at. Better gearing, better shifting, just so much better (yes, driven a few Lambos in my day, too).

Just my two pence.

I dig on the RE-20. Boss bills it as the RE-201 reborn. Personally, I've not use the RE-201, so I can't vouch for just how accurate it is, but I do know the RE-20 is a darn nice piece of kit.

That said, the best damn tape echo I've ever used is the Evans Super Echo EE-6. And I'm STILL trying to track one of those down, guitarist I knew played one, and gods above, below, and to my left, I need one.

Make Noise! That was the one! But yeah, there's some super nice stuff out there that, with some tweaking and playing with, I think not only will I be able to do what I want, but I think I can get my kid on board with making music as well--they've been showing an interest in the "Wait, buttons and knobs and wires make screeching noise, but if I turn and press enough I get MUSIC?" and it's a joy to see.

I don't know if I've got the job yet or not. Kind of a bummer on that. Really hoping for it. Not just for the better hours and less stress on my body and mind, but we'd have to get a second car, and the spouse has agreed that since I've been such a good boy through 2020, I can get a Mini Cooper (finally)!

Oh no, "idiot lizard brain" is a running joke with a mate of mine--we've got "lizard brain," "monkey brain," "human brain" and "amoeba brain" to represent different stages of thought/mental awareness.

Jim, had my own business. Gave me two heart attacks! :D On the level though, if this job works out, I'll be using it as a day job, and likely start working on music as my side hustle full-time.

I don't do anything by halves. The spouse thinks it's a side effect of the ADHD. I get involved in a thing, then I go all out. I'll look into the Minilogue for sure, like I said, my kid is showing interest in sound synthesis, and if I can get them interested in making music, then I've won a battle I've been fighting for since they were born! The part of that I'm really looking forward to is making music as a family. STILL want them to learn guitar, hopefully find myself a white Lawsuit Ibanez Les Paul, get them something similar, find them a Kay KDG70 as well, then have 3 generations playing white LPs and Kay KDG70s in a video with me dear ol' da.

Life Goals and whatnot lol

Right, OK. So I have managed to piece it all together (the information, not the actual gear), and figured out the direction I need to be going with it. Mutable Instruments, Erica Synths, and there's one other company, can't remember their name off the top of my head, but I've got the list somewhere, they've got the kit I need, and I should be coming in under £3000 to get close to what I want to be able to do with it (until I start buying Folktek because they're just so godsdamned pretty), based off the info you lot have given me, the YouTube videos I've watched, and spending way too much time on that fancy site where you plug modules into racks kind of like your gear page here but for Eurorack.

Again, sorry for the absence, this go it's been intensive job hunting on top of the physical therapy--I'm hoping I landed the new job, which'll give me a solid 8-10 hours a day of home-time to renovate the studio and record.

And the only reason I'm managing to understand any of this is because you lot are very good at explaining it, and once I read over the posts a few times, it makes it through my idiot over developed lizard brain!

Aye, therapy is killing me. The injured finger is basically useless at this point, may require another operation, and while only one finger is injured, due to the way the surgery was done, I've only got 7 functioning digits. Bugger that. To answer your question on the post over on the gearpage, nah, it's my pickin' hand, but I fingerpick mostly, so it is causing a blow to my playing. Quite a bit of one, actually. It's also my traffic finger, so no more Jersey Salute when people cut me off!

OK. So if I'm understanding everything correctly, doing what I want to do is going to require quite a bit of kit (yay!), and I'll still need an external controller for polyphony. Controllers I have. I am not opposed to using Eurorack modules as the processing units, as in the second video you linked, pkennethk. In fact, that's pretty close to what I'd like to do. Also, confession--a bit part of it is I'm a gearhead. I like collecting gear, and I like having the physical component.

Also, you're right--the second video I linked (Rain Under the Waves) IS explicitly software. I used a LOT of Spitfire Audio's LABS libraries, as well as Arturia's Keylab suite. Only way I could get the handbell sound I wanted, since I don't actually have a handbell set here at home (gods how I want one though, used to be in the Youth Handbell Choir back when I was religious).

monochrome, wow. Even after reading over that a couple of times, I'm... That's a lot of information to absorb for someone who really doesn't know much about it yet, but the links to your setups was helpful! Also shows that it's going to be quite a bit more expensive than I'd thought at first. Which ultimately is fine, I'll do like I"m doing with my 500 Series rack, a module here, a module there.

So VCA, VCA, and more VCA, plus filters, and then that chorus unit you linked, and that'll get me started. Nifty! The spouse'll probably look at me funny since I can do all this with software, but I'll just point to their wall of anime and manga.

I still feel this isn't quite as good of a reply as it should be, but typing with 7 digits is... well, it's difficult.

I haven't forgotten about this, I've just been in and out of the doctor the past few days--I apologize. I'm hoping to have a few days coming up here soon I can sit down and read over everything to properly reply.

Again, I apologize, final legs of reconstructive surgery on my hand, so pretty intense on the physical therapy and the resting bits. And I do thank all of you for taking the time to respond!

Stuff like this: https://youtu.be/_nxh1Ag9zNc

Very relaxed, calming. From my own work, I use a lot of string type sounds, pads, and drones. That I have actually published where people can hear it: https://youtu.be/-YRUfi8ukok

Stuff that you can have playing in the background and just kind of lean your head back, close your eyes, and drift off with. If that makes any kind of sense at all?

So this is the year I get to renovate my spare room (supposedly) into a full-blown studio. I'm going to be going 500 Series rack for most of the recording setup, and I'd like to have a small Eurorack hardware synth setup as well--I figured I could start learning the basics with Behringer products since they're easily attainable/don't break the bank, and upgrade if it's something I'm actually able to utilize in a manner I hear in my head.

Mostly I want to do ambient soundscapes, swells, pulses, things like that. Sure, I can do all of that with software synths (and currently do), but there's just something about having a hardware setup on my desktop that appeals to the gearhead in me.

That said, outside of Andrew Huang's (and a few other Youtubers) videos on the basics, I'm as a newborn babe when it comes to this topic. I've a few articles pulled up and am reading about what I'd need, but I figured "Ask the community" would also be a fast way to get the "You need these things at a bare minimum to even make sounds like what you want."

Thank you for your time!

I don't usually. But if I do, I use Claytons. Sometimes I use .80s, sometimes I use .67s. But usually I just fingerpick.

I understand about the no time thing. You'll note my postings went from "fairly frequent" to "next to none."

But nah, you're fired. Never working my rig again. Don't trust a man who thinks the Edge only uses one delay! Next you're going to tell me we landed on the moon and the earth is round! (I'm being sarcastic in case anyone misses it)

And you're mad! Mad I say! But we're all mad here, so it's OK.

One of those instances where you're bringing the alternate information, so burden of proof rests on you. Not saying you're wrong, just I have literally never seen that anywhere, and anywhere I look for "The Edge Delay" "The Edge Delay Sound" or anything similar always pops up with two or more units.

So, if you'd be so kind as to provide the link, that'd be great.

Every interview and rig rundown I've ever seen about the Edge mentions at least two Delays (Korg SSD 2000s or some such, and he's got a selection of others). This is the first I've ever heard that he's only using one delay and it's his picking patterns.

I mean, not to knock him, or take away from him, but seriously, pretty sure he's using at least two delays.

I stack delays all the time. I also stack phase and chorus all the time. Course I do weird, ambient, proggy sounding doom shit, so I may not be your best reference point.

But yeah, syncopated delay is something that's done quite often. Two delays, one set to a quarter note equivalent, one set to a dotted eighth. Go crazy with it. You'll get that crazy sort of Pink Floyd Run Like Hell or just the U2 in general delay sound. Fun times to be had by all!

Or not, as the case may be.

Could do a Mod Shop Strat and have a semi-custom shop that's sort of uniquely yours?

There's also the Fender Exotic Rarities series, they had some really nice looking Strats in that.

There's also This Vigier HSS that's under your price range, used, has a couple of dings. But it's a Vigier, so that's a thing.

The PRS Silver Sky some people say is the Strat Killer, I disagree, I don't care for it myself--but I don't care for PRS. YMMV.

There's all manner of Ibanez JEMs and the RG Prestige series in that price range, you may even find the occasional Woody for that--they're a Super Strat, don't know if you're going for HSH or want SSS or what, but that's an option.

I guess the main question would be "What are you looking for out of this guitar?"

I think I am now able to extend the budget to amps under $2500

You can lay hands on pretty much anything you want for that price range, hell, you've even got a couple of Two-Rock 1x12 combos and used amp heads in that range. Like, seriously, that's basically anything you want money.

Matamp GT120MV? Done. Orange OR120 from the 1970s? Done. Vox AC30 Handwired? Done. Hel's Holiest of Bells, you could split it down the middle, and snag an AC30 for your cleans, an Orange Rocker/Tremlord 30 for your dirt, and a nice A/B switch (if you got the Rocker and the JHS Mini A/B, you'd still have another £400ish to buy gear with) to swap between the two.

That's what I'd do.

But my sound pretty much revolves around Vox/Orange anyway.

I'll be going with the DiMarzio. Again, sorry for the long delay in replies, it's not the COVID, but I have been in and out of the Hospital (broken ribs, inexplicable chest pain, and a solid week of migraine at one point).

I'll also be getting a Boss Acoustic Live wotsits amp for whenever life gets back to normal for the coffee shop gigging.

D'Addario, exclusively, on everything. I've recently switched from 11s to 9s to help with nerve damage. I have 10s on my Tele, since that's what came with it and I've not changed 'em yet.

Abigail: Right, so, my own experimentation is why. Sound textures I can't otherwise achieve, layering I'd not be able to do, things like that. Looping, delay, percussive things. Tone is kind of a big deal (it's why I use the guitar I use), but it's looking more like I'm going to have to take a hit on that and probably adjust via preamps and via the effects themselves to clean up any added bass/treble.

So the Dimarzio Super Natural Plus, that's one of the ones I was looking at, recommendation for it.

Jim: Strap Button is the one bit of destruction I am semi OK with. Not super crazy about shaving out parts of the bridge (required on the LR Baggs Anthem series). Will have to look into this M1 pickup, see what it sounds like vs the DiMarzio.

Whatever I end up going with, I know I'll be upgrading my tube preamp situation from the ART Tube MP I'm using now.

Thanks to you both for taking the time to reply, sorry it took me a bit to get back to it, been under the weather, health is kindly shot these days.

I don't know anyone that was able to keep a groupie in a van for 2 weeks or more. I don't think that's physically possible. The metrics of your premise are flawed! :D

Alright, I want a top-notch, absolutely cream of the crop acoustic pickup, but I do not want to make any modifications to the guitar, outside possibly endpin replacement. No drilling out under the saddle, no removal of wood, etc., though if there's a very strong case to be made for something like the LR Baggs Anthem, for instance, like, why it's superior in every way to every other offering on the market that justifies me taking a drillbit to my guitar, I will take that under advisement, but that does not mean I'll pull the trigger on it.

What are my options? I'm looking at the LR Baggs iBeam, the ToneWood Amp system, and the DiMarzio Super Natural, to name a handful.

The guitar in question is a 1970s-era Kay KDG70. I love this guitar, and I want the pickup to be able to capture the sound it puts out and do it well. It's the middle guitar in the three pictures on the side there.

While we're on the subject, a decent acoustic preamp, and acoustic amplifier would also be good suggestions. I know little and less of the acoustic world outside of "I have an acoustic guitar, I know how to play it pretty damn well, but it's always been mic'd through a PA heretofore, so the tech side baffles me."

Anyroad, yeah. There we go. Pickup, preamp, amp.

That makes perfect sense to me. I am, by and large (there are exceptions) not a Marshall fan. If I'm going British Gain, I'm going Matamp or Orange (gotta have that sweet sweet doom sound).

Thanks for clearing that up for me!