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The quick and easy way to determine if that old solid state amp is the real deal is if 3/4 of the amp's weight comes from the heat sink.
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Jun 6, 2014 15:25
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OhDearGodNo posted:Along with the Navarro SE I just ordered, I saw a deal on a demo Blackstar ID15. I was deciding between that and an Orange Micro Terror/8" cab combo. I picked up the Blackstar because the orange sounded a little tinny on all the video demos I heard, and apparently it doesn't do clean all too well (given I'm learning scales and shapes I want to use a good, clean tone most of the time right now) Once again, ID30 owner checking in: If that's your starting-out-to-mildly-accomplished amp, you're going to be fine. iostream is right though, you gotta play what you like the sound of. Upside of the ID series is you can dial up a boatload of sounds and get an understanding of just what kind of sound is YOU. Years down the road, if guitar becomes one of your "things" and you start having specific opinions about what the guitar in your hands should sound like, the Blackstar should have implanted a pretty good idea of what kind of tube amp you'd want. Different tubes have wildly different sounds clean, driven, on various pickups, etc... As for the sonic difference between tube and solid state? I can hear it if it's a clean channel. Once the drive starts coming in, or any kind of distortion pedal is thrown on top, it becomes way more difficult for me. Now take either the solid state or the tube, put it on a stage, mic it and put it through the nasty passband of a PA system... now there's no way I could tell. And the whole wattage thing... god don't get me started. You nailed it, Agreed. I used to be more than passively involved in car audio and you wanna talk about a bunch of liars on wattage ratings (other than highly-reputed companies, of course).
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Jun 6, 2014 17:09
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If you play for long enough, eventually you end up with a Fender Deluxe Reverb, a Telecaster, a tuner pedal, and that's about it. It's a universal truth.
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Jun 6, 2014 17:51
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jwh posted:If you play for long enough, eventually you end up with a Fender Deluxe Reverb, a Telecaster... I don't like Fender amps. As far as tube amps too, one benefit of starting with them early on is that you learn to manipulate your volume/tone knobs more effectively than with most SS amps and that's a HUGE benefit later on, especially if you're onstage. I rarely EVER actually switch to the clean channel.
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Jun 6, 2014 18:02
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iostream.h posted:I own neither a Fender amp nor a Tele (although I plan on recreating my dumbshit-sold Tele-HellCaster at some point). For a classic warm clean, the Deluxe Reverb is king to my ears. Sadly, it's a one trick pony, and I require other tricks, especially for that kind of money. In other news, I'm sick of fighting my high E string on the 10's set. Everything else bends fine, but that drat high E fights the crap out of me for some reason. Since switching to the Graphtec nut and saddles, I have bass in droves, so debating going back down to 9's, or maybe a balanced tension set of 9's.
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Jun 6, 2014 19:49
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comes along bort posted:The quick and easy way to determine if that old solid state amp is the real deal is if 3/4 of the amp's weight comes from the heat sink. Haha. 'struth. Glad to see some of the fancier and more modern amplification technologies getting applied now, though - efficiency AND capability, bassists got there first as far as I can tell, but there are some guitar amps which rely on really nice digitally controlled switching supplies. ISP makes one that you can marry to any preamp you like (including theirs, I guess, since racks seem to be making a comeback - speaking of, they make a really good preamp and I am glad I own it even though it's not absolutely necessary. Because it's good to own one of those, in AgreedWorld.) Alleric posted:For a classic warm clean, the Deluxe Reverb is king to my ears. Sadly, it's a one trick pony, and I require other tricks, especially for that kind of money. Deluxe Reverb does have a really nice clean tone. Why does my guitar sound like a dulcimer? I don't know but I like it. What scale length is your guitar? And what's your mailing address? I have a set of D'Addario NYXL 9s that I'd be happy to mail you, I got them for free as part of a thing and I play 10s, or slightly different 10s, or 10-52, or 10-56, or 11-54, or 11-56. Generally speaking. None of that involves a 9, and so all 9s feel really floppy to me. Want these strings? I guess email me or something? The 10 set I put on my go-to tele is awesome, stretchy/bendy without being weak, and they hold tune really well. Good metallurgy goin' on in these here strings. Are on the brighter side of neutral, for sure, so consider that, but I don't have a use for them and you appear to. Provided you're in the states, anyway. Jesus, imagine shipping a single set of strings across borders, haha.
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Jun 6, 2014 20:04
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MIM Strat of some early 00's year, 25.5 scale. I really have no issues with any other string other than the high E, and I consider myself still very much in an investigative period on the instrument, so I'm still swapping things in and out to get the feel I'm looking for. I love the nice, full sound of the 10's, but I think my hands just may prefer the 9's right now. PM sent, and my thanks. 
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Jun 6, 2014 20:28
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What's wrong with the high e? What about it makes it hard to bend? It should be the easiest string to bend.
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Jun 6, 2014 21:06
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Alleric posted:MIM Strat of some early 00's year, 25.5 scale. I really have no issues with any other string other than the high E, and I consider myself still very much in an investigative period on the instrument, so I'm still swapping things in and out to get the feel I'm looking for. I love the nice, full sound of the 10's, but I think my hands just may prefer the 9's right now. IMO the difference in sound between string gauges is not as pronounced on electrics, if 9's feel better then go with what feels better. (Full disclosure: I run 9's on everything including a 24" scale)
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Jun 6, 2014 21:26
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Have any of you guys ever tried those artificial nails that flamenco players use? I had some classes with a flamenco guy who used them and they looked like some kind of horrible deformation. I can't find a good picture on GIS. Does anyone know why flamenco players use fake nails instead of just growing out their real nails? I have become completely obsessed with my fingernails because of the guitar. It's awful. I'm slowly moving into Howard Hughes territory, here. jwh posted:If you play for long enough, eventually you end up with a Fender Deluxe Reverb, a Telecaster, a tuner pedal, and that's about it. It's a universal truth. My step-dad was an off-and-on professional musician and I can confirm that this is all he owned, except it was a Marshall amp instead of a Fender.
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Jun 6, 2014 21:26
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Growing your nails out works well for classical guitar with nylon strings. Not so well for a guitar with metal strings. So you can buy those plastic or metal finger picks or do what Justin from Justinguitar does and get fake nails.
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Jun 6, 2014 21:33
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JULIAN ASSANGE posted:Have any of you guys ever tried those artificial nails that flamenco players use? I had some classes with a flamenco guy who used them and they looked like some kind of horrible deformation. I can't find a good picture on GIS. Does anyone know why flamenco players use fake nails instead of just growing out their real nails? Keeping up real nails is a pain in the rear end. They often break, or chip, and you have to spend a lot time with a file keeping them in the right shape for picking. Fake nails are just way less work. I'm sure some dudes will say the TONE of fake nails vs real nails is different too.
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Jun 6, 2014 21:35
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Dirt posted:Keeping up real nails is a pain in the rear end. They often break, or chip, and you have to spend a lot time with a file keeping them in the right shape for picking. I probably should have figured that out given that my follow up was "I am obsessed with my nails now." The thing that struck me is that it's a big thing in flamenco playing specifically, which uses classical guitars. I also play my electric with my nails, though, and its never been a problem. JULIAN ASSANGE fucked around with this message at 21:48 on Jun 6, 2014 |
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Jun 6, 2014 21:39
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JULIAN ASSANGE posted:I probably should have figured that out given that my follow up was "I am obsessed with my nails now." I think the ideal nail shape for Flamenco playing is longer than the normal classical guitar players nails too. So that might be part of it.
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Jun 6, 2014 21:50
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Cojawfee posted:What's wrong with the high e? What about it makes it hard to bend? It should be the easiest string to bend. Well, a raw thought would think that, and I have that raw thought in my head, but... The gauge difference between the B and the high E isn't that much, but the tuning is: a perfect 4th. So there's a ratio to be considered there between the gauge and the tuning that would indicate the tension, which could be a higher level than the B's gauge and tuning, or the other strings, etc... Now, that being said... I don't bend the low E, A, or D that much in my playing. It does happen, some full-steppage does come out, but even then usually on the D. So to my playing at the moment, those strings are fine. This means that to meet my requirements I could go after a extra light high/light low setup, but I've played on those and it's just shocking the change in feel and timbre crossing between the D and G. Right now my brain is telling me that what I want is a set that isn't a stock run, or a balanced tension run, but rather a diminishing tension run. .46 on the low E down to 9.5 or 9 on the high E. Now, that's pretty freakin specific. I ran a custom-balanced set on bass eventually, but that was after 8+ years of serious study and performance. Right now I'm just a schmuck with a used strat, so I want to be sure it wasn't that I just geared up to 10's too soon, or just may not like them. Alleric fucked around with this message at 23:02 on Jun 6, 2014 |
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Jun 6, 2014 22:17
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http://www.amazon.com/Gena-Healthy-Intensive-Protein-Treatment/dp/B0017BD4RC This stuff actually does strengthen your natural nails, and the jar has enough for probably like three years.
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Jun 6, 2014 22:21
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As long as you realize that's actually for horses. There was some goon in another thread talking about using Mane and Tail as shampoo and assured everyone that it totally isn't for horses.
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Jun 6, 2014 22:38
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If you don't take a hit of your salt lick before you go on stage, I don't know what to tell you
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Jun 6, 2014 22:58
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That's why you see musicians near smoking apples, eating them up with tasty hot lips.
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Jun 6, 2014 22:58
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Chet Atkins was a press-on nails guy. If you do the math on a professional player, playing hours every day, it just makes sense to use fake nails that can be replaced.
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Jun 7, 2014 00:18
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James Williamson of the Stooges uses fake nails and he's way cooler than you are case closed
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Jun 7, 2014 00:33
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iostream.h posted:In my opinion, the best $200-300 modeler is an Avid 11 Rack. But these are like $700 new, unless I'm looking at something entirely different. So since you guys are nudging me in the direction of a modeling amp, what do you recommend? Again, budget is like $200 or so. There are a billion out there and I get lost looking at them all.
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Jun 7, 2014 01:53
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Nostratic posted:But these are like $700 new, unless I'm looking at something entirely different. It isn't like lawn mowers or cars, there isn't a best one. If you had a specific model in mind (I WANT ONE THAT DOES THE BEST MARSHALL MODELING) that would help. There are a bunch in that price range and you shouldn't obsess about which one you get. Just play. You will probably like the Roland Cube stuff best if you are into heavy music. I play corny music and I like the fender mustang. But you aren't gonna go big time wrong on any of them. If it was me, I'd probably shell out for the cheapest Roland Cube that has a looper. That is an incredible tool for practice, and I don't think that is available on the other brands.
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Jun 7, 2014 01:59
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One man's opinion, others can disagree of course - Re: Modeling amplifiers (with the exception of the Kemper, which is not really in any sense related to the others and has a price tag that drives that point home) They're all good. Nobody in the business has lovely DSP programmers at this point. They compete with each other mainly on features and build quality rather than on sound quality of the models. This isn't 2005, companies have had yeeeears to make sure that they come correct so the playing field for basic amp modeling sound quality is ~more or less level. Back in the day a Yamaha modeler with automated pots was pretty fancy, but only some things sounded decent and other stuff sucked. Ooooold modelers like the Rocktron rack units from the early '90s weren't even really modelers in any sense that we think of them now. They weren't trying to recreate a specific amp sound (or a shitload of them, as modern modeling amps rather convincingly achieve), they were just trying to model how an amp behaves, to varying degrees of success (I had one for a while and I really liked it for some stuff but the quantization was strong with that one). So we're nearly 25 years from the first digital modeling amps, and they have come a really long way. Fierce competition in the entry level sector has lead companies to bring remarkably good DSP even to rather low-end amplifiers. It's not the sound you'll be worrying about, so much as "is this going to last a week past the warranty" or, as mentioned by 40 OZ, unique features that may prove very useful and act as a sort of killer app for a given modeling amp. Buy based on features and what you can tell about build quality, the rest will be fine. "Features" is a broad category and includes things like how the particular amp routes its effects, what effects it includes (Fender has some really killer effects DSP, by the way, they've been hard at it for a long time and have gotten very good - their tape delay emulation is really damned solid, better than any of Line6's or any Vox or Roland product, just as an example), whether it has a tuner and whether the tuner is worth a poo poo (it's just a convenience feature, but still, it sure is convenient); and then more diverse things like whether there's room to grow with it, a la the Vox modelers that can be used fine on their own but turn into a surprisingly gig-worthy amp when you add their pedalboard accessory. Peavey Vypyrs (now in their second generation, the Vypyr VIP series, more ruggedly built and with way fewer bugs than the originals) are unique in that they include some solid-state elements alongside digital elements for an especially authentic sound when it comes to heavy distorted tones (the legacy of the TransTube amplifiers, the last of which was the XXL, a very, very good amplifier doomed because people don't really "get" solid state since most of their experience with it comes from really lovely entry-level 15W or "100W" hack jobs that were born to disappoint, but also because Peavey was pretty much done making poo poo in the USA anymore), and it's no coincidence that they came out not long after the acquisition of what used to be a very well-lauded modeling software called ReValver was acquired along with the very, very clever programmer behind it. There are many options and they are all good, but they often have distinguishing things that will be of more use to you than others depending on what it is specifically that you want to do - 40 OZ is right again, there! - so pick the one that speaks to you in terms of features and enjoy.
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Jun 7, 2014 02:54
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Are there really that many modelling amps under $200 now? Your best bet is probably to swing by youtube and listen to some people demoing things, or go to a music store with a decent range and give them a go yourself. Some things sound great and some things sound... not, but it's pretty subjective. See what grabs you. Here's some things that might be important to you though:
These are really things to look out for, that might or might not matter to you. Most reviews will touch on them one way or another, so it's good to have them (and whatever preferences you think you have) in mind, and see what jumps out Oh since you asked earlier, a good exercise for muting is basically any single-note exercise out there, only with your gain turned right up so your mistakes are revealed in a glorious sonic blossoming of failure. A single note sounds very different to multiple notes, especially when there's dissonance involved, so you'll be driven to perfection. Just take it slow, and now I post the video I favourited because I post it so much https://www.youtube.com/watch?v=2tmM83KeP28
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Jun 7, 2014 03:04
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Whatever modeler you get, get a footswitch. I just got a footswitch for my Super Champ (it was on backorder with the local store for 3 loving months...) and it's changed my life. That may be because the effects knob is a dumb design, but really, just having the ability to flip between the two channels and toggle the effects is a good deal. Reaching down to flip a switch gets tiresome, and in the middle of playing it's really nice to flip to whatever higher gain voicing I've got selected for some crunchiness without having to plug in an overdrive or compressor pedal. Part of the convenience of pedals is the ability to flip them on and off easily, and this gets you that convenience. And I'd seriously doubt anyone that matters (i.e., you, and a distant second people who are listening to your music) will give a poo poo that you use a modeler, just that it sounds good. If some tonedad gets in your face about it flip the amp to 11 on full gain and wail out a wicked solo, because you give no fucks. Ghost of Reagan Past fucked around with this message at 03:49 on Jun 7, 2014 |
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Jun 7, 2014 03:47
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Ghost of Reagan Past posted:And I'd seriously doubt anyone that matters (i.e., you, and a distant second people who are listening to your music) will give a poo poo that you use a modeler, just that it sounds good. If some tonedad gets in your face about it flip the amp to 11 on full gain and wail out a wicked solo, because you give no fucks. https://www.youtube.com/watch?v=NJsFxs72P-k&t=162s baka kaba fucked around with this message at 04:13 on Jun 7, 2014 |
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Jun 7, 2014 04:09
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So, just yesterday I put a Super Distortion into my cheap-o Epiphone LP Jr and I kinda like it. Well, I installed it and a Push-Pull pot so that I could use it with both Series and Parallel wiring. I love the Parallel sound, it feels more balls-y than a regular single coil but it still sounds closer to one than a humbucker. Plus I never had a high-output humbucker (barring the one that came stock with the LPJR, which was replaced immediately with a GFS Mean 90) so it's surprising to now have to turn down the gain just to get a similar sound to my 'vintage output' guitars. But with the Parallel wiring, I can also get a more usable range of sounds than any of my other guitars. Rather than going from muddy>sparkly>bright like on my other guitars I can go from Sparkly>Dirty with the flick of a knob; which means that all I need to do is place my gain just below breaking up on my parallel sound and then get a nice crunch when I go into series mode. This works perfectly as the problems of the SD in parallel (not a great dirty sound) and series (muddy and boring cleans) compensate for each other. Only problem is that the push-pull pot I used for it was one that I had laying around; which I only realized later that it was a long shaft one, so now it floats 1/4" off the body. 
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Jun 7, 2014 05:08
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That is really something else. And pretty rad.
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Jun 7, 2014 05:09
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Allen Wren posted:That is really something else. And pretty rad. 
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Jun 7, 2014 06:30
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I ended up going back to look at the comments, I hadn't the first time. Oh, youtube. HE SUCKS YOU SUCK NO U SUCK U SUX FOREVOR
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Jun 7, 2014 06:32
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This is like one of those "So and so shreds" videos right?
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Jun 7, 2014 07:20
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Agreed posted:(the legacy of the TransTube amplifiers, the last of which was the XXL, a very, very good amplifier doomed because people don't really "get" solid state since most of their experience with it comes from really lovely entry-level 15W or "100W" hack jobs that were born to disappoint, but also because Peavey was pretty much done making poo poo in the USA anymore) Dunno if doomed is the right word since they'd been making the heads in one form or another for like 20 some odd years, and they still have the combos. Beyond like Randall the old school 100W+ high gain SS heads are pretty much an afterthought everywhere these days. One would think with the hype cycle moving back toward 90s death metal companies would be all over that poo poo. Now that James Brown is doing his own thing hopefully he'll build a successor to the Supreme/XXL. Ghost of Reagan Past posted:The comments Henry Kaiser gave a bunch of blusedads a terminal case of butthurt because he was rich enough (his granddad is the Kaiser in Kaiser Permanente) to hang out with Alexander Dumble in the 80s. So they dedicate what's left of their sad pathetic lives bitching about the guy on every youtube vid possible instead of learning something other than minor pentatonic box licks. Alec Bald Snatch fucked around with this message at 07:43 on Jun 7, 2014 |
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Jun 7, 2014 07:28
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comes along bort posted:Dunno if doomed is the right word since they'd been making the heads in one form or another for like 20 some odd years, and they still have the combos. Beyond like Randall the old school 100W+ high gain SS heads are pretty much an afterthought everywhere these days. One would think with the hype cycle moving back toward 90s death metal companies would be all over that poo poo. Now that James Brown is doing his own thing hopefully he'll build a successor to the Supreme/XXL. I guess I just find it hard to see the Vypyrs as "real" TransTube amps since they're very very DSP, but - like you said - hopefully James Brown will do some cool poo poo with SS heads. I've got an old Randall that I never use 'cause it's too heavy for me to move now, but it sounds fantastic if I can just get someone else to lug the fucker around, haha. A few really nice SS preamps, I HIGHLY recommend the ISP Theta preamp (rack or pedal, you pick, they're pretty much the same thing) since you can find them for at or under $300 and they have all the actually cool guitar tech that the very clever folks at ISP put into making solid state amps sound good. The power section on the Theta head was/is (I mean, who buys those, they're $1700+ and I have never seen a band use one) the product of their high end hi-fi amplification. Just lots of loud, clean watts delivered with modern tech now that class D amps (and friends) don't blow for anything bigger than a CD player or a cell charger. Quilter Labs has made some really neat poo poo lately, I should check out one of their little heads (really little, like, DD-20 but taller little). Lot of power in it, and an acquaintance gave it a very good review as I recall. Basically taking the idea of "hey you know what's easy, cool, and inexpensive? making a bass amp with a poo poo-ton of Class D wattage on tap! it'll be tiny and loud, yeeeaaaah" into the guitarist world. But not lovely like the Crate Powerblock was. God, that thing. Crate, stop. Thanks. Agreed fucked around with this message at 09:19 on Jun 7, 2014 |
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Jun 7, 2014 09:15
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Holy poo poo, those Quilter amps look like all my wildest dreams come true. I was wondering when the class-D thing would happen for guitarists.
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Jun 7, 2014 15:16
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Are there any Les Paul years to AVOID if you're buying second hand? The new prices are out of this world for Standards and Customs, and frankly if I'm dropping that much cash on a Guitar it doesn't make sense to go for a Studio/Melody-Maker despite the fact they'll sound the same. This is currently blowing my mind, but I think I remember hearing that the QC has really only improved in the last 10 years or so and it can be very hit/miss before then: http://www.ebay.co.uk/itm/Gibson-Les-Paul-Standard-1999-/191198893021?pt=UK_Musical_Instruments_Guitars_CV&hash=item2c845793dd
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Jun 7, 2014 21:14
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Southern Heel posted:Are there any Les Paul years to AVOID if you're buying second hand? The new prices are out of this world for Standards and Customs, and frankly if I'm dropping that much cash on a Guitar it doesn't make sense to go for a Studio/Melody-Maker despite the fact they'll sound the same. From what I always heard it was the late 70s and 80s Gibson stuff that was sketchy. But now they are extra valuable because "omg vintage". So who knows. Same with 70's Fender guitars, but now that poo poo is extra expensive vintage crap. Honestly their QC now is horrible. I bought a 2014 model Les Paul 60's tribute when they were having online blowout sales awhile back, and it had some of the shittiest fret ends I have ever seen on a guitar. Let a lone a 800 dollar guitar. That was the kind of poo poo you would expect on 80 dollar Chinese guitars. Luckily it was fixable, and now the guitar is awesome. But the fret ends problem is known thing with their new Plek machines. That 1999 model is probably fine, but ya know without playing it first, that's the big downside of ebay.
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Jun 7, 2014 23:24
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I see, that's a little disconcerting. After being stung buying a new USA Strat and instantly, permanently losing 30% as I took it off the lot I'm extremely skeptical about purchasing new now. As for 'after XXX' the guitar is awesome, to me that's just unacceptable: I had the same conversation while I was looking at some CUSTOM SHOP Les Pauls with orange-peel around the neck joint, and on a guitar that's literally worth more than my car I'm simply meant to accept that?
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Jun 8, 2014 00:03
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Older Standards, and Classics are good deals. But if you play out, just get an SG. Your back will thank you.
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Jun 8, 2014 00:08
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Could you clarify what you mean by "Old" Std/Classics? As for SGs, my first guitar was an Epiphone SG and it's not something I'd even considered. While I don't really plan to do much gigging (if at all), a lighter guitar is certainly preferable since my Strat (!) is pretty weighty. I'm not really a believe in tonewoods, but from various A-B comparisons it seems the SG sound is a bit thinner. Is this in my imagination? Through a Dark Terror or HT-1's gain channel would anyone even be able to tell? Phwoar, I just saw that SG Futura in Inverness Green: http://www.andertons.co.uk/solid-body-electric-guitars/pid32387/cid671/gibson-sg-futura-electric-guitar-in-inverness-green.asp Southern Heel fucked around with this message at 00:46 on Jun 8, 2014 |
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Jun 8, 2014 00:26
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