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V-style guitars are primarily what I play. I still use a shoulder strap when seated. I sit on the edge of the couch/ottoman/chair, and let the guitar hang as I normally would. I'm sure some of it depends on how high or low you wear it, but for me I can play seated almost as well as standing.

The Cooper Carter series is great for learning the FM3. The patches are mostly interchangeable. The FM9 and FM3 have less resources than the Axe-FX III, so they can do less stuff simultaneous, and there a couple of effects the III does that they FM3/9 don't. I think the Fractal WIKI covers...

I've had it happen where I won't come down to their price, and they buy it anyway, and then they get it and split hairs over cosmetic condition where they want a partial refund that brings it down to what they wanted to pay in the first place. I'm like, no worries, is everything good otherwise...

99% sure metal panel. 50 watters I think. Not sure if he ever used 100w.

He had the total rock star vibe when he was performing. I wanted to be him years before I even touched my first guitar. Such a tasteful player too. He was an integral part of REO's songwriting, and they lost whatever magic they had when Kevin started winning the tug of war.

Having the actual amps is better when you want the power section that the preamp was voiced for, and when you want the power section to influence preamp sag. From my perspective I don't think there are other benefits, unless there are logistical benefits to that form factor. A 1x12 tube combo...

When I first started playing, Al was one of the guys who seemed to me to almost have a superhuman picking hand, back when that's what got my attention. I probably developed my picking technique more from what I knew of him than Yngwie or any of the other shredders, at least at first.

It doesn't matter to me what they call it. Metallica pull in a huge cross-section of people who aren't just the hardcore metalheads that followed them in the '80s, and may not be as familiar with Pantera as we are. Being an opener for Metallica isn't the worst way to expose their music to people...

If it's a pentode/triode switch, I don't think I've ever had an amp that I liked in triode mode. I'd be more likely to pull a couple of tubes and change impedance accordingly. If you're trying to save some dBs, there are better ways than either approach. Even a master volume pot with a better...

Ceriatone King Kong is basically a 2.5 channel Yeti. If I was looking, it'd be that or an Alta.

Sound "engineers" who are barely qualified to set levels, let alone tune the entire ecosystem. Stage volume that's too loud, so you're hearing that instead of the FOH mix. Vocalists reading lyrics. You'd hope everyone in the band would know the material, but reading lyrics makes it more obvious...

I've still got a JSX 212 combo, running EL34s. Even stock it's a great sounding amp. Definitely some Marshall lineage, plus a really good clean channel. Loud as fuck though, and heavy. I bought it and a road case so I could just leave it on the trailer to roll in and out of the venues...

Cool! I've got a Randall 667, a Peavey JSX 2x12, and Ceriatone 2203 covering the bases. The 2203's not going anywhere, but if I thought I could move the 667 and JSX for the right price (without having to ship them), I'd put that towards an Alta.

I've already got three amplifiers thar cover the various flavors of Marshall, otherwise I would be all over this.

I like a GE-7 to boost the mids and overall signal a bit in front of the amp. In my loop, something with more and narrower bands so I can do more intricate shaping there.

I look at digital as giving me a competitive advantage. Many stages are getting smaller and quieter, transport costs more, etc. I've got more agility when it comes to taking gigs, and I'm able to give the FOH engineer a consistent product every time. Plus the flexibility it gives me with...

I have a pair of Yamaha HS8 with my DAW, that I also use for my AXE-FX III. I also just got an EV PXM-12MP for my FM9. The EV will be for dialing in tones on the FM9 for gigging, with one feed going to FOH, and the other driving the PXM-12MP.

I saw them last night as well. I'm not sure the towers/arrays do a great job of dispersing the high end. We couldn't hear any guitars during Mammoth or Pantera, or maybe just a hint during the solos, if you focused. Otherwise, just a lot of muddy low end, bass and drums, and some vocals buried...

I've had one for 4-5 years. It's my primary gigging amp when I'm using a larger setup. I don't know that it has a voice that's all its own, but it's very versatile. Channels 1 & 2 seem like flavors of Fender. 3 & 4 are Marshall-esque, and 5 & 6 get into more modern high gain. You can select low...