Big amps still used by the pros - what do we know

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VESmedic said:
Why doesn’t anybody use a 2c+ in the studio then? You know what also “isn’t debatable”? That no one in 35 years has used that turd…


As usual, you are completely off base. How many albums have you seen produced? Just curious, probably gonna guess none…


The 5153 is used IN THE STUDIO AND LIVE because it’s a phenomenal sounding amp. As stated on the recent Meshuggah tour, they were using the quad quartex with a model of a 5153 with a precision boost upfront…a band that can use whatever they want.

Tons of bands that could use anything they want, use a 5153, and have for years…live AND the studio….you know what they almost never use? Don’t make me remind you, I’m sure you can guess at this point.
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I agree with the 2c+ stuff.
So much cork sniffery in that particular cult.

I LOVED the mkivA after a while but the triple crown 100 made me play the mk way less and eventually I sold the iv.

I see the 5153 so much it's like, I'm compelled to use something else at all costs because in a hobby where people want to sound different, the 5153 has always been the easy money tone. Easy to play. Sits well in most mixes and mics. But dam does everybody and their mom have one now 😝
 
Gar
Racerxrated said:
Yes dude, it's ABSOLUTELY about that they are cheap, and available, and replaceable. And, they do sound good...I've always said that...but they don't sound as good as the stuff those players keep at home, for the studio.

This really isn't debatable.

Gary Holt, for instance...tours with his Jubilee reissues. They sound great. And, they are easy to find AND can be replaced IF someone steals his gear. At home, he has his Langner modded Marshalls which are irreplaceable. If someone stole them, he'd be heartbroken because Todd has passed on and good luck finding any other.

EVH never toured with his magic Marshall in the early yrs after a bunch of his tour Marshalls were stolen. Lesson learned, and thankfully he didn't have the 68 on the road when it happened.

You go ahead and believe your little 'budget amp' theory all you want. But anyone else with any common sense, and has played out knows that at any given time someone could try and steal your shit.
Playing with amps/gear that sound good enough, gives the pro peace of mind knowing that IF they lose some gear, they can head to a local GC and grab another DSL or 5153.
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Gary hasn’t recorded with that Langer for years.
 
Shask said:
Bill Steer of Carcass usually has a 50w or 100w 5153 head he uses live.
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100 percent. Been using the 50 watt for years live. And in the studio as well….must be because it’s “a budget amp”.
 
I can tell you there isn’t one record that’s come out of audiohammer for instance, that was so super unique one off Uber rare amp that is supposedly “ so much better than a budget amp” for what it’s worth…I know this is supposedly “not debatable”, but the real Reality is, most modern production high gain amps sounds pretty fucking great, and sound pretty damn great in the studio as well.
 
Yehuda said:
I wish the music I listened to had tones that inspired me lol- every guitarist I look up to has shit tone 😂
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True unfortunately. They seem to focus more than ever on being as clean, precise of a player as they can be, but not as much on tone or making the musical ideas more evocative
 
Bram576 said:
Yeah I second this. Yes, it is completely debatable. Live, yeah easiest shit when touring.

A lot of these guys have so many amps at their disposal in the studio and many times they still go with a 5150 or boosted recto or whatever, because they do kick ass.

And the whole thing about “amps don’t sound like themselves micd up” yes they do. I think about it from this stand point, “a singer doesn’t sound like themselves micd up.” See how ridiculous that sounds. I know so many try to judge all these tones and sounds on an iPhone and say shit. Get in a car and listen on your stereo or on studio monitors. There you go.
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I’m admittedly not that discerning with instruments outside of guitar, but I can still see it being a thing where we say how a singer sounds in a recording vs in person can translate differently (for better or worse). In fact I can say this about a few friends I had that were singers

One’s playing itself can also come off differently if you hear them live or in a recording. For example, during Covid classical guitar competitions were only done online (but still live performances) and many of the results of who advanced or placed where varied from how these player’s results often were in person (both before and after the lockdowns). Likewise I had online classical guitar lessons during that time using good mics and pre’s, yet once we went to in person my teacher picked up on so many details in my playing to correct that he couldn’t tell in recording. My point just is it seems a lot important sound details can get lost in recordings and don’t always capture the whole picture. Some of these lost details can sometimes be things that make or break the experience we have in person
 
braintheory said:
True unfortunately. They seem to focus more than ever on being as clean, precise of a player as they can be, but not as much on tone or making the musical ideas more evocative
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Yep- I like of the music I listen to because it’s fun on guitar but it doesn’t make me feel much usually- my favorite band (intervals) is the exact type of music I like playing, but I don’t really listen to them that much anymore outside of practicing- doesn’t help that I’ve played their entire discography hundreds of times and probably just burned myself out on them
 
ChuggNorris said:
You don't feel a diezel can handle a touring? I mean you can clearly afford a road case for one of your diezels. Unless you prefer the live sound of the 5153... there is no shame in this. It's the most widely used metal sound going right now because its hard to know anyone who hasn't had one of those variations.
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I just don’t know any more
 
VESmedic said:
Why doesn’t anybody use a 2c+ in the studio then? You know what also “isn’t debatable”? That no one in 35 years has used that turd…


As usual, you are completely off base. How many albums have you seen produced? Just curious, probably gonna guess none…


The 5153 is used IN THE STUDIO AND LIVE because it’s a phenomenal sounding amp. As stated on the recent Meshuggah tour, they were using the quad quartex with a model of a 5153 with a precision boost upfront…a band that can use whatever they want.

Tons of bands that could use anything they want, use a 5153, and have for years…live AND the studio….you know what they almost never use? Don’t make me remind you, I’m sure you can guess at this point.
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You're still gonna die on that C+ hill.....seriously, when did you NOT get to buy one? Your pussy still must hurt from that experience. So sad for you....I guess you just couldn't afford one. No worries. Get yourself a 5153, they're cheap...

Phenomenal sounding amp? 5153? They're ok. I could give a fuck less if this 'metulzz band' or that 'metullzz band' used them. Go for it. It's a plastic sounding pile of average shit. The Iconic stomps the shit outta the 5153s. At least that amp doesn't sound like a compressed buzz fest.

You always bring up the C+ thing. I'm gonna suggest you search out a therapist for some help. Maybe a good anti-psychotic would help with your C+ obsession.

Oh, and let's remind you when it comes to the C+ thing...Yes, poor VES retard, there have been a FEW records made with a C+. I'll list a few..

Metallica- AJFA, MOP, and yes the BLACK album.
Night Ranger...the first 3 albums
Dream Theater...ALL of their albums.

I don't know, but it sure seems like when you add up those 3 bands, and ALL of their album sales, I'd bet that more records have been sold and more people have listened to a C+ than anyone that's listened to a 5153.

All those obscure 'metullzzz' buzzsaw toned bands that used 5150s, take all of their album sales, add them up and you still wouldn't come close to the number of albums sold by those 3 C+ recorded bands. Other than EVHs Balance tone, I can't say I've ever even heard a 5150 anything on a record. But I don't listen to the 'Metullzz' like others here.

So, I guess the C+ has been heard by FAR more people than any of your bestest amp 5150. I'd say the C+ kinda stomps all over the 5150 when it comes to being actually heard.
Oops, sorry. Didn't mean to rain on your 5150 parade.
:hys:
 
Racerxrated said:
You're still gonna die on that C+ hill.....seriously, when did you NOT get to buy one? Your pussy still must hurt from that experience. So sad for you....I guess you just couldn't afford one. No worries. Get yourself a 5153, they're cheap...

Phenomenal sounding amp? 5153? They're ok. I could give a fuck less if this 'metulzz band' or that 'metullzz band' used them. Go for it. It's a plastic sounding pile of average shit. The Iconic stomps the shit outta the 5153s. At least that amp doesn't sound like a compressed buzz fest.

You always bring up the C+ thing. I'm gonna suggest you search out a therapist for some help. Maybe a good anti-psychotic would help with your C+ obsession.

Oh, and let's remind you when it comes to the C+ thing...Yes, poor VES retard, there have been a FEW records made with a C+. I'll list a few..

Metallica- AJFA, MOP, and yes the BLACK album.
Night Ranger...the first 3 albums
Dream Theater...ALL of their albums.

I don't know, but it sure seems like when you add up those 3 bands, and ALL of their album sales, I'd bet that more records have been sold and more people have listened to a C+ than anyone that's listened to a 5153.

All those obscure 'metullzzz' buzzsaw toned bands that used 5150s, take all of their album sales, add them up and you still wouldn't come close to the number of albums sold by those 3 C+ recorded bands. Other than EVHs Balance tone, I can't say I've ever even heard a 5150 anything on a record. But I don't listen to the 'Metullzz' like others here.

So, I guess the C+ has been heard by FAR more people than any of your bestest amp 5150. I'd say the C+ kinda stomps all over the 5150 when it comes to being actually heard.
Oops, sorry. Didn't mean to rain on your 5150 parade.
:hys:
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Yea so anyways…just so we are clear, you know jack shit about any record ever made or have never seen one made, correct? Cool, got it. Please stay in your lane of things you know about, which im not sure is anything relevant to this thread at all at this point.

you didn’t rain on my 5150 parade, you just say dumbass shit that literally makes no sense, or have no factual evidence to back up your claims. “It’s not debatable”…. Yet, everyone here made you look like a moron with that statement. Because clearly, once again, you have no clue what you’re talking about. The iconic kicks ass though, I’ll definitely agree with you on that. WAY better than the mark III used on the black album.
 
VESmedic said:
I can tell you there isn’t one record that’s come out of audiohammer for instance, that was so super unique one off Uber rare amp that is supposedly “ so much better than a budget amp” for what it’s worth…I know this is supposedly “not debatable”, but the real Reality is, most modern production high gain amps sounds pretty fucking great, and sound pretty damn great in the studio as well.
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I dunno know, besides the exception of Wizard's and a few others, the majority of "modern production high gain amps" I've tried I found to sound pretty sterile and boring and sometimes too filtered. There are also plenty of great older amps that are more attainable (not uber rare) like Rev F's, Mark IV's, JCM800's, etc.
 
braintheory said:
I dunno know, besides the exception of Wizard's and a few others, the majority of "modern production high gain amps" I've tried I found to sound pretty sterile and boring and sometimes too filtered. There are also plenty of great older amps that are more attainable (not uber rare) like Rev F's, Mark IV's, JCM800's, etc.
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Agreed, I guess I meant more in the line with those amps you mentioned for sure. Not like revv,etc and new brand like that, definitely not that stuff.
 
Man this thread is getting good. It's internet bloodsport to hate those who don't agree with me on amps. Clearly someone in this thread needs to die for their tonal errors. Someone has to be wrong. Someone has to lack a single cred of shredability.
 
From my experience as a studio nerd what players use live, and what they say was used on a recording are often wildly different.

Many players bring in old favourites, or end up using what the studio has laying about, or what the producer brings in. It's even quite common for a player to not be aware of what was used in the mix, especially if there are multiple amps used / blended or there's reamping involved. This is part of the reason chasing recorded tone is a bottomless pit. Even if you did know what amp was used, there's dozens of other variable between it and the sound hitting your earholes.

After that little rant, I saw the Living End play recently - what a band. Chris was rocking a Wizard MC50 and some blonde Bassmans. Incredible tone.
 
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