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VonBonfire
Well-known member
"Tone for days with my ADA's."
I still remember that ad from when I first starting buying guitar for the practicing musician mags in 1989-90.
I still remember that ad from when I first starting buying guitar for the practicing musician mags in 1989-90.
marvcus
Well-known member
As long as it does what you want it to do and cuts through a mix when it needs to, nope.
mnemonic
Well-known member
You mention ‘decent gear’ and I agree. I have a few amps that circuit-wise are quite different but I can dial in ‘about the same’ for what I play. Realising this really killed any lingering interest I had in new gear. If all I had was a line 6 spider and that’s it though, probably a different story.
On a side note, getting into pedal building and amp modding and basic electronics made me realise there’s nothing new under the sun and 90% of booteek magic mojo amps are just a collection of the same tired mods that have been around for 40+ years, and 90% of booteek magic mojo pedals are just yet another modded tubescreamer or muff or fuzzface. That killed my interest in this weeks hyped limited edition influencer-endorsed product.
On a side note, getting into pedal building and amp modding and basic electronics made me realise there’s nothing new under the sun and 90% of booteek magic mojo amps are just a collection of the same tired mods that have been around for 40+ years, and 90% of booteek magic mojo pedals are just yet another modded tubescreamer or muff or fuzzface. That killed my interest in this weeks hyped limited edition influencer-endorsed product.
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braintheory
Well-known member
A lot of guys have proven you can still do great with gear that isn’t ideal, but to me it’s super important. I would never have joined this forum in the first place if I wasn’t really picky with gear
Sometimes it also can be the difference between having your sound or not. Like the iic+ for Metallica. Sure maybe they could’ve done good enough with a mark iii or later, but they didn’t exist back when they recorded MOP, so no other options for a mark amp metal tone
For other gear categories also I literally can’t play in my style without the right pick and also for classical guitar (my main thing) my nails have to be very on point both for my sound and playability. Nails are gear in this case. So yeah I think gear can be crucial or even make or break in some cases
Sometimes it also can be the difference between having your sound or not. Like the iic+ for Metallica. Sure maybe they could’ve done good enough with a mark iii or later, but they didn’t exist back when they recorded MOP, so no other options for a mark amp metal tone
For other gear categories also I literally can’t play in my style without the right pick and also for classical guitar (my main thing) my nails have to be very on point both for my sound and playability. Nails are gear in this case. So yeah I think gear can be crucial or even make or break in some cases
psychodave
Well-known member
To me gear matters. For example, 99% of the time I play Charvel guitars. I’ve owned a 2003 R8 Lee Paul since 2004, but rarely play it these days. Two weeks ago I pulled it out and I’ve noticed I play differently with it. Different style, different feel, etc. I play less shred and more chordal stuff. So having a variety of gear makes a big difference for me. Plus, it keeps things interesting… I rarely get bored playing.
Smash
Hack
Yes. I am not picking on anyone here, but when you say you don't need special gear, yet you have a NAD pretty often, I get a little skeptical.
To those that say nothing is new under the sun, I have to wonder if they have played a wizard, uber ultra, Ground zero, or an equivalent. These amps fucking hit you in the chest like very few that came before it. A mark IV can hang, but not many of the older amps.
Some guys make a tight amp. Some make it punch hard. Some give a great tone. When you can mix all those things and then have a low noise floor, that is fucking impressive. If you don't think it is better than a 5150, then you will save a lot of money.
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braintheory
Well-known member
I think the gear also has a huge impact on the way it shapes the music guys write. Without realizing it they tend to write stuff that fits well with the gear being used
headlessdeadguy
Well-known member
I have two mandatory requirements. No Floyd and my pick. I have a room full of amps and would probably use one of my peaveys if I had a gig tomorrow. I’m a player and collector. There is something about having 4-5 guys over and playing a bunch of amps through different cabs. All that being said, I wrote some of my best stuff when I had 1 guitar and one amp.
BenoA
Well-known member
You reply made me remember about this (I have no clue if it's true but that's exactly what you wrote above
Here is a cool lil' story from EVH when he met Ted Nugent on tour.
Van Halen remembers a meeting with Ted Nugent after sound check:
He's going, "Let me play your guitar!" I go, "Okay, here you go." He starts playing my guitar and it sounds like Ted. He yells,"You just removed your little black box, didn't you? Where is it? What did you do?" I go, "I didn't do anything!" ... He says, "Here, play my guitar!" I play his big old guitar and it sounds just like me. He's going, "You little s---!"
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braintheory
Well-known member
Well I don’t need them technically lol, but love playing them
I agree overall, but I see it the other way around. Most of the really great amps I’ve played are vintage stuff with Wizard, Lenz and a select few others being those exceptions/needles in the haystack. You already know most recent amps are just to me too sterile/lifeless/no soul, boring in tone. Some of my favorites are the Rev C Recto, IIC and C+, ‘90’s Blueface, good vintage Marshall’s. Just so much more personality with these amps and they certainly hit very hard too
I definitely agree there often is a trade off for amps that excel in punch, power or tightness vs the most 3D, complex, highest quality tone. My favorite amps I think have a good balance of both, but none that I’ve tried yet are truly masters at both areas. Just trade offs I think
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bikerdude2
Well-known member
I think you get to a point, where it’s more mental that anything. I sound like me regardless of playing on cheaper or more expensive gear. There is definitely a inspirational thing that happens when your really digging your guitar/tone.
Smash
Hack
I think the best way to put it is if you are looking for a great recorded tone, you could make some real basic cheap shit work. If you are looking for the experience of playing the thing, then it is a massive difference.
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harddriver
Well-known member
I fully agree......I'm inspired more playing through a roaring Marshall than a Fender Champ not to mention the right guitar and pickups.
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braintheory
Well-known member
Also a friend that tried one of my Marchione’s literally became a different player when he tried it. It was pretty crazy. He may buy it even from me now (or trade) since I still for my taste prefer the mahogany one, but both are no doubt exceptional instruments and among the only non-vintage guitars to really inspire my hands. Oh yeah gear doesn’t matter at all
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braintheory
Well-known member
It could be. I don’t have enough experience with recording yet to say, but this also tells me that recording technology then has a long way to go
Also when I make recorded application videos for my classical guitar competitions I definitely need the right guitar to play my best. What I’ve been using lately is one of my less expensive guitars actually and not as tonally complex, but the right tool for the job. I guess I mean it’s not always about the money or level of gear either, but the right tool also being really important
Smash
Hack
I set up all my guitars myself. So, I have a feel for how to do it. When I play other people's gear that don't know how to set it up, I can feel it. I can still play the thing fine, just sometimes feel like I am fighting it.
I think for me, when you find the gear that you are not fighting so much, it doesn't irritate you as much. I like open amps and look for transparency in hearing what i play. I cannot stand overly compressed amps, because it just sounds like a fucking mess to me.
But I am definitely on the cork sniffing side of the line.
I think for me, when you find the gear that you are not fighting so much, it doesn't irritate you as much. I like open amps and look for transparency in hearing what i play. I cannot stand overly compressed amps, because it just sounds like a fucking mess to me.
But I am definitely on the cork sniffing side of the line.
simonfrewler
Well-known member
I actually like it when an instrument fights you a little. Not saying it makes one a better player, but that I like it. I'm a big dude, with strong hands....so I don't have that finesse. I practice it, but sometimes you can't really help it. Which is why Gibsons always feel at home to me.
I think it's more about the "right" gear, but sometimes people don't know what's right for them.
Right tools for the right job. That takes experience, and that can be expensive.
I've been lucky that most of my tools can handle most jobs....then I am the tool.
Buy seriously, the instrument...is you.
I think it's more about the "right" gear, but sometimes people don't know what's right for them.
Right tools for the right job. That takes experience, and that can be expensive.
I've been lucky that most of my tools can handle most jobs....then I am the tool.
Buy seriously, the instrument...is you.
shar-vell Dan
Well-known member
Yes especially when yer not even in a band. But the world tour could kick off any week now.
Smash
Hack
I am a big guy also, and i hit the strings hard, so I set up the strings a little higher. I hate the "breathe on the string to fret" bullshit. I love the baseball necks also.I actually like it when an instrument fights you a little. Not saying it makes one a better player, but that I like it. I'm a big dude, with strong hands....so I don't have that finesse. I practice it, but sometimes you can't really help it. Which is why Gibsons always feel at home to me.
I think it's more about the "right" gear, but sometimes people don't know what's right for them.
Right tools for the right job. That takes experience, and that can be expensive.
I've been lucky that most of my tools can handle most jobs....then I am the tool.
Buy seriously, the instrument...is you.
I understand the fighting. when you have a lot of gain, and can barely control the amp, and feel like you are holding a bolt of lighting, that is sexy as fuck.
That said, I work with my hands for a living. When I pick up a well made tool, I can feel it immediately. A guy just passed away at my job, and I was given a tool that he had for 40 years. It is bliss to use.
TheGreatGreen
Well-known member
I completely agree with this, especially for people who "discover" riffs as they noodle around on their gear, they'll tend to play what sounds best on that gear. For people who write music entirely in their minds and get things fleshed out before even touching the strings, maybe it matters less, but I have to imagine a lot more guitar music gets written the former way than the latter.
Think about the guitar music of the 70's (Fenders and Plexis), 80's (JCM 800's and Mesa Marks) and 90's (JCM 900's and 2000's, and Rectos). There's a reason very few rock guys shredded in the 70's but rather played a lot of hard hitting single note rhythms and complex chords, it's because that's what sounded best on that gear. In the 80's when highly compressed, high gain boosted 800's and Mesa Marks showed up, suddenly everybody and their mom was shredding constantly, because the gear accommodated that style of playing. And then in the 90's you got big heavy but simple wall of sound chords. It wasn't a coincidence that music evolved the way it did. It was guided by the gear available to guitarists.
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