I started to do a TS-9 style shootout, then........

http://img.photobucket.com/albums/v209/Rojelio/TS-9pedals.jpg
BBE,Keeley TS-9,Green Rhino,Hardwire,Keeley SparkleDrive,HBE PowerScreamer

I realized they were basically the same. I had so many it got convoluted, monotonous and redundant that I gave up.

BTW, the HBE WON!:mrgreen::mrgreen:

It mustn't win - it is not green ;)

I realized some time ago that there may be some subtle differences, but none that my audience care about.

I realized some time ago that there may be some subtle differences, but none that my audience care about.

I came to the same conclusion, after trying out about 6-8 Tube Screamers and TS-types over about a two year period. I was not doing this deliberately so much as I would read (either here, in a guitar mag review, or TGP) about many different OD's (TS-type, and other) I just seemed to buy/try almost all the under $100 offerings...

When it came to the TS's, realizing how similarly they all sounded, and then realized that I could get a good-sounding "TS-808 clone" (with a JRC 4558D chip) for $50 (thanks, Biyang) it seemed silly to keep going with this...

I realized some time ago that there may be some subtle differences, but none that my audience care about.

^^^^^THIS!

Good thing I only have one..

I realized some time ago that there may be some subtle differences...

You just need one with the right unscreamerize toggle on it! Or rescreamerize, or uberscreamerize. Or better-than-your-father's-screamerized controls... :wink:

A screamer, by any other name... :lol:

I realized some time ago that there may be some subtle differences, but none that my audience care about.

I will forever quote this. Thank you. I believe you just forever banished my ridiculously meticulous researching of a-b'ing pedals.

I realized some time ago that there may be some subtle differences, but none that my audience care about.

This should be the post of the century. Not just in dealing with Tubescreamers but all those little things we worry about. Alder v. Ash, Nitro v. Poly, speaker X or Y. The only people in the audience who care about those things are other guitar players and most of them couldn't tell which screamer you use. Good luck getting them to admit it though.

The only thing that matters at the end of the night is the performance. Was the band tight, did the crowd leave happy, will you get another gig?

Your all wrong, V3 issue #10 said so,

http://i1233.photobucket.com/albums/ff397/jdm64/Web%20stuff/1928_cork_sniffer_magazine_1.jpg

DW

I realized some time ago that there may be some subtle differences, but none that my audience care about.

There are alot of things a typical audience doesn't know or care about, but that doesn't necessarily make them insignificant details to me. When playing on stage I like to be comfortable with what I hear and feel. I too have been going through a TS style pedal journey. I've noticed alot of fairly drastic differences that to me matter. Just my opinion but I think what I like is more important than what an audience may or may not notice.

^That's what I'm talkin' about

All this being said, how do you like the Sparkle Drive ? I'm thinking of the SD, and I'm even considering the Keeley Modded one. The clean feature seems to be pretty cool.

This is what I love about this Forum. I'm always learning something new.

I never would have guessed that a bunch of pedals based on the same circuit would sound, er, the same!

Back to Cork Sniffer #10, I really do want to know more about Mike Fuller and his Porsches.

With my own "OD chasing journey" (not so much a question of my own dissatisfaction with what I have been using and sounds produced, so much as a curiosity factor, "how is this different from that...") I learned that a lot my own "TS satifaction" dealt with the ergonomics of the pedal (since IMO the ones I tried out really sounded similar)- What's the pedal size/shape where are the jacks, and how smooth and what are ranges of the controls....but then in my own playing situation I realized that a TS (regardless of the brand) is a better BOOST for my other primary OD's, if it gets used at all.

I'll agree with this, but only to a point. The audience won't appreciate the nuances, but the player on stage might and if he has a sound that's "awesome" vs one that's "ok" for him, it'll make for a better performance that might just blow the audience away.

I've had and played through a bunch of TS style ODs. I sold a couple of pedals to get the XTS Multi-Drive because I noticed a difference. Extremely versatile and the sounds are excellent. The other pedals I've played were nice, too...but I just like the XTS better.

DI: What equipment do you use to achieve your unique sound?

PM: I'll be happy to go into detail about how my gear works, but I had a revelatory experience a few years ago when I realized that "equipment", although certainly a component in my sound, really had little to do with why I sound like the way I sound. For years, between around 1977 to 1987, I never did ANYTHING without my "rig". I would never "sit in" unless I could have my amps and stuff there, I basically didn't do any record dates at all other than my own cause I was sure they would "mess up my sound" -- etc., etc. Then in 1987, I went to the then-USSR on a tour with the group and there were a few "jam session" situations where I HAD to play with some Russian guys on their "gear" -- and I use the term loosely. I played one night on a Polish guitar and a Czech amp. Someone taped it and gave me the tape the next day. I was shocked to hear that I sounded JUST LIKE ME! Since then, I sit in all the time on any old thing and have a blast and do record dates without worrying too much that it's gonna get mixed wrong, etc., etc. I feel much better knowing FOR SURE that it's more about conception and touch and spirit and soul, etc., than whether my hardware was in place. I do, however, totally envy horn players who are "sonically self-contained". They ARE their sound, especially if they can tote their own axe around with them, as they all easily can do.....

The above bold was added for effect! At the end of the day, real players sound like themselves no matter what they are playing through. Its about connecting with the audience and yourself, not a circuit-board.

If interested, here is the rest of interview: http://digitalinterviews.com/digitalinterviews/views/metheny.shtml

I realized some time ago that there may be some subtle differences, but none that my audience care about.

I disagree strongly. I craft my sound for my ears, not my audience.
My actual playing is with the audience in mind, but even then within
certain limits. So, I can hear the difference, and that is what matters.

As to TS variations - sometimes subtle differences are important.
Obviously so, or the HBE might not have won your round up.
But more importantly, what about those clones that allow for
greater control. The Green Rhino, the Sparkle Drive, and those others
that allow for greater tweakability. That's not subtle difference, that's
greater flexibility. And it also depends on who's listening. I've heard many
clones that were night and day different.

While I agree with Mr. Metheny, I still prefer to have gear I know
and am comfortable with.

I'll agree with this, but only to a point. The audience won't appreciate the nuances, but the player on stage might and if he has a sound that's "awesome" vs one that's "ok" for him, it'll make for a better performance that might just blow the audience away.


Bingo. Being inspired by the gear to play your best and not fight it is critical. Gear is very important and in some circles, very underrated. But I'm also one who believes (and has spent his career in music doing) that a player's tone can be replicated to a T if you not only copy the gear but also learn the techniques and style of a player who's parts you are playing note for note and copying. If you do both, you can absolutely copy the tone. And I also think a guitarist's tone definitely changes with different gear. Clapton playing 335s sounds worlds different than Clapton playing Strats. Tone is in the gear, style/technique/soul is in the fingers.

That's the whole reason I have always played great gear. In the words of Vince Gill, "Nothing will help your playing more than sounding great". You play your best when your tone is great. For me, I have to be inspired by the tone I'm getting to play my best and the gear has to be dead on for me. I'm not inspired by bad tone. I'm not one of those guys that can just go up there and play through anything, not worry about the tone, and just play. It's just not me. I have to be motivated to play my best by the sound I'm getting. The better the sound, the better I play. It's just how it works. That's why when I started playing I started on an American guitar (Gibson SG) and had a quality instrument. I think that will only help you to keep yourself interested in the instrument when starting out and you won't be fighting it, it will work WITH you, not against you. I think starting out on a high end nice-playing electric is the best way to go. For me the gear is just as important as the player. I don't care how good the guy is, I've never heard anyone have great tone with crap gear. Sure, the playing was fine but the tone doesn't magically sound amazing just because it's a top notch player. A crappy guitar/amp is still going to sound bad even in the best of hands. And I'm not saying cheap = crap. I own plenty of MIMs and Epiphones that were great once being modded. But I think high end gear WILL make you play better and you will be working with it, not fighting it or worrying about it. You will have great tone that will inspire you to play your best.

For me it's a 50/50 thing. One is just as important as the other (Gear and Player/"Fingers"). You gotta have both.

Bingo. Being inspired by the gear to play your best and not fight it is critical. Gear is very important and in some circles, very underrated. But I'm also one who believes (and has spent his career in music doing) that a player's tone can be replicated to a T if you not only copy the gear but also learn the techniques and style of a player who's parts you are playing note for note and copying. If you do both, you can absolutely copy the tone. And I also think a guitarist's tone definitely changes with different gear. Tone is in the gear, style/technique/soul is in the fingers.

That's the whole reason I have always played great gear. In the words of Vince Gill, "Nothing will help your playing more than sounding great". You play your best when your tone is great. For me, I have to be inspired by the tone I'm getting to play my best and the gear has to be dead on for me. I'm not inspired by bad tone. I'm not one of those guys that can just go up there and play through anything, not worry about the tone, and just play. It's just not me. I have to be motivated to play my best by the sound I'm getting. The better the sound, the better I play. It's just how it works. That's why when I started playing I started on an American guitar (Gibson SG) and had a quality instrument. I think that will only help you to keep yourself interested in the instrument when starting out and you won't be fighting it, it will work WITH you, not against you. I think starting out on a high end nice-playing electric is the best way to go. For me the gear is just as important as the player. I don't care how good the guy is, I've never heard anyone have great tone with crap gear. Sure, the playing was fine but the tone doesn't magically sound amazing just because it's a top notch player. A crappy guitar/amp is still going to sound bad even in the best of hands. And I'm not saying cheap = crap. I own plenty of MIMs and Epiphones that were great once being modded. But I think high end gear WILL make you play better and you will be working with it, not fighting it or worrying about it. You will have great tone that will inspire you to play your best.

For me it's a 50/50 thing. One is just as important as the other (Gear and Player/"Fingers"). You gotta have both.

I agree...I clearly play better when my tone is there. I just don't feel I play as well when it doesn't sound just right to my ear...maybe it's psychological.

I agree...I clearly play better when my tone is there. I just don't feel I play as well when it doesn't sound just right to my ear...maybe it's psychological.

Perhaps it is. All I know is that if I'm fighting my gear or am upset with my tone, chances are I'm not going to have a good night. The tone has to be there shortly after starting to play or it's not good. I have to sound great to play great, so to speak, not the other way around. The tone has to be automatic. And luckily with the gear I'm using these days, I never have to fight it anymore. There are days when I'm less impressed but I never have to fight it and be completely unhappy with it. But I'm insatiable. Always looking for the perfect tone. Yesterday's perfect tone is boring to me today, so today I have to change something and make it better. It's the tone chase quest a lot of us are on. It's never ending and it always seems to be elusive. Or I'll find it and it's gone the next day or I'm tired of it. It always seems just out of reach and when I do find it, I tire of it the next day or I "lose" it. I'm constantly buying new gear. I'm a gearhead. Maybe it is all psychological but for me, if the gear and/or tone sucks - I'm not going to be inspired to give it my all. Sometimes if I don't have a gig and I'm at home and if the tone isn't right, I just put it down and walk away. I just don't have the desire to play and ignore bad tone and just play. I have to be inspired by the tone I'm getting to give it my %110 percent.

And I know we aren't alone because I've heard the same or similar things from Keith Urban, Vince Gill, Dann Huff, Warren Haynes, etc in interviews.

I agree...I clearly play better when my tone is there. I just don't feel I play as well when it doesn't sound just right to my ear...maybe it's psychological.

Glad some of you guys chimed in with a similar view. So often tone/sound is discussed from an audience point of view, but I think it is most important to the actual player.
I get the point about always sounding like you regardless of gear. For me it's about comfort level. Also, guys like that still have their hand picked gear that they are most comfortable with.
That being said I could show up at a blues jam and plug a Tele straight into a Classic 30 and get tones that I like and am comfortable with.

Glad some of you guys chimed in with a similar view. So often tone/sound is discussed from an audience point of view, but I think it is most important to the actual player.


Exactly. So many have said to me "your audience can't tell a difference between "effect A" and "effect B"". They may not be tonehounds or could tell, but I sure can and that's all that matters. If I am happy and am inspired/feelin' it, I'll put on the best show possible, which WILL make the audience happy and they will tell I'm giving it my all. And in my case of doing exact covers and coming from a tribute band background, if the tunes sound like the records they can tell as I've heard many compliments saying just that. They might not be able to tell/hear the exact difference between a Tubescreamer and a Klon, but they can hear when it sounds just like the record or if it doesn't and so therefore using the right effect/amp/guitar will affect that (no pun intended).

Who cares if it sounds just like the record? I go to see a band live to see the interaction between band members and their energy with the crowd. I guess it is because I come from a jam band and jazz background that I have never understood why anyone would want to limit themselves to what they have already done. I can understand wanting to sound your best because it inspires you, but trying to sound like a studio recording on stage is just silly to me.

I've been into exploring my existing gear lately, when the tone gets "tired". Instead of looking for something new, I work on stretching what I've got.

I'm not saying anything against buying and selling...I've done plenty of that, too. But I've found some tremendous tones on gear that I'm used to when I step outside of my norm.

Who cares if it sounds just like the record? I go to see a band live to see the interaction between band members and their energy with the crowd. I guess it is because I come from a jam band and jazz background that I have never understood why anyone would want to limit themselves to what they have already done. I can understand wanting to sound your best because it inspires you, but trying to sound like a studio recording on stage is just silly to me.

Because people want to hear it the way they have grown up hearing it. That's why so many flock to my shows. You may not like it, but you are in the minority. Maybe it's because you are a guitarist who is into the improv thing. Most of my audiences are not guitar playing folk, and those that do are also cover musicians.

When I go see a band, I want to hear those hits played like I'm used to hearing them. And having the ability to hear that hit live and loud. But I'm the guy who is a classic rock purist. I don't get off on obscure or deep tracks. I like party music. Old school rock. And hearing those songs the way they are meant to be played.

I'm anti-improvisation, anti-theory, anti-technical BS. I learn stuff by ear and play stuff in the old school blues-based rock even when playing note for note. That's what gets me off. What I like are the classic rock hits of the 70s. I'm a classic rock purist and that's what I like to hear. I want to hear them as I've heard them on record. Nothing pisses me off more than seeing someone doing a classic rock song different. I'm into blues based playing and minor pentatonic/blues box and all of that. I couldn't show you a major scale if you held a gun to my head, nor could I improvise a solo. Improvisation and theory turn me off. I want to rock, I want to hear those songs like I hear on classic rock radio.

That's why I love the Eagles - they sound exactly like the record live. That rehearsed perfection is what I'm all about. To each his own, YMMV. I do what works for me. My niche is to reproduce classic recordings in a live environment. That's what I do best and why my bands have been successful because for those who DO like authentic exacting covers that sound like their favorite records, then they will enjoy it. I was in an Eagles tribute for a long time, now in a party band. I don't play bars, dives, etc. I play corporate events, backyard parties, outdoor festivals, etc. Where people can really enjoy cover music played correctly.

You and I are on two different planets musically. The people that get hung up on recorded tones, rather than playing and feel, are technicians not musicians.

If you are in a cover band, no one cares that you are using a newer 5150 to cover the earlier Van Halen tracks (unless you are playing the NAMM show - Haha). Musicians taste change. So do their rigs. Eddie isn't bringing out gear to replicate the sounds of the old albums. He plays whatever suits his urge at the moment and he always sounds awesome!

Hell, use your own example... Joe Walsh is a total gear slut. He uses everything under the sun and "endorses" anything with a paycheck attached. In the studio, he uses whatever he wants. Last time I saw him at a gig, he was using Carvin and Crate gear and he still sounded just like himself. Trust me, no one in the room got bent because he didn't bust out a vintage AC30 or Marshall.

I respect what you are trying to do, but it is an alien concept. It sounds to me like you are the sonic equivalent of a DJ. Why bother? Its not like you are a Kiss Tribute band where I expect the band to look and sound the part.

I play dives and bars, and play music incorrectly...

I play MIM, MIC, MIK guitars, Blues Jr's and effects under $100- and I kick ass :wink:!

You and I are on two different planets musically. The people that get hung up on recorded tones, rather than playing and feel, are technicians not musicians.

If you are in a cover band, no one cares that you are using a newer 5150 to cover the earlier Van Halen tracks (unless you are playing the NAMM show - Haha). Musicians taste change. So do their rigs. Eddie isn't bringing out gear to replicate the sounds of the old albums. He plays whatever suits his urge at the moment and he always sounds awesome!

Hell, use your own example... Joe Walsh is a total gear slut. He uses everything under the sun and "endorses" anything with a paycheck attached. In the studio, he uses whatever he wants. Last time I saw him at a gig, he was using Carvin and Crate gear and he still sounded just like himself. Trust me, no one in the room got bent because he didn't bust out a vintage AC30 or Marshall.

I respect what you are trying to do, but it is an alien concept. It sounds to me like you are the sonic equivalent of a DJ. Why bother? Its not like you are a Kiss Tribute band where I expect the band to look and sound the part.

Actually, Joe in the Eagles does use gear that sounds the same as on record. The Eagles never used Marshall or Vox. It was all Tweed and Blackface. He used Marshall's in the James Gang. Maybe its different for him solo but I know everything there is to know about Eagles gear past and present. Believe me, I know what gear he uses as I have spent years researching it and keeping up with it, thankyouverymuch. It was my job for about 4 years. I played his parts and nailed his tone and it was great. In the studio with the Eagles it's always Fender. And in the Eagles onstage to this day is Fender voiced amps to match the recorded tone. As I said, tone is in the gear and is why they use the same type gear as they did on the record.

I completely disagree with you. My audiences DO care. We are a tribute band that plays music from more than one group. But we have a tribute band mentality. We aren't some bar band. We play parties, events, and festivals. My audiences want to hear it like the record. You wouldn't believe how many people come up to me and praise us for doing this music correctly and playing it just like the original. When I was in the Eagles tribute I had someone tell me I sounded exactly like Joe Walsh. Greatest compliment ever. People like the exact reproductions. It's proven to me by how successful we have been. We are a classic rock tribute band and we do sound exactly like those bands records which is what our audiences want.

I am most definitely a musician. A musician by definition is someone who plays music. I obviously fit that bill.

http://guitartechworks.com/2011/02/eagles-stage-shots/

The above link is a picture of Joe Walsh's stage rig with the Eagles. You will see a Vox, a Carvin, and what looks like an Egnater. I just learned more about Joe's rig in the last two minutes than I ever planned on learning. Ha. Personally, I only sorta liked the James Gang (and only then because of Tommy Bolin) and don't care much for the Eagles.

The point is that the gear doesn't matter. Its the music that matters. I don't have an issue with cover bands, but I certainly don't hold them in the same light as other musicians. Even classical soloists bring their own interpretations to the music. I am stoked that you are as good at playing Joe's music as he is as writing it. But in therein lies the rub.

Actually, Joe in the Eagles does use gear that sounds the same as on record. The Eagles never used Marshall or Vox. It was all Tweed and Blackface. He used Marshall's in the James Gang. Maybe its different for him solo but I know everything there is to know about Eagles gear past and present. Believe me, I know what gear he uses as I have spent years researching it and keeping up with it, thankyouverymuch. It was my job for about 4 years. I played his parts and nailed his tone and it was great. In the studio with the Eagles it's always Fender. And in the Eagles onstage to this day is Fender voiced amps to match the recorded tone. As I said, tone is in the gear and is why they use the same type gear as they did on the record.

I completely disagree with you. My audiences DO care. We are a tribute band that plays music from more than one group. But we have a tribute band mentality. We aren't some bar band. We play parties, events, and festivals. My audiences want to hear it like the record. You wouldn't believe how many people come up to me and praise us for doing this music correctly and playing it just like the original. When I was in the Eagles tribute I had someone tell me I sounded exactly like Joe Walsh. Greatest compliment ever. People like the exact reproductions. It's proven to me by how successful we have been. We are a classic rock tribute band and we do sound exactly like those bands records which is what our audiences want.

I am most definitely a musician. A musician by definition is someone who plays music. I obviously fit that bill.

Yeah, but do you look like THIS when you do it?

http://1.bp.blogspot.com/_QGeP6yWJwIk/TAUbxjQ729I/AAAAAAAAAnM/nqta8NSlHPs/s1600/joe-walsh.jpg

I play dives and bars, and play music incorrectly...and I kick ass :wink:!

As we say in my "Hokey Pokey" tribute band:

"And that's what it's all about!"

:lol:

And I do enjoy how these threads morph from what the OP wants to discuss into what the rest of us actually do discuss.

:lol:

^ I hope he markets that hat to tribute bands everywhere! :lol: Can we get a goofy hat shoot-out next?

http://guitartechworks.com/2011/02/eagles-stage-shots/

The above link is a picture of Joe Walsh's stage rig with the Eagles. You will see a Vox, a Carvin, and what looks like an Egnater. I just learned more about Joe's rig in the last two minutes than I ever planned on learning. Ha. Personally, I only sorta liked the James Gang (and only then because of Tommy Bolin) and don't care much for the Eagles.

The point is that the gear doesn't matter. Its the music that matters. I don't have an issue with cover bands, but I certainly don't hold them in the same light as other musicians. Even classical soloists bring their own interpretations to the music. I am stoked that you are as good at playing Joe's music as he is as writing it. But in therein lies the rub.

The Egnater is on 6V6s based on a Fender Deluxe Reverb. The Carvin is just the speaker cab for the Egnater. The Vox is an AC15 modded to sound like the Solo stuff. He uses the Egnater on the Eagles stuff, Vox on some of the solo stuff. Again, to reproduce the tones from the record. I have talked with his tech many times.

The gear certainly matters. Very underrated in this case. Gear is just as important. Maybe not to you but to me and the rest of the gear loving world it is. Gear inspires me to play. And when it's sounding great, I'm playing great. No one will be inspired by crap gear. I don't buy that "tone is in the fingers" BS. I have to have my pedalboard for instance, to do my gig. Gear is very important to me. It's a 50/50 thing. One is just as important as the other.

Gear inspires me to play.

Yeah, well the music inspires me to play - not the gear :?:. You and I will never agree on cover band logic, so instead lets give the OP back his thread. Ha. :lol:

Yeah, but do you look like THIS when you do it?

http://1.bp.blogspot.com/_QGeP6yWJwIk/TAUbxjQ729I/AAAAAAAAAnM/nqta8NSlHPs/s1600/joe-walsh.jpg

Of course I make the Joe face. I also am in the process of mastering the duck walk he is doing here lately. Also do the lyric changing in Lifes Been Good and the whole bit. Oh yeah, I've got his antics down pat. ;)

Yeah, well the music inspires me to play - not the gear :?:. You and I will never agree on cover band logic, so instead lets give the OP back his thread. Ha. :lol:

Sounds great!!! :mrgreen:

If it makes you guys feel any better, I think you're both musicians

If it makes you guys feel any better, I think you're both musicians

Thanks man!! I appreciate your support and kindness. Musicians should support one another. :) At the end of the day, listen to your fans and not your critics and listen to the people paying and traveling to come see you. Those are the only ones that truly matter. And lucky for me, I've got plenty of support in that regard.

You are right, mal_paso... I am ready for the group hug.

No one will be inspired by crap gear.

I sure like them old Jimmy Reed records...

I sure like them old Jimmy Reed records...

Good for you. That wasn't crap gear though. Cheap does not = crap and simple guitars do not = crap either. I own plenty of "import" guitars myself. Crap is crap no matter if it was made in LA or Transylvania. Crap to me means that it doesn't play well, doesn't sound good, or doesn't hold tune. Has NOTHING to do with brand name loyalty or snobbery. I own plenty of Epiphone guitars and MIM Fenders and would love to own a Squier CVC one day. It's just about finding a good one. You can have a crappy guitar, amp, etc with any brand. It's just finding the good ones. I am NOT saying all cheap guitars or low end guitars are crap. Not at all, I'm saying crap guitars are crap. I'd put my modded MIM Teles up against my American ones anyday. My main Tele is a MIM Road Worn and I own several high end USA models. I have no snobbery here. I'm just saying if you get a good quality instrument it will take you further than a low quality. When I said high end - I meant of the quality scale, not the price scale. I own everything from $200 Epiphones to $4000 Paul Reed Smiths and I love all of 'em. A great guitar (or amp/effect/gear) is a great guitar. I did start out on a Gibson, because that was the model I was drawn to. Also I didn't have to mod it straight away like I tend to do with the import guitars in terms of pickups that usually need replacing especially in Epi's.

And FWIW, Jimmy Reed was great.

Just curious: doesn't Joe play Dr Z amps? Thought I read something about how they built one to his specs (which are pretty exacting).

Just curious: doesn't Joe play Dr Z amps? Thought I read something about how they built one to his specs (which are pretty exacting).

Yeah he does solo... Right now they are a bit too loud for him in the Eagles (Mark said they are wanting quieter and quieter stage volumes) but he does use a MAZ Sr 210 and a Hiwatt combo live solo. MAZ being more Fender flavored and HiWatt doing the early James Gang/solo stuff british tone.

I will be meeting up next month when I go see Joe in concert and I will try my hardest to see if I am allowed to take pics of the rig but can't wait to check it out.... I heard he just got an EZG-50 Dr. Z built for him but so far to this point he is still using the MAZ/Hiwatt combos combination.

Personally I use a '68 Super Reverb and a Twin Reverb reissue and then use pedals for the gain and different Tweed, Marshall, Vox, Hiwatt, etc tones. Works great. Another secret of Joe's is that he runs his amps pretty clean, perhaps a touch of breakup and then uses a BOSS OS-2 for his distortion tone. But now with my 65amps Ventura I can leave those at home for the smaller shows so nothing happens to my old Super.... That amp will go to the grave with me. Excellent amp.

I realized some time ago that there may be some subtle differences, but none that my audience care about.

Count me as in agreement as well. Bought the basic Ibanez (non-reissue). Yep. From what I can tell, it sounds like the tube screamer I had 20 years ago. There does seem to be a great deal of pixels spent on discussing the ins, outs and mods of what is essentially a creamy boost pedal.

It's green, black, red, silver or splatter-painted and it makes your guitar louder with a bit more gain. Think that's all there is to it.

http://img.photobucket.com/albums/v209/Rojelio/TS-9pedals.jpg
BBE,Keeley TS-9,Green Rhino,Hardwire,Keeley SparkleDrive,HBE PowerScreamer

I realized they were basically the same. I had so many it got convoluted, monotonous and redundant that I gave up.

BTW, the HBE WON!:mrgreen::mrgreen:

I just sold the Green Rhino,BBE Green Screamer, and the Hardwire CM-2. I thinning the herd:mrgreen:

^^ I know I ended up (over the years) with a bunch of perfectly good pedals that for the most part, despite ads/hype/reviews, sound a lot like each other- or I make them sound that way. You just don't know 'till you get them home, hook them up with your gear, gig with them. etc.

So I just came to terms that for what I play, I really only need 2-3 basic "dirt" sounds: a 'natural breakup' OD, (call it a flat-EQ or "transparent") that sounds like just an extension of my clean guitar>amp sound at low drive, and can reach medium Gain if needed, a boost on top of that (actually,placed before) to thicken things up (in my case any decent TS at low Drive), and a fuzz.
Having a backup to each of these I suppose is fine, but I could definitely stand to unload a few things. Just seems silly after a while to keep doing this- not to mention spending $$ needlessly.

Why are talking about this?! This thread is about th Eagles' sound! :)

But now with my 65amps Ventura I can leave those at home for the smaller shows so nothing happens to my old Super.... That amp will go to the grave with me. Excellent amp.

Please dont bury [or cremate] the old fender super! :sad:

http://img.photobucket.com/albums/v209/Rojelio/TS-9pedals.jpg

^ Ok, wheres the Bad Monkey and SD-1?

To the OP....but you didn't test one with a swirly paint job or mystic Chinese lettering on it ??!???!???! :wink:


ftw - My GMD Luther Drive is all I need

I've been into exploring my existing gear lately, when the tone gets "tired". Instead of looking for something new, I work on stretching what I've got.

I'm not saying anything against buying and selling...I've done plenty of that, too. But I've found some tremendous tones on gear that I'm used to when I step outside of my norm.

This is some good wisdom too. I'm notorious for dumping something instead of exploring what the pedal is actually capable of.

If it makes you guys feel any better, I think you're both musicians

Exactly. Besides, different audiences want different things, so it makes sense that there are different kinds of musicians to meet those needs.

ps. I am enjoying this thread as I am learning quite a bit. Thanks.

I agree that the audience, for the most part, doesn't give a crap about your gear and/or the tone you are trying to get out of it. If your playing is good to great, they're happy. Only rule = don't suck.

I also agree that you play better (more inspired?) if you can hear that "tone" as you are playing. Good (not necessarily expensive) gear can create confidence and inspiration on stage.

But what hasn't been discussed here, with respect to live performances, are stage monitors and house sound.

Do you stand directly in front of your amp so that you can hear what's coming out of it, independent of the band mix around you?

Do you rely on stage monitors to hear your playing, and if so, are those monitors EQ'd so that the sound you hear from them is not exactly the sound coming out of your amp?

And, if your sound as well as the rest of your band's sounds are coming through a PA system into the audience, are those sounds also manipulated for the room? What the audience is hearing may not be what you are hearing on stage, either through your amp or the stage monitors.

So, I do believe gear matters, but only up to a point, for live, stage performances. That point will vary with each player, but it is always there. So best to use the gear you like and play the best you can.

I further believe that your sole purpose on stage is to entertain the audience, not to perform self-indulgent musical "masturbation." :lol:

^ Joe nailed it. End of thread.

I like a chorus pedal on ballads. The audience
doesn't care. I turn it on for me.

But per Joe's comments, in some rooms, various pedals
and amps don't sound so great.

I realized that different TS clones change the mid range. There are versions that I like more than others where the mid range frequencies are at a point that sounds good to my ears.

Please dont bury [or cremate] the old fender super! :sad:

:lol:

It was a joke... I doubt they could fit the Super Reverb into a casket nor could they legally burn it I'm guessing due to the parts in it.... :lol: But it is a fantastic amp.

I will however be buried/cremated with my #1 guitar aka wife. That guitar is a huge part of me and will never leave me and is by far the best guitar I've played out of many. It's one of the 4 I take always to every gig. It's not a Tele though. :( It's the cherry Gibson Les Paul. Her name is Ruby. Only guitar I've ever named.

EDIT:

Nevermind. : T