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Discussion in 'Amp Central Station' started by Twang Deluxe, Sep 3, 2021.
Mine's blue. I bought it with a Peavey 158 and a lousy cord for $30. I was robbed.
Oh, my combo is the GG-20 with my Indonesian Squier Strat.
I've heard jazz played on a Marshal stack - sounded just great - really full. I've heard rock played on a little Orange Crush 10 - an awesome little amp - you'd just have to mic it up - job done. It's almost impossible to mismatch actual guitar amps and guitars. The worst combo is a powered PA cab and just put the guitar straight in. It's in the zone of using your hifi separates as an amp - also beyond just bad. And there are some dreadful cheap pedals that will just destroy your tone.
@paulblackford kinda beat me to it, as I was going to say a guitar and amp plus me is, by all accounts, pretty pretty much the worst combination possible.
Even a Lester/Marshall or Tele/DR in my hands can be the worst combination. Ask anyone who's heard it...
A 60's Eko something-or-other with very thin sounding single coils into a Gorilla. Been there done that, and still have occasional nightmares about it.
I disagree. First, I gigged a Strat and JC77 for years - lacked a bit of bottom on its own, but excellent in the mix.
Second, I played a few sessions in the same studio with my Strat with Seymour Alnico II pro pickups and we consistently chose to use the direct tracks over the amped tracks for the clean parts. They just sounded better - warm, full and clear. It surprised us, I’ll admit, the first time we heard the direct tracks coming through the console with that guitar. This was not a home studio nor my own recordings. I was a session player for some indépendant artists using that studio, as well as some jingle work at the same studio.
Any boring blues guitarist plugged into anything is terrible to me.
For one band I was in we used a sixties Tiesco ET-100 through a Gorilla GG-25 (as a pre-amp) into my SS Red Knob Pro 185, and it gave the most sickening Paul Leary/Butthole Surfers tone. Truly a thing of disturbing beauty.
Yep. Gibson S5 into Sunn ‘Barf-Up-A-Lead’ was my reaction to the title…
I once had a Gibson Firebrand and a JC-120. It might have been a good pairing for somebody but it sure wasn’t for me. Then again, I was more bad then than I am now, and I’m still pretty bad, so who knows?
Yes, and Maybe. From what I gather, he mostly played the Betas on account of Buzzo from the Melvins, and even then, only on the later part of the Bleach tour. Trashed them in early '90 at a show and bought a Mesa/Boogie pre-amp and Crown power amp the next day.
As far as guitars, he favored Univox Hi-Flyers in the early days as they were very cheap at the time and could be found just about anywhere. The earliest Mustang mention I could find was rumored to be a Greco Mustang copy because he couldn't afford a "real Fender" at the time. Apparently Greco never made a Mustang copy, so that theory is out. According to his bandmates and journal entries, it was probably a genuine Fender, but had no pickups, electronics, or pickguard, and the logo was missing from the headstock, so he got it for pretty cheap. Later Mustangs he owned are pretty well documented.
I have a SuperChamp XD. It’s a decent enough amp to drag out onto the porch. I play clean so most of the models are useless to me but the delay is passable. I have three Fenders, a Gretsch, and an SG. There isn’t a decent sound to be had with the SG.
Whatever I’m playing! I’m sure someone else could make it sound better.
Best sound I ever had was an SG into a Mini-Brute II (granted, there were a Big Muff, a Cry Baby, and a DOD Phasor 201 between, but...).
I vote Jackson Dinky into one of those Marlboro 1x10 combos that were pushed so hard in GP back in the '70s.
Every guitar and amp has a song into which it fits perfectly...including Gorilla, which makes for a great "B" track" because it will have entirely different harmonic characteristics from your "A" amp. If you are wearing your producer hat, then you want every amp and guitar under the sun...do you want the 128 pack of Crayolas or the 4 you get with the kids menu? As a player, I want the amp and guitar combo that can do the widest range of things. I have tracked through 3 watt Lafayettes with oval car stereo speakers...not quite the Divided by 13 experience, but it worked on the song. I have guitars that are uninspiring and downright awful through my favorite amps...so it kind of starts with playing a guitar that I am excited about.
As far as amps go, I can generalize about whole subclasses or even brands that don't offer much that I have been able to use... As I get older, I am preferring a neutral, clean, Fender SF, BF with any guitar. In a room full of amps, I just stay plugged into the Fender...with some pedals I don't change it up too often. That said, a lot of people operate tube amps outside of their sweet spot. I had no idea at all as a kid what dynamic playing was all about and how some tube amps behave very differently at th eedge of overdrive. I thought that a Tele through a Peavey, a JC120, or a Deluxe Reverb was pretty all the same...lousy. I had no idea until I played more. I am always open to revisiting old amp and guitar combos. Sometimes it is still horrible, but I am surprised when I start writing something when I plug into a little amp after thinking that all Champs were junk (I gave away a Vibro Champ in high school...).
After all that, I would say that one of the worst, most unworkable rigs I ever used was a Peavey Renown 400 and just about any guitar. There is no sweet spot to be found...the parametric style eq was a buffet of earaches and the overdrive was just dismal. A strat was among the worst combos...
Maple neck Tele with 1 meg pots and treble bleed into a Twin Reverb with JBLs.
I have nothing against solid-state amps (in fact, I own and love a couple of them), but I just have to go on record as saying I detest JC120 amps.
I know a lot of people like them, and I think there’s some usable studio sounds in them (with the right person, guitar, effects, studio engineer and producer)…but live, I never been impressed by anyone’s tone who used one.
It was one of the happiest days of my life when a co-guitarist in my band’s JC120 gave up the ghost.
Shockingly, the replacement he bought—a Line 6 Duo-Tone—sounded significantly better; it wasn’t just my prejudice against the JC120…the bassist (a salty guitarist and tone fiend himself) related that he was happy the Jazz Chorus was gone and was much happier listening to the Line 6. The drummer, who produced our recordings, said it was a significant improvement, too.
Just my humble opinion, you’re welcome to feel otherwise.
Sorry to be late to the party, here.
You're quite right. The older Acoustic amps were early solid state with nasty, brittle tone that was louder than the Grand Opening of Hell.
I had a 150 head with a 6 x 10" cab that I got in a trade for a Datsun 2000 Roadster. It ate power transistors because they weren't heatsinked, but simply screwed to the chassis in the little "dead space" between the end of the chassis and the cab. The short chassis flanges up against the wood created a little oven where the transistors cooked until failure. Utterly brainless design.
In the 70s, a buddy had an Acoustic bass combo amp that did the same thing. It also had a quirk: randomly, it produced a faint tapping noise, like a tiny person was walking around in the amp. My buddy was a TV/radio/audio service tech and could never find the origin of this noise.