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Post by Grand Toad on Jun 5, 2016 20:59:09 GMT
My wife found this pic of the very last gig I played with a band and then put the guitar down until just recently. Anyway, you can see the 100/100 monobloc behind me sitting on top of the jcm 900 1960 cab. This gig was at a VFW, a little more then 3 years ago. Can't see the pedal board in the pic but I had my full set-up at that gig. Room size always determined how much fire power I brought to any gig. I really loved that amp, It produced just about any tone I wanted for the type of music I was playing at the time. At that time I was playing country. I just hated it. A capo on my geeter? Could not stand it. Playing for money only was a big mistake for me, it was no fun and was probably the reason it has been 3 plus years since I picked it up. Bill, I know that terrible "why the hell am I doing this feeling." It happened to me about three years ago, as well. I'll be perfectly happy to never play "classic rock" ever again.
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Post by Bill h on Jun 5, 2016 21:42:11 GMT
My wife found this pic of the very last gig I played with a band and then put the guitar down until just recently. Anyway, you can see the 100/100 monobloc behind me sitting on top of the jcm 900 1960 cab. This gig was at a VFW, a little more then 3 years ago. Can't see the pedal board in the pic but I had my full set-up at that gig. Room size always determined how much fire power I brought to any gig. I really loved that amp, It produced just about any tone I wanted for the type of music I was playing at the time. At that time I was playing country. I just hated it. A capo on my geeter? Could not stand it. Playing for money only was a big mistake for me, it was no fun and was probably the reason it has been 3 plus years since I picked it up. Bill, I know that terrible "why the hell am I doing this feeling." It happened to me about three years ago, as well. I'll be perfectly happy to never play "classic rock" ever again. I understand, especially when it comes to classic rock. I'm going to start playing regularly now, but, I don't think I'll ever do another bar band.
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Post by Snoop Droobie Doge Doge on Jun 6, 2016 3:27:56 GMT
If I played covers, it'd be in my style. Life is too short to sound like someone else.
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Post by Marshall 'n' Moonshine on Jun 6, 2016 6:52:20 GMT
If I played covers, it'd be in my style. Life is too short to sound like someone else. That's been my view for quite a while.,mostly because then I don't have to buy this or that, or really remember anything.
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Post by Snoop Droobie Doge Doge on Jun 6, 2016 16:17:35 GMT
When I played in Jazz band, I learned how to arrange music. That skill combined with years and years of listening to good music has made it sort of impossible for me to play anyone else's music without leaving my own print on it. Anytime I hear something, I think of how it can be adapted or arranged.
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Post by Bill h on Jun 6, 2016 16:37:16 GMT
When I played in Jazz band, I learned how to arrange music. That skill combined with years and years of listening to good music has made it sort of impossible for me to play anyone else's music without leaving my own print on it. Anytime I hear something, I think of how it can be adapted or arranged. When I finished with the country band I got to the point that I just didn't care anymore, we played roughly 50 songs a gig and all I wanted to do was get done and get paid, I hated it. Since I wasn't really a country player I took liberties with the songs but played them fairly close as I couldn't have given a shit about putting my own stamp on it. The whole experience really turned me off to playing for a long time. When I turned an amp on the other day and noodeled around, yeah, I was awful but I had that thrill in my stomach again. I want to play Texas style blues, I want to get into playing shuffle style rythems and get better at blues. That's what I'm going to do. I played a tune called pride and joy by srv with the country band. It was the process of learning that song, and style, is when I figured out that this was something I wanted to get in to. Yep, I'm a hardcore SRV fan. I'm also going to keep learning metal tunes, that is where I came from. The moral of my story is this........If your playing for any other reason then that you love what your doing, your making a huge mistake and you will pay a price for it. I did.
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Post by Snoop Droobie Doge Doge on Jun 7, 2016 17:53:17 GMT
I've realized in retrospect that was why I couldn't motivate myself to get ready for college conservatory auditions, and my life has taken a different path. I love music and didn't want to have to think about making music to make money.
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Post by Maxwell on Jun 10, 2016 1:03:31 GMT
I prefer to hear folks put their twist on a cover, Drew....
Well, most of the time...some twist it to the point it is unrecognizable because they are incapable of playing it anything like the record to begin with so they bulltish through it...
Oh the bands I've heard butcher tish... Heard others turn a simple clock-eater tune into a work of art...
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Sasquatch
Burnt Rock Star
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Post by Sasquatch on Sept 15, 2020 0:51:41 GMT
Tubes. Had an Ampeg V4 in the late 70s. A loud one trick pony imo. Aside from a car my first big purchase as a youngin' was a direct factory ordered Mesa Boogie Mark IIB. Only two music stores sold them at the time. www.flickr.com/photos/100052744@N02/albums/72157688499146264Fast forward to 2019. A solderer and tinkerer, I always wanted to build a Heathkit type project. Have been intrigued by little amps and their pre and power tube amp distortion. The Boogie does a fine two channel pre-amp tube distortion, but at 60 or 100 watts it is just too loud for a home player like me to tap the power tubes. Enter the Mojotone Studio One. 1 watt of all tube power with two channels, not unlike the Boogie but can fully saturate all of the tubes for the true sound of overdrive. With a 12" speaker it is quite loud but tolerable at full power. It also has a master volume if I do not want all of the 12BH7 power tube. www.flickr.com/photos/100052744@N02/albums/72157710960346163Lastly, I have a surprisingly good little gadget for solid state in the form of a Vox Classic Rock AmPlug 2. Attachments:
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Post by Sgt Rock on Sept 15, 2020 3:57:34 GMT
I still have my original Gibson amp from 1966. it's a Gibson GA-15RVT. in 1985 I bought a Crate G-60. it's a good solid state amp. but it really can't handle my '75 Deluxe with mini-humbuckers. so, I went back to my old Gibson tube amp. some years back I bought another Gibson 1966 era tube amp. I got a Gibson GA-45RVT with 2 10 inch speakers. it needed some work, but I got a good deal on it.
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Post by Bill h on Oct 13, 2020 1:37:34 GMT
Tubes. Had an Ampeg V4 in the late 70s. A loud one trick pony imo. Aside from a car my first big purchase as a youngin' was a direct factory ordered Mesa Boogie Mark IIB. Only two music stores sold them at the time. www.flickr.com/photos/100052744@N02/albums/72157688499146264Fast forward to 2019. A solderer and tinkerer, I always wanted to build a Heathkit type project. Have been intrigued by little amps and their pre and power tube amp distortion. The Boogie does a fine two channel pre-amp tube distortion, but at 60 or 100 watts it is just too loud for a home player like me to tap the power tubes. Enter the Mojotone Studio One. 1 watt of all tube power with two channels, not unlike the Boogie but can fully saturate all of the tubes for the true sound of overdrive. With a 12" speaker it is quite loud but tolerable at full power. It also has a master volume if I do not want all of the 12BH7 power tube. www.flickr.com/photos/100052744@N02/albums/72157710960346163Lastly, I have a surprisingly good little gadget for solid state in the form of a Vox Classic Rock AmPlug 2. One of my first amps was a peavey classic vtx tube, 100w, 2x12. Picked it up in 78 or 79 I think. At the time I didn’t know squat about amps and got rid of it for a song.....dumbass.
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Post by Bill h on Oct 13, 2020 2:53:24 GMT
I still have my original Gibson amp from 1966. it a Gibson GA-15RVT. in 1985 I bought a Crate G-60. it's a good solid state amp. but it really can't handle my '75 Deluxe with mini-humbuckers. so, I went back to my old Gibson tube amp. some years back I bought another Gibson 1966 era tube amp. I got a Gibson GA-45RVT with 2 10 inch speakers. it needed some work, but I got a good deal on it. During my play out days i went thru a few rigs, eventually wound up with my marshall monobloc el34 100/100 with various preamps over the years. It was a sweet tube sound, could to anything. For a cab I used a 1960a 4x12 marshall top. Believe it or not I had this Behringer cab (still have) that sounds awesome as well, deeper sound, not as sharp as the Marshall cab.
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Post by Sgt Rock on Nov 14, 2020 20:47:06 GMT
since we have some new people here, I thought I'd give this thread a nudge.
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Post by Bill h on Nov 14, 2020 22:00:54 GMT
About to go to band practice here in a few minutes. I mentioned in another thread that I still had an old line-6 flextone sitting around. I’m currently using a fender mustang combo, essentially the same thing, another modeling amp. In my opinion it’s a much better amp then the line-6, presets aren’t bad and is fairly simple to use, it offers way more of everything. I liked the modelers for around the house mostly but the amp is working out just fine for now. If this band I’m in turns into something I will probably go to something more conventional.
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Post by infant on Nov 15, 2020 0:23:03 GMT
I’ve got 2 tube amps and one SS amp.
Tube amps: I’ve got a ‘79 SF Fender Deluxe Reverb with a C-Rex that I tend to use for all my bar gigs. I had it all recapped and checked out 2 years ago. When I picked it up from the tech he said that it was the sweetest sounding DR he’s ever had on his bench. My other tube amp is a ‘73 SF Fender Champ with a Weber Signature speaker. Another sweet amp.
SS amp: I have a Boss Katana 100 which I like to use for larger gigs. I bought the mating pedal to change the channels and effects. Its a pretty decent amp that does everything quite well. I’m quite happy with it.
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Post by johnreardon on Nov 15, 2020 11:16:26 GMT
I only have 3 valve amps these days. I Have 2 from Orange, a Tiny Terror & a Dual Terror. My main gigging amp is one made by a friend of mine called Boost.
It's a 36w Head that is loud and while it may look like a Marshal, it's not. I have been working with my friend for 3-4 years developing prototypes. What I wanted was an amp I could play both a Les Paul and my Trussart through, without altering the controls. My Trussart is essentially a 'T'type guitar, just made out of steel, apart from the neck. Our usual setup is as below. I play through 2 1x12 cabs and our other guitarist plays through a 22w combo
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Post by Deleted on Nov 23, 2020 0:55:20 GMT
After years of dealing with big amps, I've finally joined the modern age and started scaling down.
My guitar amp's a 1970 Twin Reverb enclosed in a head cabinet. I used to have a 1968 Fender Dual Showman cabinet with 2 x 15" JBL D-130F's. Recently, I traded away that cabinet and the Twin Reverb's now mated to a single 15" Altec Lansing 418.
My bass amp's a Fender Rumble 150 head. I used to have a roadbox with 2 x 15" JBL K-140's. That cabinet's gone, replaced by an Ampeg Portaflex 2 x 10" cabinet.
Loved the sound of the 15's, but I'm celebrating the fact that I can now get my guitar amp, my bass amp, my Fender Venue PA and two instruments into my Nissan Micra at the same time.
I also have a small Ampeg BA-108 bass amp that I take with me to the local acoustic jam circle.
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Post by infant on Nov 23, 2020 1:36:43 GMT
After years of dealing with big amps, I've finally joined the modern age and started scaling down. My guitar amp's a 1970 Twin Reverb enclosed in a head cabinet. I used to have a 1968 Fender Dual Showman cabinet with 2 x 15" JBL D-130F's. Recently, I traded away that cabinet and the Twin Reverb's now mated to a single 15" Altec Lansing 418. My bass amp's a Fender Rumble 150 head. I used to have a roadbox with 2 x 15" JBL K-140's. That cabinet's gone, replaced by an Ampeg Portaflex 2 x 10" cabinet. Loved the sound of the 15's, but I'm celebrating the fact that I can now get my guitar amp, my bass amp, my Fender Venue PA and two instruments into my Nissan Micra at the same time. I also have a small Ampeg BA-108 bass amp that I take with me to the local acoustic jam circle. Ha ha! You and I have different views of downsizing! For me downsizing was going from a 2-12 combo to a single 12 combo and probably dropping 20-25lbs of carry weight. Did you separate the twin from its cabinet or did you buy it that way? BTW, those Micras can handle a lot of stuff. When I was working from home earlier this year, I asked a coworker if he could drop off my office chair on his way home. Unfortunately it didn’t fit in the trunk of his Dodge Charger so he asked another coworker if he could fit it in his Micra and not only did it fit, but he had a sack of soccer balls, box of soccer jerseys and baseball equipment in there too.
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Post by Deleted on Nov 23, 2020 2:31:37 GMT
No, I bought it that way. I was browsing on eBay and saw an ad by a guy from Newfoundland who wanted to sell his Twin Reverb, but Canada Post refused to ship something that heavy. So, he split it up....amp chassis, cabinet and speakers...went in three separate auctions.
The only screwup I made was I didn't stop to think that the reverb tank is screwed to the floor of the cabinet and I didn't get that. I bought three different modern Accutronics tanks before I got one that sounded okay, but I've been told on a couple of forums that the original tanks sound much better, so I still keep an eye open for one.
I definitely didn't want a Twin Reverb combo....My previous amp was a Fender Super Twin Reverb, and after hauling that up and down 18 steps every time I had band practice, I promised myself that if I did get a Twin (which has always been my choice of a forever amp) I'd put it in a head cabinet. Incidentally, I shortsightedly bought the size of cabinet which fit the non-reverb version of the Dual Showman. It didn't occur to me until I was putting it together that I should have bought the oversize head cabinet that the newer silver-face Dual Showman Reverb utilizes because the reverb tank mounts vertically against the inner front of the box. I managed to get the tank into mine, but it was really tight and only worked because the previous owner had just installed a set of Tube Amp Doctor short-bottle 6L6's. Changing tubes is a real beech though.
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Post by Bill h on Nov 25, 2020 4:34:48 GMT
In my gigging days I used a marshall dual monobloc el-34 100/100, that damn thing weighs a ton. Experimented with several preamps but most of time I used an ADA mp-1. The cabinet was a marshall 4x12 1960a top. I lost that rig and all my pedals, a few guitars (not all) in a house fire about 7 years ago. In storage I still had an old line-6, a couple guitars, and a bunch of old pedals I didn’t have the heart to sell. I’m not sure if the folks I’m playing with now will go as far as gigging but if it does I’ll probably go to a fender combo of some kind. The fender mustang modeler I bought a couple years ago is working out great for practice.
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Post by zontar on Dec 2, 2020 6:11:29 GMT
I have tube, solid state, modeller (As mentioned in another thread--a Fender G-Dec Jr.) and a hybrid.
My most used amp for guitar is the hybrid--an Orange Micro Dark. 20 watts, under 2 pounds. (How's that for downsizing?)
For bass I use a Rumble 40--which is 18 pounds.
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Post by Die Bullen on Dec 2, 2020 14:10:56 GMT
I'm currently gigging with a Dr. Z Maz38 NR
The vintage amps I have are:
1958 Ampeg New Yorker 1958 Ampeg Jet 1962 Ampeg/ Giulietti Jet 1963 Ampeg Reverberocket 1973 Ampeg v4
Then the newer amps: Peavey Classic 30 Pignose G40v MarkBass 112
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Post by zontar on Dec 9, 2020 9:28:26 GMT
I guess my old Garnet Stencils could be considered vintage. When I got them, they were just old used amps.
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Post by Die Bullen on Dec 9, 2020 17:46:23 GMT
I guess my old Garnet Stencils could be considered vintage. When I got them, they were just old used amps. Funny how time flies like that- I remember when it was a given that Peavey was all made in USA. 10 years from now people will be making a big deal about vintage MIA Peaveys...
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Post by zontar on Dec 10, 2020 8:07:45 GMT
I guess my old Garnet Stencils could be considered vintage. When I got them, they were just old used amps. Funny how time flies like that- I remember when it was a given that Peavey was all made in USA. 10 years from now people will be making a big deal about vintage MIA Peaveys... Garnets were made in Canada. I have two Made in Canada amps & a made in Canada guitar (Simon & Patrick 12 string)
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Post by infant on Dec 10, 2020 10:38:14 GMT
Didn’t BTO use Garnet amps when they first started touring?
All those guitars by Robert Godin ( Seagull, Art and Lutherie, Simon and Patrick and Godin) are great bang for the buck, especially since they are built in North America. I came very close to buying a rosewood Seagull SWS dreadnaught just before I bought my Martin. I also owned a Godin LG with SD P90 pickups for a little while.
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Post by Die Bullen on Dec 11, 2020 2:32:31 GMT
Funny how time flies like that- I remember when it was a given that Peavey was all made in USA. 10 years from now people will be making a big deal about vintage MIA Peaveys... Garnets were made in Canada. Yes, what i meant is it is interesting that stuff we bought new years ago is now starting to be considered vintage. And one day a run of the mill MIA Peavey will be something special
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Post by Deleted on Dec 11, 2020 5:04:41 GMT
I have to agree. dB's comment about how American made Peavey products will be treasured once people see how they measure up against off-shore product is valid. Another thing I'm starting to see is that older Traynor products are starting to be held in some reverence. The common view seems to be that the older stuff is built like tanks and stand up well to the abuse of weekend warriors really well. And, really, they're pretty good sounding too. It gives me a bit of pride to see a Canadian product that is starting acquire the kind of status bestowed on older Fenders. Another interesting thing is that Garnet has started to attract some attention. I didn't necessarily recognize it years ago, in spite of the fact that the Guess Who really put them on the map. Randy Bachman's use of the Garnet Herzog for that incredible tone in American Woman really shows what incredible engineering was going on behind the scenes. Some of you, at least the guys from AxeTalk, have heard me speak with respect about J.C. Maillet who was my Fender amp guru for many years. J.C. is the man behind an online site called vivaAnalog which is a great amplifier technical site for anybody who's interested in old Fender and Marshall amplifiers, both from a standpoint of the technical aspects of the amp designs, and in terms of modifications. J.C. also has an appreciation of the Garnet line which is one of the reasons I became more attuned to what a fine product it is. Any time you're looking for some interesting gear information that you won't find elsewhere, take a look at his site. I'll also mention that J.C.'s current passion and livelihood is a line of very good effects pedals, made about 30 miles north of here in Nanaimo, BC. www.lynx.net/~jc/
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Post by zontar on Dec 11, 2020 7:41:22 GMT
Didn’t BTO use Garnet amps when they first started touring? All those guitars by Robert Godin ( Seagull, Art and Lutherie, Simon and Patrick and Godin) are great bang for the buck, especially since they are built in North America. I came very close to buying a rosewood Seagull SWS dreadnaught just before I bought my Martin. I also owned a Godin LG with SD P90 pickups for a little while. As mentioned by Spell--it was the Guess Who-and specifically Randy Bachman--who was in the Guess Who & BTO. As a side note the Garnet BTO ops are not named for BTO, the band--the amps came first. Some good info on Garnet amps can be found here
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Post by zontar on Dec 11, 2020 7:54:24 GMT
I have to agree. dB's comment about how American made Peavey products will be treasured once people see how they measure up against off-shore product is valid. Another thing I'm starting to see is that older Traynor products are starting to be held in some reverence. The common view seems to be that the older stuff is built like tanks and stand up well to the abuse of weekend warriors really well. And, really, they're pretty good sounding too. It gives me a bit of pride to see a Canadian product that is starting acquire the kind of status bestowed on older Fenders. Another interesting thing is that Garnet has started to attract some attention. I didn't necessarily recognize it years ago, in spite of the fact that the Guess Who really put them on the map. Randy Bachman's use of the Garnet Herzog for that incredible tone in American Woman really shows what incredible engineering was going on behind the scenes. Some of you, at least the guys from AxeTalk, have heard me speak with respect about J.C. Maillet who was my Fender amp guru for many years. J.C. is the man behind an online site called vivaAnalog which is a great amplifier technical site for anybody who's interested in old Fender and Marshall amplifiers, both from a standpoint of the technical aspects of the amp designs, and in terms of modifications. J.C. also has an appreciation of the Garnet line which is one of the reasons I became more attuned to what a fine product it is. Any time you're looking for some interesting gear information that you won't find elsewhere, take a look at his site. I'll also mention that J.C.'s current passion and livelihood is a line of very good effects pedals, made about 30 miles north of here in Nanaimo, BC. www.lynx.net/~jc/ Traynor is another under-rated Canadian amp company--although my Traynor TBM 10 was made in China--so they do at least some stuff in Asia. I'm not positive, but I believe they make some of their stuff in Canada still.
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