Looking for more information from Rig-talk's most knowledgeable

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glpg80 said:
We put a SLO30 against a common Peavey 5150 block logo and the difference was massive. The 5150 ate it for breakfast not in volume but character and tonal preference. Not a single person in the room thought the SLO30 sounded better. The next day my friend had no problem selling the SLO30 for a profit.
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You do realize anecdotal stories don't really mean anything other than you like the taste of some ice-cream flavor and not this other one?

Like why should I believe your story over a story that goes the other way around? That the Peavey Block Letter got laughed out of town by the SLO30W. I stopped thinking or believing in these sort of guitar forum stories long ago.

What can any rational person consulting guitar amplification conclude with that other than, okay, great, enjoy it, but why should that matter to me or anyone else? It's your own personal anecdotal story or experience. It has absolutely no bearing at all on the claim only 100W high-gain amps are gig-worthy or have a signature tone for anyone else.

To some here, even the engineers who produce sub-100W amps to do this job are just lying to everybody when they say their sub 100W amp has the same signature tone or is gig-ready as long as your not competing with a 100W amp of the same model. Are people are able to beat blind tests when it comes down to crunch? No. I haven't seen any serious amp designers or serious guitarists make the claim they can tell the difference either. They say things like, "man, don't the lines just blur."

I say like them, Yeah, they do.
 
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DanTravis62 said:
You should start your own forum, where you can bestow upon the guitar playing public your retarded boomer guitar advice.
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You're a generacist. Exposed for all the world, er... forum to wit. I just made that word (generacist) up btw... ;)

The internet is replete with butt-hurt millennials such as yourself. Attempting to project their idiocy, lack of talent, lack of commitment, lack of creativity and lack of intestinal fortitude onto those who came before. It is pathetic, and it is tiresome. I think most of you clowns are simply jealous. To wit: I can't think of a single (rock/metal genre) composition created over the last 30 years that I would consider musically relevant. If there is such a composition, it was likely penned by a boomer.

Take a look at my list of boomer generation composers and let's compare them to yours... It's not even a contest, and you know it. Where is the Hotel California of your generation? Just like the rest of the bullshit you people regurgitate, it's up your ass.
 
TheToneDig said:
You do realize anecdotal stories don't really mean anything other than you like the taste of some ice-cream flavor and not this other one?

Like why should I believe your story over a story that goes the other way around? That the Peavey Block Letter got laughed out of town by the SLO30W. I stopped thinking or believing in these sort of guitar forum stories long ago.

What can any rational person consulting guitar amplification conclude with that other than, okay, great, enjoy it, but why should that matter to me or anyone else? It's your own personal anecdotal story or experience. It has absolutely no bearing at all on the claim only 100W high-gain amps are gig-worthy or have a signature tone for anyone else.

To some here, even the engineers who produce sub-100W amps to do this job are just lying to everybody when they say their sub 100W amp has the same signature tone or is gig-ready as long as your not competing with a 100W amp of the same model. Are people are able to beat blind tests when it comes down to crunch? No. I haven't seen any serious amp designers or serious guitarists make the claim they can tell the difference either. They say things like, "man, don't the lines just blur."

I say like them, Yeah, they do.
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Don’t call me a lying piece of shit you dumb fuck.

E701B031-0270-4FDB-92D5-3FBC6EE3AA02.jpeg
 
TheToneDig said:
You do realize anecdotal stories don't really mean anything other than you like the taste of some ice-cream flavor and not this other one?

Like why should I believe your story over a story that goes the other way around? That the Peavey Block Letter got laughed out of town by the SLO30W. I stopped thinking or believing in these sort of guitar forum stories long ago.
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Why should anyone care or believe anything about your opinion on gear at all then?
 
japetus said:
Why should anyone care or believe anything about your opinion on gear at all then?
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I reference and point to real gear.

I would say for the last two pages I have been doing little more than sticking the ad hominem argument people on ignore, and what I am left with are some people obviously giving better than the low-effort monkey dirt-slinging strawman arguments and I accept those and move on. Like for example, I use to believe modelers would never recreate tube tones, that 35mm film would never be replaced by digital, that digital paint programs could never behave like oil on canvas, that digital couldn't do vinyl, that synthesizers could never sound like a grand piano and always engineers find ways to just take those notions and put them in the bin.

So today we have 50W amps in 20W-30W doing the job those studio amps did for 40 years already. What were they doing exactly if only 100W big brother versions have the tone people want? Obviously, it's there and obviously, in the past decade amp makers have been re-imagining the 100W and 50W amp into something practical that gets everyone to where they want to go, except for a few who need the volume of the 100W. +3dB.

In the vast majority of cases where I have heard 100Ws making the dB we are talking about, is not in someone's basement, or even practice or a studio for that matter, but a row of 100Ws on a stage and full stacks. Each one confers +3b. The reason for the row is that cabs are directional and it helps the audience experience the same tone over a wider area. Otherwise, you need FRFR for that kind of uniform dispersal. That is where I would find a 100W most useful. For anything less, 50W is more suitable and we have seen how those makers have done it in less for modern tones not requiring large venues. Nothing wrong with people thinking this way at all. Not the suckers some paint them as either.
 
Mark Skid said:
Disaster of a forum. Simply pathetic.
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Congratulations!
You win the prize of both being a troll, and an absolute idiot at the same time.

Now, being that you’re well over 60 now just be a good old boomer and wait until your TGP ban is over…and you can continue playing in your AARP music sandbox like the rest of the like minded morons.
 
Racerxrated said:
Congratulations!
You win the prize of both being a troll, and an absolute idiot at the same time.

Now, being that you’re well over 60 now just be a good old boomer and wait until your TGP ban is over…and you can continue playing in your AARP music sandbox like the rest of the like minded morons.
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TheToneDig said:
I reference and point to real gear.

I would say for the last two pages I have been doing little more than sticking the ad hominem argument people on ignore, and what I am left with are some people obviously giving better than the low-effort monkey dirt-slinging strawman arguments and I accept those and move on. Like for example, I use to believe modelers would never recreate tube tones, that 35mm film would never be replaced by digital, that digital paint programs could never behave like oil on canvas, that digital couldn't do vinyl, that synthesizers could never sound like a grand piano and always engineers find ways to just take those notions and put them in the bin.

So today we have 50W amps in 20W-30W doing the job those studio amps did for 40 years already. What were they doing exactly if only 100W big brother versions have the tone people want? Obviously, it's there and obviously, in the past decade amp makers have been re-imagining the 100W and 50W amp into something practical that gets everyone to where they want to go, except for a few who need the volume of the 100W. +3dB.

In the vast majority of cases where I have heard 100Ws making the dB we are talking about, is not in someone's basement, or even practice or a studio for that matter, but a row of 100Ws on a stage and full stacks. Each one confers +3b. The reason for the row is that cabs are directional and it helps the audience experience the same tone over a wider area. Otherwise, you need FRFR for that kind of uniform dispersal. That is where I would find a 100W most useful. For anything less, 50W is more suitable and we have seen how those makers have done it in less for modern tones not requiring large venues. Nothing wrong with people thinking this way at all. Not the suckers some paint them as either.
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For the love of god… shut up. No one agrees with you, no one producing records thinks like you do, we are all laughing at you, because everything, and I do mean everything you say, is wrong. But continue to make yourself look like an idiot.



I think we all need to make a review of this book on Amazon? Who’s in?
 
riffsfordaze said:
Is my Gorilla GG-10 amp gig ready? Just wonderin what you cats think. I just want to make sure, I can't find the God Damn manual
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God, the trauma! At some point in the 80's we played a bunch of localized festivals. They'd be sponsored by local music stores who'd put the backline together. I got to one and they'd put this gorilla something-or-other back there, on a crate with a mic in front of it, and that was it. We had about 5 minutes between the pervious act and ourselves. I have a recording done by a friend of that on cassette (built-in mic of some dude's ghetto blaster). I don't sound half bad, honestly, consider the fact I couldn't hear a single note I played on that stage for the entire set. I literally played the strings and just hoped I was plugged in because I had no clue what anything sounded like.

Gorilla amps are triggering to this day....
 
rstites said:
God, the trauma! At some point in the 80's we played a bunch of localized festivals. They'd be sponsored by local music stores who'd put the backline together. I got to one and they'd put this gorilla something-or-other back there, on a crate with a mic in front of it, and that was it. We had about 5 minutes between the pervious act and ourselves. I have a recording done by a friend of that on cassette (built-in mic of some dude's ghetto blaster). I don't sound half bad, honestly, consider the fact I couldn't hear a single note I played on that stage for the entire set. I literally played the strings and just hoped I was plugged in because I had no clue what anything sounded like.

Gorilla amps are triggering to this day....
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LOL. I played a festival once and was using a Mesa .22+ through a backline 4x12. We were literally rushed onstage at the last second, set up in record time and 1-2-3 let's go with no soundcheck. I start playing and I am getting no monitor and can't hear anything at all. I look back and the guy mic'ed my 1x12 combo, and not the 4x12. I felt like a stupid oaf middle song, standing there re-micing my 4x12.
 
japetus said:
LOL. I played a festival once and was using a Mesa .22+ through a backline 4x12. We were literally rushed onstage at the last second, set up in record time and 1-2-3 let's go with no soundcheck. I start playing and I am getting no monitor and can't hear anything at all. I look back and the guy mic'ed my 1x12 combo, and not the 4x12. I felt like a stupid oaf middle song, standing there re-micing my 4x12.
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Haha. These stories are so much better after-the-fact. At the time, it sucks so much. At least you had a great little amp there. I have my Mesa .22+ still and I've gigged it a bunch in the last 20 years. I love that little thing, and it's EL-84 goodness. Yeah, a bunch better through a closed back cab.

Hang on, is it ok that I like my little 20W Mesa there and the EL-84's? I also own my 100W amps. Really, I do!
 
Ive learned so much already and not even cracked the first page.

JVM410s make perfect bedroom amps!
 
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