Controversial gear opinions…….lets hear them.

hellzington said:
The most important things to your tone are not sexy:

- Your pick choice
- Your string choice
- Your playing technique
- Your guitar’s volume and tone controls
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Strings and tone control choice? Strings are strings IMO, some are just more durable. Who uses their tone pot?? Obituary and Eyehategod, All the way off. that's about it.
 
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jabps said:
The Anni is easily one of Celestions most "controversial" speakers but I'll say this, they sound fantastic once they are broken in. Love mine.
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When I see them as OEM in combos, all I can think is that must be a dark fucking amp if it sounds balanced with that speaker.
 
stephen sawall said:
That stage is such a weird shape in the room. A big deep wedge. It's always too loud in there.

That and the chicken waffles are kind of gross....and I like chicken and waffles.
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Loud is right. All it took was one Zeke show and I never went without ear plugs ever again. I always dug the setup there though, the two separate halves so you could catch a break from the volume and get a drink. I had many a post, load in meal there, but it’s been so long I have no memory of how it was. But when you’re 25 and not 55 you can tolerate a lot! 😉 My only hope was, please don’t let this meal make me have to take a shit in this god forsaken bathroom before I play. 😂
 
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skoora said:
Yeah, pretty much. Every time I’ve been in a store that sold boutique or higher end stuff and there was also a JCM800 or 1959/87, the Marshall always won with just having a more immediate and responsive “aliveness” to the tone. The other Amps might have more gain, more low end but you’re constantly tweaking the mids and top end to try and attain what the Marshall gets with the EQ at 12 O’Clock.
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The issues with classic Marshalls are more down to a lack of options than sound. They have one channel, so one volume, no loops, etc. You can't even get a separate volume boost on stage with one if it's already cranked up for distortion on chords. If you have a good soundman who hits the solo boost on both the PA and stage monitors it's all fine. If doing it all on your own, there's just nowhere to go. (Love old stage footage of Blackmore walking over and simply turning his amps up for solos!)

Also, the people who wanted more gain directly from the amp, rather than boosting going into the amp, so there's that. .....and perfectly fine, but compromised cleans live.
 
rstites said:
The issues with classic Marshalls are more down to a lack of options than sound. They have one channel, so one volume, no loops, etc. You can't even get a separate volume boost on stage with one if it's already cranked up for distortion on chords. If you have a good soundman who hits the solo boost on both the PA and stage monitors it's all fine. If doing it all on your own, there's just nowhere to go. (Love old stage footage of Blackmore walking over and simply turning his amps up for solos!)

Also, the people who wanted more gain directly from the amp, rather than boosting going into the amp, so there's that. .....and perfectly fine, but compromised cleans live.
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Most useful mod I got for a Marshall (78 2203), was to have a 2nd footswitchable master put in the back. I didn’t mess with the gain because the amp was fine as is. I’d much rather have a simple amp that sounds like rock glory and massage in some useful mods like a loop or additional master than try and work with a feature laden amp that is OK sounding.
 
skoora said:
Most useful mod I got for a Marshall (78 2203), was to have a 2nd footswitchable master put in the back. I didn’t mess with the gain because the amp was fine as is. I’d much rather have a simple amp that sounds like rock glory and massage in some useful mods like a loop or additional master than try and work with a feature laden amp that is OK sounding.
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That makes sense. For about 20 years I keep contemplating building up a 2203 from scratch but with a dedicated boost channel - basically a SLO topology but stick closer to the Marshall core. Like many ideas, it seems to be a perpetual project on paper at this point!
 
rstites said:
The issues with classic Marshalls are more down to a lack of options than sound. They have one channel, so one volume, no loops, etc. You can't even get a separate volume boost on stage with one if it's already cranked up for distortion on chords. If you have a good soundman who hits the solo boost on both the PA and stage monitors it's all fine. If doing it all on your own, there's just nowhere to go. (Love old stage footage of Blackmore walking over and simply turning his amps up for solos!)

Also, the people who wanted more gain directly from the amp, rather than boosting going into the amp, so there's that. .....and perfectly fine, but compromised cleans live.
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This is literally why I play an ENGL artist for live shows LOL
 
skoora said:
When I see them as OEM in combos, all I can think is that must be a dark fucking amp if it sounds balanced with that speaker.
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Gotta break them in and they level out. Best sounding cab I ever owned or heard in my life was a road toured Mojave 4x12 with Annis on the bottom and GB's on the top. They mix good as well. All the one's I have owned are either road hard for years or I had them broken in before I bought them i.e. Hellatones.
 
Mesa Stilettos (both stages) are underrated and worth picking up for the prices they usually sell at. Run the channel volumes high, attenuate or use the FX output control as a master volume and add low end via an EQ pedal if required…. Worth pairing with greenbacks.
 
Apex1Rg7X said:
The obsession with chasing EVH's tone is super lame. You won't sound like him, so just stop.
Old Marshall's are cool if you play old rock shit
The "No BOOST' crowd is lame, just let me do what I want, ok?
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Some people can sound very close to him. But none of them ARE him. And none of them WERE him when it mattered and the trails had yet to be blazed. So yes, it's lame.
 
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