Mark Skid
Well-known member
You be kiddin' me, fo show!
Techdeth
RESIDENT ROCK PROFESSOR
Hell ya !
glpg80
Well-known member
You'd be wrong. My 5150 II had no problem keeping up with him. Granted the bitch was cranked to 6.5, but it had no problem with two 4x12s.
Also you need to do some research on speaker efficiency and realize within the ability to maximize loudness exists a direct correlation to total cone surface area creating the sound waves. It's not just the source, its the transducer efficiency and the total number of them that counts.
V
VESmedic
Well-known member
Dino 939
Well-known member
It's not about "those" controls any longer for
the next up and blow jobbers'.
A lot of music is now created and put together
by machines..a button here &
a "lightning in the bottle" digital fader..
New musical instruments will be created,
leaving instruments made of wood etc
for the "caveman musician's".
Soon you'll be able to hologram Hendrix from
Monterey in your jam room and trade licks and war stories, smoke digital dope..etc.
I'll f'n say it again man, I STILL don't trust
'Bishop' from the motion picture "Aliens".
Why the f*** not man?
Because from start to finish..,
he's a bucket of bolts.
PS, there's no way Ripley could have survived
that airlock opening up by wedging her arm
& body weight through that launch
chamber handle.
She worked that loader fo'sure though!
"Not bad for a human".
-Hey Bishop, 'FU*K YOU' you bucket of bolts!-
the next up and blow jobbers'.
A lot of music is now created and put together
by machines..a button here &
a "lightning in the bottle" digital fader..
New musical instruments will be created,
leaving instruments made of wood etc
for the "caveman musician's".
Soon you'll be able to hologram Hendrix from
Monterey in your jam room and trade licks and war stories, smoke digital dope..etc.
I'll f'n say it again man, I STILL don't trust
'Bishop' from the motion picture "Aliens".
Why the f*** not man?
Because from start to finish..,
he's a bucket of bolts.
PS, there's no way Ripley could have survived
that airlock opening up by wedging her arm
& body weight through that launch
chamber handle.
She worked that loader fo'sure though!
"Not bad for a human".
-Hey Bishop, 'FU*K YOU' you bucket of bolts!-
Smash
Hack
I never know what the fuck you are talking about....But I am glad you are saying it.
Dino 939
Well-known member
Dude, I do realise this as I'm typing..
"Mining the seam"..- David Gilmour's description
of improvisation.
That's pretty bad ass man.
F**k..did I just do what you're pertaining to again??
AGREED!
Looks like tonight fellas..,
I NEED TO WALK HOME BOY.
F-it, just Wim Huff it the whole way home.
Taking one for the RT team.-peace out.
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Dino 939
Well-known member
Hey Smashedguitarist, there's something I should mention & I truely think you'll be proud of dude.
I recently challenged a man over on TGP to an all
out old school Robbin Ford "Politician" showdown.
He gets to used his Dumble thingy,
I'm using a Marshall JVM 410H, Channel 1 green mode dimed intoa dimed Electro-Harmonix Big Muff OpAmp pedal and a buttery-ass partscaster.
I'm doing all my own tracks also, he can hitch a ride on that 'Blue Line' all he needs.
I'm still in Jedi knight study mode, there's much to be said for those melodic extensions.
My band for this is called:
"The Andromeda Strain".
Not just for paying homage to that KILLER
SciFi gore motion picture from the 80's
but...it's that...,
"Straining while slightly hemorrhaging a
hairy sustained note",
Like ..anger shitting.,
from denial of constipation?
Dude, I gotta get back at it.
Keep this on the DL.
I recently challenged a man over on TGP to an all
out old school Robbin Ford "Politician" showdown.
He gets to used his Dumble thingy,
I'm using a Marshall JVM 410H, Channel 1 green mode dimed intoa dimed Electro-Harmonix Big Muff OpAmp pedal and a buttery-ass partscaster.
I'm doing all my own tracks also, he can hitch a ride on that 'Blue Line' all he needs.
I'm still in Jedi knight study mode, there's much to be said for those melodic extensions.
My band for this is called:
"The Andromeda Strain".
Not just for paying homage to that KILLER
SciFi gore motion picture from the 80's
but...it's that...,
"Straining while slightly hemorrhaging a
hairy sustained note",
Like ..anger shitting.,
from denial of constipation?
Dude, I gotta get back at it.
Keep this on the DL.
Mark Skid
Well-known member
Not to mention, Ripley and Bishop left that Alien queen to float freely through outer space. That's a non-release violation right there.
Smash
Hack
I will tell no one, my liege.
X
Xmutx
Member
De lisle amp switcher, those guys rock and don’t get enough credit for their gear. Great choice!
Mark Skid
Well-known member
Deleted
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DanTravis62
Moderator
Absolutely. What we need is more people paying attention to the valuable musical lessons to be learned in the Charlie Brown Christmas Special.
"When you watch 'A Charlie Brown Christmas' this year, notice the part where Lucy asks Schroeder to play Jingle Bells. He attempts to entertain Lucy with various harmonic renditions on the composition, though, Lucy is unimpressed. Schroeder is eventually reduced to playing the melody only, to which Lucy celebrates! Think about it..."
Or, who can forget the piss-ignorant "I only play melody, not leads" and "notes are polluted with distortion" stuff that literally only old people who fucking suck at guitar say?
"You should try backing-away from using distortion, and focus on learning how to play the instrument. Banging around on two-note power chords with heaping distortion and delay is counterintuitive. As a beginner, you shouldn't be using distortion, at all. You need to be memorizing notes, and you can't do that when the notes are polluted with distortion.
When the time comes, you can begin to introduce pre-amplification distortion and echo effects. Once you become a proficient harmonic player, you can begin focusing on learning melody. i.e. Lead. Melodic playing must be using collectively and contextually. Without backing, melody should be restricted to arpeggiation. e.g. Hotel California.
Hot damn! That may be the dumbest, smuggest, most condescending shit I've ever read. And I used to be on TGP alot.
In fact, you should start your own forum, where you can bestow upon the guitar playing public your pants-shittingly retarded boomer guitar advice.
Think about it! You can have a whole cult full of real musicians like Mark Skid, plinking away on "Mary Had a Little Lamb" and "Frere Jacques" with pristine jazz chorus clean tones! The notes won't be "polluted" with distortion or power chords! ....
...and you'll be there instead of here.
TheToneDig
Active member
SLO30.
Yet another sub 50W amp that the 100W-only-ists will claim is impossible to replicate the high-gains tones of its bigger brother and isn't gig-ready.
Guess that guitarist needs to be taught a lesson so let's call them names and hurl insults like it will stop that thing from ripping your band's logos off from your t-shirts while blowing your hair back at -5db less than its bigger brother with the same signature tone.
It should be obvious 100W is completely a human subjective number rounded off and not because at 100W tone happens.
The moral of the story is people are using these modern sub 50W high gain amps to achieve goals reaching more than 90% of what they need from the 100W bigger brothers which are becoming more and more specialized as time goes on.
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BeZo
Well-known member
Smash
Hack
I use a pick to break rock, while you use your head. And yet, I tire first.
SLO30.
Yet another sub 50W amp that the 100W-only-ists will claim is impossible to replicate the high-gains tones of its bigger brother and isn't gig-ready.
Guess that guitarist needs to be taught a lesson so let's call them names and hurl insults like it will stop that thing from ripping your band's logos off from your t-shirts while blowing your hair back at -5db less than its bigger brother with the same signature tone.
It should be obvious 100W is completely a human subjective number rounded off and not because at 100W tone happens.
The moral of the story is people are using these modern sub 50W high gain amps to achieve goals reaching more than 90% of what they need from the 100W bigger brothers which are becoming more and more specialized as time goes on.
J
Jack Luminous
Well-known member
The guy who says 100W amps are useless has written a book about "bedroom electric guitar". You can't make up such a thing as that. LOL
glpg80
Well-known member
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.
SLO30.
Yet another sub 50W amp that the 100W-only-ists will claim is impossible to replicate the high-gains tones of its bigger brother and isn't gig-ready.
Guess that guitarist needs to be taught a lesson so let's call them names and hurl insults like it will stop that thing from ripping your band's logos off from your t-shirts while blowing your hair back at -5db less than its bigger brother with the same signature tone.
It should be obvious 100W is completely a human subjective number rounded off and not because at 100W tone happens.
The moral of the story is people are using these modern sub 50W high gain amps to achieve goals reaching more than 90% of what they need from the 100W bigger brothers which are becoming more and more specialized as time goes on.
glpg80
Well-known member
Well of course he will say it’s impossible for larger amps to sound better, he wrote a book about it therefore it must be true! To think an entire forum disagrees with him is impossible! But -3dB!
TheToneDig
Active member
I discuss plenty of 100W+ amps in my book so that will disprove that strawman not to mention the zero evidence for any quote to back up what you just made up.
Who said that?
Any attenuator worth it's salt can run big Iron in any bedroom. Several chapters about it.
You can do a 180W Herbert in your bedroom if you want.
I use 50W in small room setups because usually, they do what the 100W can do in many cases. It is why amp makers have been producing 50W versions of their 100W amps for 40+ years. So obviously the claim you need 100W for high-gain tone is just plain wrong on a historical accounting for some medium to higher gain amps tonal histories in studios using 50W versions. So we can dispense with this idea everyone playing 100W amps on stage used 100W for recording. 50W was doing that for this reason.
40 years later the same amp makers are delivering studio packages in 20W to 30W instead of the 50W because they are doing what some say can't be done (signature tone) SLO30, Marshall Studios, Mesa MK25 can't do their big brother big tones? They are just the modern version of the 50W studios. They are still louder than the loudest drummer in the room. They are just not louder than a 100W cranked if you play that loud.