Metro 68 Plexi series 12 vid

[Greazygeo]

hehehehe... This could go on forever, Bro!!
One question, Do you think EVH sounds the same with a 5150 as he does with his old Marshalls?
I personally do not.
Plus... if Joe Perry sounds like Joe Perry, why not just one amp on stage? After all, the tone's in his fingers right?

Like I said, I find this interesting and understand BOTH sides/angles we're coming from, but I do believe the amp has a key roll in the tone destiny of a recording or a live gig.
Technique is another complete subject. Too many people get these confused...

Keith

Perry probably uses amps for different things. Something for the talk box, clean, dirty etc...I don't think he ever used much in the way of channel switchers did he?

I don't think so, George.
He always has had a few amps up there that I've seen... quite a few.

Does he still use the Wizards??
Keith

With him, its hard to tell what is used. It seems like he was always rolling thru the gear. Alot of pics looked like his rig was usually a combination of combos and stacks. I've never used a talk box, but alot of guys I've seen that did, used a different rig just for that.

I do think alot of a person's tone comes from the players touch, attack etc (especially single note solos). With recorded stuff, whether its clips or cds, I think micing is a bigger part of the end result than the amp itself....as long as you are not talking about something ridiculous like a Polytone clean vs modded Marshall hi gain etc....

 

[mentoneman]

I used to like the extremely fat Dunlop jazz picks, thinking well I dig in, so I better use these monster picks that are really hard.
Even though I dig in pretty hard still, I recently started liking the sound and feel of medium to light picks (just this year), so that doesn't really surprise me. They wear out pretty fast though.

Now this is finally getting interesting. I always thought that the guys with the ligt touch sounded way better. I' a fucking lumberjack, and for the longest time i drove me up the wall. Like playing a vibroverb, or even worse a Dumble style amp the thing would just konk out under heavy attack.

a friend of mine thought the fuchs would be the ultimate amp for him. loves robben ford and to me the fuchs is that amp, if you have the touch.

i let him try the one i had. it was a disaster. he hit full chords so hard that clean tones distorted, and just bludgeoned the nuances right out of the equation. and in his hands the amp sounded horrible!

like jackhammering a seed into the ground, flooding it with a firehose, and screaming at it to "BLOOM NOW!"

 

[Zachman]

Has anyone bothered to just flat out call Don or Ted and ask them

Just got off the phone, they said he was really using this because he was lazy and it was easier to carry. They did acknowledge that the tone was in his fingers though.


Seriously though, it all counts- Yes, gear too. The guys arguing that tone is in the fingers some of them anyway have some very useless expensive choices in amps, cabs speakers etc... IF tone is in the fingers, which it isn't. Technique will allow one to coax nuances out of gear, but alas- the gear really does matter

I love this reduction. No it isn't useless. Simply because all the amps feel and respond differently. Do me a favor disagree all you want with me, but don't assume you have clue one why I do anything.
As for the earlier Flanger remark. It's an effect, doesn't have to do jack shit with tone does it now.

I certainly NEVER claimed to have a clue, assume, or give a crap, why you may or may not do anything.

True, though not JUST because they feel and respond differently, they sound different too because as you pointed out, because of many factors, including hardware. (Bias, tube type, eq tone stack, speaker type, cab type/configuration/build quality, gain stages etc...). Just like different Flanger circuits sound, feel and respond differently. Anyone who would argue that different flangers don't have sounds that vary greatly, is either deaf or stubborn. Of course one can dial in something close with a similar amp, but to take the gear out of the equation, as some do by making the argument that tone is in the fingers not in the gear, is misguided.

It ALL counts (Player, gear, knowhow) toward the end result, and none of it matters, without the other components.

 

[Meathead]

I used to like the extremely fat Dunlop jazz picks, thinking well I dig in, so I better use these monster picks that are really hard.
Even though I dig in pretty hard still, I recently started liking the sound and feel of medium to light picks (just this year), so that doesn't really surprise me. They wear out pretty fast though.

Now this is finally getting interesting. I always thought that the guys with the ligt touch sounded way better. I' a fucking lumberjack, and for the longest time i drove me up the wall. Like playing a vibroverb, or even worse a Dumble style amp the thing would just konk out under heavy attack.

a friend of mine thought the fuchs would be the ultimate amp for him. loves robben ford and to me the fuchs is that amp, if you have the touch.

i let him try the one i had. it was a disaster. he hit full chords so hard that clean tones distorted, and just bludgeoned the nuances right out of the equation. and in his hands the amp sounded horrible!

like jackhammering a seed into the ground, flooding it with a firehose, and screaming at it to "BLOOM NOW!"

LOL
I like my rig...playing someone else's rig can mean either really adjusting your playing style or drown.

 

[degenaro]

I certainly NEVER claimed to have a clue, assume, or give a crap, why you may or may not do anything.

True, though not JUST because they feel and respond differently, they sound different too because as you pointed out, because of many factors, including hardware. (Bias, tube type, eq tone stack, speaker type, cab type/configuration/build quality, gain stages etc...). Just like different Flanger circuits sound, feel and respond differently. Anyone who would argue that different flangers don't have sounds that vary greatly, is either deaf or stubborn. Of course one can dial in something close with a similar amp, but to take the gear out of the equation, as some do by making the argument that tone is in the fingers not in the gear, is misguided.

It ALL counts (Player, gear, knowhow) toward the end result, and none of it matters, without the other components.

I'm not taking the gear out of the equation, I have different priorities and expectations to what gear should do. I rely on gear to give me the feel and not stand in my way. The sound I generate.

As for flangers, why are we talking about efx?

 

[Zachman]

The fingers obviously change dynamics and pick attack etc...
The amp makes a huge difference in "TONE" - the rest is technique that one player could copy from the other player while sitting in the room. I've done it many times with my cousin. He's played a lick and handed the guitar to me, I may play the lick a little differently but I can copy what he does and even get his technique down if I choose!
The TONE is still a Fender Super or a Bogner or whatever.
You can't change that!

Why does Ford use Dumbles?
Why does Iced Earth demand Larry Amplification?

WHY THE HELL DOES JOE PERRY HAVE HALF A DOZEN DIFFERENT AMPS ON STAGE?



Pretty simple.

Why doesn't Perry have a brown sound when he was using old Marshalls?
Eddie could have walked up to Perry's Marshall, plugged in, dialed it in a bit and sounded like him...I do believe that.

hehehehe... This could go on forever, Bro!!
One question, Do you think EVH sounds the same with a 5150 as he does with his old Marshalls?
I personally do not.
Plus... if Joe Perry sounds like Joe Perry, why not just one amp on stage? After all, the tone's in his fingers right?

Like I said, I find this interesting and understand BOTH sides/angles we're coming from, but I do believe the amp has a key roll in the tone destiny of a recording or a live gig.
Technique is another complete subject. Too many people get these confused...

Keith

BINGO

 

[degenaro]

I used to like the extremely fat Dunlop jazz picks, thinking well I dig in, so I better use these monster picks that are really hard.
Even though I dig in pretty hard still, I recently started liking the sound and feel of medium to light picks (just this year), so that doesn't really surprise me. They wear out pretty fast though.

Now this is finally getting interesting. I always thought that the guys with the ligt touch sounded way better. I' a fucking lumberjack, and for the longest time i drove me up the wall. Like playing a vibroverb, or even worse a Dumble style amp the thing would just konk out under heavy attack.

a friend of mine thought the fuchs would be the ultimate amp for him. loves robben ford and to me the fuchs is that amp, if you have the touch.

i let him try the one i had. it was a disaster. he hit full chords so hard that clean tones distorted, and just bludgeoned the nuances right out of the equation. and in his hands the amp sounded horrible!

like jackhammering a seed into the ground, flooding it with a firehose, and screaming at it to "BLOOM NOW!"

Pat, you have the most killingest way with words!

 

[Zachman]

I certainly NEVER claimed to have a clue, assume, or give a crap, why you may or may not do anything.

True, though not JUST because they feel and respond differently, they sound different too because as you pointed out, because of many factors, including hardware. (Bias, tube type, eq tone stack, speaker type, cab type/configuration/build quality, gain stages etc...). Just like different Flanger circuits sound, feel and respond differently. Anyone who would argue that different flangers don't have sounds that vary greatly, is either deaf or stubborn. Of course one can dial in something close with a similar amp, but to take the gear out of the equation, as some do by making the argument that tone is in the fingers not in the gear, is misguided.

It ALL counts (Player, gear, knowhow) toward the end result, and none of it matters, without the other components.

I'm not taking the gear out of the equation, I have different priorities and expectations to what gear should do. I rely on gear to give me the feel and not stand in my way. The sound I generate.

As for flangers, why are we talking about efx?

I used it in an analogy, and you asked a question about it. Effects are gear just as amps are, and have sonic characteristics/tone potential, just as amps do.

For the record, I agree with you more than I disagree. I believe gear are mere tools to get a job done, PERIOD. Some tools lend themselves to a given job better than others, not because of tone being in the fingers, as a Never channel strip compared to a Mackie will attest... It's the gear that makes a difference in that scenario.

Feel, Tone, technique ALL matter greatly and technique is why, I believe the same amp in several players' hands, will "sound/respond" differently.

 

[degenaro]

I certainly NEVER claimed to have a clue, assume, or give a crap, why you may or may not do anything.

True, though not JUST because they feel and respond differently, they sound different too because as you pointed out, because of many factors, including hardware. (Bias, tube type, eq tone stack, speaker type, cab type/configuration/build quality, gain stages etc...). Just like different Flanger circuits sound, feel and respond differently. Anyone who would argue that different flangers don't have sounds that vary greatly, is either deaf or stubborn. Of course one can dial in something close with a similar amp, but to take the gear out of the equation, as some do by making the argument that tone is in the fingers not in the gear, is misguided.

It ALL counts (Player, gear, knowhow) toward the end result, and none of it matters, without the other components.

I'm not taking the gear out of the equation, I have different priorities and expectations to what gear should do. I rely on gear to give me the feel and not stand in my way. The sound I generate.

As for flangers, why are we talking about efx?

I used it in an analogy, and you asked a question about it. Effects are gear just as amps are, and have sonic characteristics/tone potential, just as amps do.

For the record, I agree with you more than I disagree. I believe gear t be tools to get a job done, PERIOD. Some tools lend themselves to a given job better than others, not because of tone being in the fingers, as a Never channel strip compared to a Mackie will attest... It's the gear that makes a difference in that scenario.

Feel, Tone, technique ALL matter greatly and technique is why, I believe the same amp in several players' hands, will "sound/respond" differently.

Except I think efx are just tha efx. Ising, sauce, whatever, and yes there are guys that make them the main ingredient. But the guitar/amp thing to me is the instrument. And yes of course it has an effect, but it all starts with what you put in.

O a different note, you said in an earlier post that if the sound was constant why THD makes different models.
Take a look at out amps. First THD was a Bassman clone, then the RnR model which was a Bassman with a bigger output section for more clean headroom, quicker attack, then the clone of Friedman's small box, which essentially is a gainier version of a Bassman, after that the Type-O which was depending on tube and rectifier set-up andy of the initial 3 amps,then the the UniValve. Single ended Class A, then the BiValve, a louder UniValve. Then the Flexi which was a continuation of the original amps with more lower mids. And the next amp is a simple EL84 amp intented as a pedal platform. All of them really variations on a theme with the idea of getting the hell out of the players way and letting his/her stuff come through.

 

[degenaro]

And o a completely different note. I got a few old Marshalls and to me EVH is so not the benchmark for what I want them to sound like. To me Jimi is for string clank and harmonic jingle, and for single note lies Ray.
As a matter of fact I got a 71 here that is Ray's and just plugged that in, and I pla od like through t. Sounds like everything else but the way it feels when I hit the string it'd give a limp dicked old geezer a har on, low blood pressure and all.

 

[Gainfreak]

The fingers obviously change dynamics and pick attack etc...
The amp makes a huge difference in "TONE" - the rest is technique that one player could copy from the other player while sitting in the room. I've done it many times with my cousin. He's played a lick and handed the guitar to me, I may play the lick a little differently but I can copy what he does and even get his technique down if I choose!
The TONE is still a Fender Super or a Bogner or whatever.
You can't change that!

Why does Ford use Dumbles?
Why does Iced Earth demand Larry Amplification?

WHY THE HELL DOES JOE PERRY HAVE HALF A DOZEN DIFFERENT AMPS ON STAGE?



Pretty simple.

Why doesn't Perry have a brown sound when he was using old Marshalls?
Eddie could have walked up to Perry's Marshall, plugged in, dialed it in a bit and sounded like him...I do believe that.

hehehehe... This could go on forever, Bro!!
One question, Do you think EVH sounds the same with a 5150 as he does with his old Marshalls?
I personally do not.
Plus... if Joe Perry sounds like Joe Perry, why not just one amp on stage? After all, the tone's in his fingers right?

Like I said, I find this interesting and understand BOTH sides/angles we're coming from, but I do believe the amp has a key roll in the tone destiny of a recording or a live gig.
Technique is another complete subject. Too many people get these confused...

Keith

I agree.

Also Brother Ed, I chose the Mesa boogie MKIV because the gain stages and EQ section are setup differently then the tremoverb. It seems to me that you always play marshall based amps and the tremoverb is nothing more then a beefed up Soldano / Marshall. I know why you can get it to sound similar because you kind of tone is in the amp. Tube technology hasn't changed since the 50's. so its easy to see why certain tones can be achived on different amps. My statement still hold true. if you can get my Boogie with the gain setup on 8 with teh graphic eq dumped in the mids to hone like your Marshalls or THD then you would have proved something to me.,

For the record, I hear differences in tone between EVH's Marshall and his 5150 tones, between Nunos Marshall and ada Tone and between Warren D's first album tone to the second albums tone between every Lynch album. They are completely different tones but the technique is the same and that is what seperates the player.

I think this has been beaten to death and IMHO, its a combination of the parts that gets you the end result
~R~

 

[moronmountain]

My opinion only: I think "tone" can be described in different ways. I've read most of the posts here and I think both sides of the argument are right. If the "tone" you're referring to is actually the players "style" then yes, tone is in the fingers. If the "tone" you're referreing to is the "sound" that is coming from the speakers, then I think "tone" is more from the gear. I think the "sound" coming from Eddie's speaker is different on the newer albums than the old ones. Can you tell it's him just by hearing him play? Yes, because it's his style even if he was playing a cover tune. I think to uncover the magic in Eddie's "brown sound" you really have to get gear that sounds really close to what he was using, have the same effects going on, and be able to cop his style to a T. If you can't do all 3, then you're not going to find his "tone." I personally don't like Eddie's "tone" that much. Was it revolutionary? Yes. Did his playing change the way we look at rock guitar? Yes. In the end, I'm just not a huge fan of VH's music. I was more into bands like Judas Priest back then. I was THE biggest JP fan when I was younger, but I never even thought about trying to sound like Glen or KK. I guess I just don't get that part of it. FWIW if I plug into differnent amps my sound will be at least slightly different, but it will always sound like me playing. Does that make "tone" in the fingers? I don't think so, I think it means my "style" is in my fingers. The basic "sound" comes from the amp and how I have it set up. "Tone" is probably a combination of all of the elements.

 

[Zachman]

And o a completely different note. I got a few old Marshalls and to me EVH is so not the benchmark for what I want them to sound like. To me Jimi is for string clank and harmonic jingle, and for single note lies Ray.
As a matter of fact I got a 71 here that is Ray's and just plugged that in, and I pla od like through t. Sounds like everything else but the way it feels when I hit the string it'd give a limp dicked old geezer a har on, low blood pressure and all.

I understand completely, and acknowledge that operator proficiency is a separate art, in and of itself.

The fact that different circuits have "mid gain" characteristics etc..., is the reason why, I take the position that I do, re: Gear being the factor, or there wouldn't be such a thing as guys with great technique that have horrible tone, which I have personally witnessed as I am sure you have too.

I love music, and the tools that make it possible. Vintage tones to modern jazz to metal, etc... GREAT tone is great tone, and one of the components of great songs, IMO is having the right tones (separate art) toward achieving the vibe. Steel string acoustic or nylon sting acoustic as an example, or Marshall Plexi super lead or JTM45 vs Valvestate. I don't think anyone would/should argue that the reason they sound different is because of fingers. That was my ONLY point.

 

[Meathead]

Why doesn't Perry have a brown sound when he was using old Marshalls?
Eddie could have walked up to Perry's Marshall, plugged in, dialed it in a bit and sounded like him...I do believe that.

hehehehe... This could go on forever, Bro!!
One question, Do you think EVH sounds the same with a 5150 as he does with his old Marshalls?
I personally do not.
Plus... if Joe Perry sounds like Joe Perry, why not just one amp on stage? After all, the tone's in his fingers right?

Like I said, I find this interesting and understand BOTH sides/angles we're coming from, but I do believe the amp has a key roll in the tone destiny of a recording or a live gig.
Technique is another complete subject. Too many people get these confused...

Keith

I agree.

Also Brother Ed, I chose the Mesa boogie MKIV because the gain stages and EQ section are setup differently then the tremoverb. It seems to me that you always play marshall based amps and the tremoverb is nothing more then a beefed up Soldano / Marshall. I know why you can get it to sound similar because you kind of tone is in the amp. Tube technology hasn't changed since the 50's. so its easy to see why certain tones can be achived on different amps. My statement still hold true. if you can get my Boogie with the gain setup on 8 with teh graphic eq dumped in the mids to hone like your Marshalls or THD then you would have proved something to me.,

For the record, I hear differences in tone between EVH's Marshall and his 5150 tones, between Nunos Marshall and ada Tone and between Warren D's first album tone to the second albums tone between every Lynch album. They are completely different tones but the technique is the same and that is what seperates the player.

I think this has been beaten to death and IMHO, its a combination of the parts that gets you the end result
~R~

It is both, but the player is more important than the gear.

The end....quickly turns off computer.

 

[Zachman]

I agree.

Also Brother Ed, I chose the Mesa boogie MKIV because the gain stages and EQ section are setup differently then the tremoverb. It seems to me that you always play marshall based amps and the tremoverb is nothing more then a beefed up Soldano / Marshall. I know why you can get it to sound similar because you kind of tone is in the amp. Tube technology hasn't changed since the 50's. so its easy to see why certain tones can be achived on different amps. My statement still hold true. if you can get my Boogie with the gain setup on 8 with teh graphic eq dumped in the mids to hone like your Marshalls or THD then you would have proved something to me.,

For the record, I hear differences in tone between EVH's Marshall and his 5150 tones, between Nunos Marshall and ada Tone and between Warren D's first album tone to the second albums tone between every Lynch album. They are completely different tones but the technique is the same and that is what seperates the player.

I think this has been beaten to death and IMHO, its a combination of the parts that gets you the end result
~R~

AMEN!!!! For anyone to argue that one's facility on their instrument is NOT a factor would be equally incomplete in the overall picture.

Technique
Proficiency in (Songwriting/Arrangement, Playing ones' instrument, Engineering, Producing, Being an Entertaining performer)
Gear (Amps, Speakers, Cabs, Tubes, outboard gear [rack/pedals], Guitar [fit/finish/electronics], cables, signal routing etc...)

ALL work TOGETHER to either make it work or not. In the end, great tone is great tone, and it's in the brain- via the ears through the air, via the gear, via the player playing the gear.

As stated earlier, a GREAT player playing through crap gear will still sound like an obviously great player with crap tone.

 

[Meathead]

I agree.

Also Brother Ed, I chose the Mesa boogie MKIV because the gain stages and EQ section are setup differently then the tremoverb. It seems to me that you always play marshall based amps and the tremoverb is nothing more then a beefed up Soldano / Marshall. I know why you can get it to sound similar because you kind of tone is in the amp. Tube technology hasn't changed since the 50's. so its easy to see why certain tones can be achived on different amps. My statement still hold true. if you can get my Boogie with the gain setup on 8 with teh graphic eq dumped in the mids to hone like your Marshalls or THD then you would have proved something to me.,

For the record, I hear differences in tone between EVH's Marshall and his 5150 tones, between Nunos Marshall and ada Tone and between Warren D's first album tone to the second albums tone between every Lynch album. They are completely different tones but the technique is the same and that is what seperates the player.

I think this has been beaten to death and IMHO, its a combination of the parts that gets you the end result
~R~

AMEN!!!! For anyone to argue that one's facility on their instrument is NOT a factor would be equally incomplete in the overall picture.

Technique
Proficiency in (Songwriting/Arrangement, Playing ones' instrument, Engineering, Producing, Being an Entertaining performer)
Gear (Amps, Speakers, Cabs, Tubes, outboard gear [rack/pedals], Guitar [fit/finish/electronics], cables, signal routing etc...

ALL work TOGETHER to either make it work or not. In the end, great tone is great tone

It's a good thing to talk about I think for guys chasing a tone and going through lots of amps...so many elements to think about, speakers are huge as well because they shape the overall feel to me. I replaced a greenback in my Peters combo with a Celestion Blue and it's almost like a completely different amp...I really dig that speaker.

 

[Zachman]

I agree.

Also Brother Ed, I chose the Mesa boogie MKIV because the gain stages and EQ section are setup differently then the tremoverb. It seems to me that you always play marshall based amps and the tremoverb is nothing more then a beefed up Soldano / Marshall. I know why you can get it to sound similar because you kind of tone is in the amp. Tube technology hasn't changed since the 50's. so its easy to see why certain tones can be achived on different amps. My statement still hold true. if you can get my Boogie with the gain setup on 8 with teh graphic eq dumped in the mids to hone like your Marshalls or THD then you would have proved something to me.,

For the record, I hear differences in tone between EVH's Marshall and his 5150 tones, between Nunos Marshall and ada Tone and between Warren D's first album tone to the second albums tone between every Lynch album. They are completely different tones but the technique is the same and that is what seperates the player.

I think this has been beaten to death and IMHO, its a combination of the parts that gets you the end result
~R~

AMEN!!!! For anyone to argue that one's facility on their instrument is NOT a factor would be equally incomplete in the overall picture.

Technique
Proficiency in (Songwriting/Arrangement, Playing ones' instrument, Engineering, Producing, Being an Entertaining performer)
Gear (Amps, Speakers, Cabs, Tubes, outboard gear [rack/pedals], Guitar [fit/finish/electronics], cables, signal routing etc...

ALL work TOGETHER to either make it work or not. In the end, great tone is great tone

It's a good thing to talk about I think for guys chasing a tone and going through lots of amps...so many elements to think about, speakers are huge as well because they shape the overall feel to me. I replaced a greenback in my Peters combo with a Celestion Blue and it's almost like a completely different amp...I really dig that speaker.

It is good for the exchange of ideas

Of course, because physics is physics... The sonic characteristics of gear is well documented. The guys that want to argue that tone is in the fingers, are WRONG. Technique is in the fingers. IF what I'm saying isn't true, then the same player playing through any given piece of equipment would sound the same, and I'm not talking stylistically. I'm saying a Utah speaker vs a JBL, or Altec, or whatever wouldn't make a difference and it does make a difference. I don't care how gifted someone is, they are NOT going to get a less efficient speaker to produce frequencies (you know, the stuff that tone is made of) of a MORE efficient speaker. (That goes for amps, fx etc...)

The guys arguing that they sound the same on any given amp are likely trying to dial in one amp compared to the next in a similar fashion, or they wouldn't have to adjust any of the tone knobs, no matter where they are set and they'd sound the same. Since that ISN'T true, neither is the assertion that gear is so irrelavant

 

[degenaro]

I agree.

Also Brother Ed, I chose the Mesa boogie MKIV because the gain stages and EQ section are setup differently then the tremoverb. It seems to me that you always play marshall based amps and the tremoverb is nothing more then a beefed up Soldano / Marshall. I know why you can get it to sound similar because you kind of tone is in the amp. Tube technology hasn't changed since the 50's. so its easy to see why certain tones can be achived on different amps. My statement still hold true. if you can get my Boogie with the gain setup on 8 with teh graphic eq dumped in the mids to hone like your Marshalls or THD then you would have proved something to me.,

For the record, I hear differences in tone between EVH's Marshall and his 5150 tones, between Nunos Marshall and ada Tone and between Warren D's first album tone to the second albums tone between every Lynch album. They are completely different tones but the technique is the same and that is what seperates the player.

I think this has been beaten to death and IMHO, its a combination of the parts that gets you the end result
~R~

We're going in circles...I'll leave it at this. I can grab an acoustic and make music, plug a Strat into a DI into the board, plug into the amp, yada, yada, yada. Take the player away from the instrument and you have? NOTHING. No player no tone. That's where it ALL starts.
The guy that hired me for the Guitar Hero 3 game knows me for about 8 years now. He's lik you in terms o his gear beliefs. however he's making one concession, he calls me "the equalizer", since eerything I have sent him, or h has tracked with me in room through any of his amps sounds the same.

 

[Gainfreak]

I agree.

Also Brother Ed, I chose the Mesa boogie MKIV because the gain stages and EQ section are setup differently then the tremoverb. It seems to me that you always play marshall based amps and the tremoverb is nothing more then a beefed up Soldano / Marshall. I know why you can get it to sound similar because you kind of tone is in the amp. Tube technology hasn't changed since the 50's. so its easy to see why certain tones can be achived on different amps. My statement still hold true. if you can get my Boogie with the gain setup on 8 with teh graphic eq dumped in the mids to hone like your Marshalls or THD then you would have proved something to me.,

For the record, I hear differences in tone between EVH's Marshall and his 5150 tones, between Nunos Marshall and ada Tone and between Warren D's first album tone to the second albums tone between every Lynch album. They are completely different tones but the technique is the same and that is what seperates the player.

I think this has been beaten to death and IMHO, its a combination of the parts that gets you the end result
~R~

We're going in circles...I'll leave it at this. I can grab an acoustic and make music, plug a Strat into a DI into the board, plug into the amp, yada, yada, yada. Take the player away from the instrument and you have? NOTHING. No player no tone. That's where it ALL starts.
The guy that hired me for the Guitar Hero 3 game knows me for about 8 years now. He's lik you in terms o his gear beliefs. however he's making one concession, he calls me "the equalizer", since eerything I have sent him, or h has tracked with me in room through any of his amps sounds the same.

Ed! I was just thinking the same thing lol! I was reading this entire thread saying that we are going in circles.
I guess this is the gear/musical equivalent of the question of what came first the chicken or the egg

 

[degenaro]

It is good for the exchange of ideas

Of course, because physics is physics... The sonic characteristics of gear is well documented. The guys that want to argue that tone is in the fingers, are WRONG. Technique is in the fingers. IF what I'm saying isn't true, then the same player playing through any given piece of equipment would sound the same, and I'm not talking stylistically. I'm saying a Utah speaker vs a JBL, or Altec, or whatever wouldn't make a difference and it does make a difference. I don't care how gifted someone is, they are NOT going to get a less efficient speaker to produce frequencies (you know, the stuff that tone is made of) of a MORE efficient speaker. (That goes for amps, fx etc...)

See I have an issue when folks tell me that I' "WRONG". I do this shit for a living, so no offense I kinda get my back up when I get to deal with people tell me wrong.