Changing Things Up, Rediscovering Wow-ness!
- Thread starter László
- Start date
You bet. There are things I suck at.
Or in my case, it's better to hire an expert than screw up a project trying to play a style I don't play very well.
jfb
Plank Owner
This control kills fascists:
Post of the month.
I've been really close to scoring a DG amp, but can't seem to commit. Local shop has a 30 and I've been lazy about jamming it.
It's a very unique amp in so many ways. Not something you can neatly fit into a typical amp category.
But I know you're a high gain player; just be aware that it is not a high gain amp, and you'd need to use a pedal to push it into the kind of gain you'd probably need for the stuff you play.
I immediately caught your drift, buddy. Just making light of it. :biggrin:
You make a good point, Les, about Jessie's attraction toward what I'll call classic amps. If you want to step into modern or metal territory (and I make a distinction between the two with emphasis) you have to have at least one pedal. Which one(s)?
We do one song in our set list rotation that really needs my Boogie amp...When I'm Gone by 3 Doors Down. There's no sense in dual-amping my rig for one song that needs a modern, scooped tone. What pedal would take my SuperD to Boogie/-insert fav modern amp here- Land instantly? Bogner Red? Maybe this discussion needs its own topic?
I'd try one of the Mesa pedals. I haven't tried them myself, but in the clips online they sure sound Mesa.
prsrocker1988
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Nice stuff Les... The DG30 definitely seems like a great amp.
I may have thrown you off track by mentioning my Boogie: I don't want to make another Boogie-sounding rig. But I need some mid scooping and real hair. Maybe an OCD? It's nice that many PRS amps take pedals so well, but completely alter the character? Not sure.
I don't really hear the OCD as a mid-scooping kind of thing. I honestly have never found a pedal that scoops out the mids the way a Mesa amp does. That's why I was thinking one of those new Mesa distortion pedals that also have an EQ built in might be a good choice. They have a graphic EQ and a mid cut knob.
Meantime I'm working around the clock.
I should find a good looking nurse to wheel me around while I sip hot toddies and leer at old ladies. But no. I'm in the studio until late at night, playing guitar and writing music.
The Hammer Of The Gods is driving me to new lands...
I should find a good looking nurse to wheel me around while I sip hot toddies and leer at old ladies. But no. I'm in the studio until late at night, playing guitar and writing music.
The Hammer Of The Gods is driving me to new lands...
jfb
Plank Owner
It is funny because I'm the guy routinely turning the gain lower. Now when I am riff writing the gain is up a bit cause I live in metal land, but most of the time I'm a bit more than break up - think Tim Pierce without all the talent.
sergiodeblanc
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You're high. :girl:
I would never in a million years think I'd hear that from you, and we were just ragging on the tones from these pedals a few months ago when Corey posted them. You're an engineer, g@ddammit! Get a parametric equalizer fer cry in' out loud and make it happen!.... Unless you just wanna buy a new pedal, and then that's cool. :hello:
It was a suggestion for Boogie who said he wanted to get scooped distortion tones from a pedal using his PRS amp at gigs for certain songs.
My prescription for myself in the studio is if I want those tones, a Mesa amp works fine.
I haven't needed Mesa style tones in a while. But I'd buy one if needed, or at least borrow one.
It is funny because I'm the guy routinely turning the gain lower. Now when I am riff writing the gain is up a bit cause I live in metal land, but most of the time I'm a bit more than break up - think Tim Pierce without all the talent.
Tim Pierce is a helluva player, isn't he? Always sounds good, too.
jfb
Plank Owner
I made it a point to find him at Experience 2013. Even got my picture with him. Ultra cool guy and my favorite guitar player ever.
jfb
Plank Owner
Since I order most all of my guitars I try and save money by purchasing amps used. I still need to try the DG30, but rarely see them second hand so it might be a while.
If the wife and I have our way we will be moving soon which is another conversation entirely, but the move will put us in a much smaller place by choice. If this happens the fort and guitar armory might be lessoned substantially to save on space.
Steph
New Member
Well, I was just going to say that the switch "kills." Then I was reminded of the story of Woodie's guitar. He did it during WW2 when fighting fascists was important. At this point, it's just a fun guitar story.
The Joan Baez story is fun, too -- Just before a concert in Ann Arbor (U of Michigan), her O-45 Martin guitar needed a repair. So she took it to Herb David, a luthier in Ann Arbor, and by coincidence the guy I bought my first acoustic guitar from, an all mahogany Guild. Herb had a well known shop and did repairs, really knew his stuff. I liked Herb and he was one of those guys who talked to you about what you wanted, and then brought out the guitars he thought would suit you from the back of the shop in their cases. Only the cheapies hung on the walls!
Ann Arbor was a pretty liberal town even in the early 60s. But I guess Herb wasn't so liberal. He did the repair and wrote inside the guitar, "Too bad you're a communist!"
It's also interesting to compare what touring musicians did then with what happens today!
Here was an internationally renowned musician, an excellent player, sold a ton of records, and like most big-time artists in the 60s, traveled with ONE guitar. No backups, no guitar tech, no fiberglass case. If a guitar needed repair on the road for a crack in the top, it got repaired wherever she was. And this was a 45 series guitar, an expensive instrument!
Even the Beatles toured with one guitar each back then!
Today even local bar players feel they need to haul a backup guitar or three, a backup amp, etc. It's funny. "What if I break a string?" Well, restring it. I remember that happening to artists I went to see at plenty of shows. Most folk artists could tell a story while they restrung the guitar right on stage.
We are so much fussier and have more first-world issues today...however I'm fighting the good fight, guys - when I do a show, it's one guitar. Or one keyboard. Or...one bass...but you get the idea.
Sadly, that wasn't me. However, my friend Marco Lehmann whose studio is in Frankfurt am Main does a lot of Mercedes work, and I think it might be his. Marco is an awesome talent.
Very cool post LSchefman!! A very fine guitarist bed-time storytelling! :wink:
Since I know your a HXDA Uberfan... How would you describe/compare the DG amp vs the HXDA. I'm preparing (ie. saving cash) for a second amp purchase. A PRS amp it would certainly be. The HXDA was my target, but since the DG coming out, things got a little less certain. And, of course, Il probably never get a chance to test drive any of them, here in my home town.
Merci!
Hi Steph,
The two amps are worlds apart, in my opinion.
The HXDA is truly the British Marshall Plexi tone from Allman and Hendrix records. It's got tons of "give", it has a buttery response, and has plenty of gain on tap unless you're into metal, in which case you'll want to goose it with a pedal. It's THE classic rock, blues, alt-rock, do-all amp as far as I'm concerned.
The DG30 is a thoroughly American, with old Fender-ish Tweed, Gibson GA-40, a little Magnatone and some other stuff thrown in. It's very, very versatile, and is a great platform for pedals. If I crank the treble and set it up a certain way, I can approach a little Vox sound, kinda-sorta. But really it's different.
I realize this doesn't help in any way.
sergiodeblanc
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Sorry for sounding like such a boner, Les. I've been feelin' ornery lately.
