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Thread: Fun game...."Whats the big deal with?"

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  1. #1
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    Default Fun game...."Whats the big deal with?"

    Ok....this is a call and response thread. Someone will say "Whats the big deal with" and name something to do with guitars or guitar related gear...not musicians or anything else....One person will attempt to answer and then post his own "WTBDW"......OR just type GO ON so others can try to answer or give their opinions on the subject. Once yours is answered please wait until at least 5 others post a WTBDW and then ask another.....you can answer as many times as you want as long as the answerer lets it GO ON........

    I will start.

    Whats the big deal with: Buttloads of gain? IMO you just masking the tone of the guitar and player for that matter.
    Guitars: Epiphone Special 2 LP modded with a SD Pearly Gates and a SD Alnico 2 flat strat pro.300K pots.Tone pros Brass Stop tailpiece.Dunlop frets dressed to .031,LSR roller nut, Spezel custom stainless steel locking tuners. Satin finished neck.Fender MIM 50's strat modded with LSR roller nut, graph tech string tree,sperzel satin chrome locking tuners, graph tech saddles,300K push pull volume for "neck on pup" and 200K tone pots.PUPS:Neck seymore duncan QP single coil for strat. Middle: Seymour Duncan JB Jr with coil tap (so actually a 9 way tone selection). Bridge: Same as neck.Amps/Cabs.2 Epi Valve Jr's, Peavey Delta Blues 1x15. Randall RG200es,Guitar research 4x8 cab loaded W/celestion super 8's and rewired for two-2x8 operation.Marshall 4x12 slant lead cab,Johnson cab 1x12.

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    Quote Originally Posted by LagrangeCalvert
    Whats the big deal with: Buttloads of gain? IMO you just masking the tone of the guitar and player for that matter.

    Yeah, but when you're playing Motorhead or Metallica riffs, they just don't sound right without a lot of gain!

    I think a lot of players who aren't too confident in their playing skill try to compensate with lots of gain - 'cause it generally sounds cool and it does mask fudged notes somewhat. It sure doesn't work for every style though, definitely best for metal.

    "go on..."
    Electrics: Epiphone Les Paul Standard (w/S.D. pups - JB-4/bridge, SH-'59 neck), Fender Fat Strat (Mexican), Squier Fat Tele, Squier '51, Agile Valkyrie III, Ibanez Artcore AF75, Washburn OS OE30 Delta King, Dean Vendetta XM (w/ Dimarzios, D-Sonic/bridge, Air Norton/neck), Silvertone archtop (late 60s/early 70s), Titan EG-1 strat, Gibson G-3 bass, Fullerton strat

    Acoustics: Sigma DM-5 (Japanese), Silvertone archtop (early 50s), Yamaha FG-110 (Korean), Alvarez RD20 12 string, Silvertone (60s)

    Amps: Alamo Capri (early 60s tube), Alamo Challenger (late 60s tube) Epiphone Valve Jr. Head (w/Peavey 1x10 cab & Realistic 2x6 cab), Fender Yale Reverb, Vox Pathfinder 15R, Marshall Lead 12, Behringer G110 V-Tone, Marshall MG15CD, Vox DA-5, Pignose 7-100, Marshall Bass 12

  3. #3
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    Lots of gain can give cool feedback effects - controllable feedback is what I mean.

    Certain music styles seem designed around buttload of gain. Some styles are the opposite - like Albert King blues can't have tons of rectumfryer distortion - too much buttload of gain will make blues sound like butt!

    Go on...
    The Law of Gravity is nonsense. No such law exists. If I think I float, and you think I float, then it happens.
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    So what's the big deal with 4x12 cabinets? Are they that important when usually only one speaker gets miced?

    "No Tele For you." - The Tele Nazi

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    Well, they just look so darn cool! Esp. covered in a bunch of tweed. Plus, if one sets it up right, one can change up the mojo of the original amph. ie run your fender or fender like amph into a 4-12 marshall cab with celestion green backs (got that idea from 6S9L:-))

    (go on)
    Steve Thompson
    Sun Valley, Idaho


    Guitars: Fender 60th Anniversary Std. Strat, Squier CVC Tele Hagstrom Viking Semi-hollow, Joshua beach guitar, Martin SPD-16TR Dreadnought
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    Effects and such: Boss: DS-1, CE-5, NS-2 and RC20XL looper, Digitech Bad Monkey, Korg AX1G Multi-effects, Berhinger: TU100 tuner, PB100 Clean Boost, Line 6 Toneport UX2, Electro Harmonix Little Big Muff Pi, DuhVoodooMan's Rabid Rodent Rat Clone, Zonkin Yellow Screamer Mk. II, MXR Carbon Copy Delay


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    they do look good and if you can really crank them nothing sounds better....

    Whats the deal with relic'ed guitars?

    Pay extra to have it beat up ahead of time.....hmmmm.

    Here is our standard porsche 911...pristine, but if you want to pay extra we'll make it look just like it looked after some famous star wrecked one just like it...i just don't get it!

    ww
    Quote Originally Posted by just strum
    For the record, my annoyance with Warren has a lot to do with the hissing noises he makes.
    Guitars: Gibson 1998 Les Paul Special : Peavey Predator (Early 90's Fat Strat Copy) : Ibanez GAX30TR
    Brownsville Reso - 101 Electric Reso : Fender GDO-300 Maple Quilt Top Acoustic

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    That's what I like to do...go to the Porsche dealership and run my keys down a couple of the cars. Then I tell the dealer, "there ya go. I just made your cars go up almost triple in price because it's now a special edition relic." They love it when I do that.

    I can't understand beating up a perfectly good guitar unless I'm working with it. Why do they do that?

    "No Tele For you." - The Tele Nazi

    Ha! Tele-ish now inbound.

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    You can blame the whole relic guitar thing on Keith Richards.

    When the Stones were going on tour several years back, he decided he didn't want to tour with his favorite teles, so he asked the Fender Custom shop to make clones of them. They did, and he liked how they played, but he complained that they looked too new...so they "relic"ed them. And that was how "Relic"ing guitars got started.

    Well, Keith is certainly a relic, so I guess he just feels more comfortable playing relics! I guess Keith thought it was like wearing jeans that looked too new or something (a friend of mine runs his new t-shirts through the washer & dryer about 100 times before he wears them, so they don't look new...kinda idiotic if ya ask me!).

    Whats the big deal with: seven string guitars? A six string guitar can already hit some pretty low notes and you can always drop tune your low E to D or even lower.
    Last edited by guitartist; July 10th, 2007 at 07:00 PM.
    Electrics: Epiphone Les Paul Standard (w/S.D. pups - JB-4/bridge, SH-'59 neck), Fender Fat Strat (Mexican), Squier Fat Tele, Squier '51, Agile Valkyrie III, Ibanez Artcore AF75, Washburn OS OE30 Delta King, Dean Vendetta XM (w/ Dimarzios, D-Sonic/bridge, Air Norton/neck), Silvertone archtop (late 60s/early 70s), Titan EG-1 strat, Gibson G-3 bass, Fullerton strat

    Acoustics: Sigma DM-5 (Japanese), Silvertone archtop (early 50s), Yamaha FG-110 (Korean), Alvarez RD20 12 string, Silvertone (60s)

    Amps: Alamo Capri (early 60s tube), Alamo Challenger (late 60s tube) Epiphone Valve Jr. Head (w/Peavey 1x10 cab & Realistic 2x6 cab), Fender Yale Reverb, Vox Pathfinder 15R, Marshall Lead 12, Behringer G110 V-Tone, Marshall MG15CD, Vox DA-5, Pignose 7-100, Marshall Bass 12

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    I think the 7-string thing may be connected a bit to the hip-hop influence on metal in the 90's, the extra low end sound it gives, using the guitar as a thudding rhythm instrument more than a singing melodic one. As far as why not just use a drop tuning? Maybe thats a little bit of 80's double bass drums for no reason whatsoever syndrome.

    Whats the big deal with guitars painted to look like automobiles, like the Les Pauls and SG's, or PRS's Corvette one? Is anyone besides Japanese buisinessmen buying these? OK the red Les Paul model did look pretty cool...but still....
    Might forget your birthday, might not tell you that your pretty, but baby that dont mean that I ain't been thinkin bout me...

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    wellllll.....when i repaint my 1954 ford truck orange with ghost flames i am planning on painting one of my guitars to match....

    (go on)


    ww
    Quote Originally Posted by just strum
    For the record, my annoyance with Warren has a lot to do with the hissing noises he makes.
    Guitars: Gibson 1998 Les Paul Special : Peavey Predator (Early 90's Fat Strat Copy) : Ibanez GAX30TR
    Brownsville Reso - 101 Electric Reso : Fender GDO-300 Maple Quilt Top Acoustic

    Amps: Fender Super Champ XD

    Effects: Digitech RP250 Modeling Guitar Processor : DVM "Phased and Confused" Script Phaser Clone : Digitech Bad Monkey
    Danelectro Cool Cat Chorus : Behringer Distortion Modeler : Ernie Ball Volume Pedal : Dunlop Cry Baby Wah

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    Quote Originally Posted by warren0728
    wellllll.....when i repaint my 1954 ford truck orange with ghost flames i am planning on painting one of my guitars to match....

    (go on)


    ww
    And there is the whole "Hot Wheels" thing that transfers over from hot rod cars to guitars, esp. those two US classics, the Strat and the LP. Not my taste, just sayin'

    But what IS the big deal with guitarists that insist on wearing the long frizzed out hair like the 80s hair bands. I mean I guess some of those guys built there image with that, though why escapes me. But esp. the guys that STILL do the frizz thing whether or not they did the 80s hair band thing. That whole high maintenance look is just so nauseating What is up with that?
    Steve Thompson
    Sun Valley, Idaho


    Guitars: Fender 60th Anniversary Std. Strat, Squier CVC Tele Hagstrom Viking Semi-hollow, Joshua beach guitar, Martin SPD-16TR Dreadnought
    Amphs: Peavey Classic 30, '61 Fender Concert
    Effects and such: Boss: DS-1, CE-5, NS-2 and RC20XL looper, Digitech Bad Monkey, Korg AX1G Multi-effects, Berhinger: TU100 tuner, PB100 Clean Boost, Line 6 Toneport UX2, Electro Harmonix Little Big Muff Pi, DuhVoodooMan's Rabid Rodent Rat Clone, Zonkin Yellow Screamer Mk. II, MXR Carbon Copy Delay


    love is the answer, at least for most of the questions in my heart. . .
    - j. johnson

  12. #12
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    No worries about frizzy hair here unless you count the one (my last) that just went down the drain. How about a frizzy scalp?
    Actually, when I had long hair it was permed and very easy to care for. Wash, natural dry then just run my fingers through it for a few seconds and it looked rad! Total 80's.

    But since you mentioned it, what's up with all the interest in collecting Hot Wheels cars? I've seen peoples houses full of dem little things. What's the big deal?

    "No Tele For you." - The Tele Nazi

    Ha! Tele-ish now inbound.

  13. #13
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    Quote Originally Posted by Spudman
    No worries about frizzy hair here unless you count the one (my last) that just went down the drain. How about a frizzy scalp?
    Actually, when I had long hair it was permed and very easy to care for. Wash, natural dry then just run my fingers through it for a few seconds and it looked rad! Total 80's.

    But since you mentioned it, what's up with all the interest in collecting Hot Wheels cars? I've seen peoples houses full of dem little things. What's the big deal?
    I have longer hippie style hair...and I wear a bandanna like Jimi, but thats just to keep it out of my face like the EMO kids and to keep the sweat out of my eyes, not totally a fashion statement; more like a useful piece of my wardrobe....like a belt. I agree fizzy frizzy yuck pube lookin 80's hair (weird al not included) is pretty lame.

    As far as hot wheels.....People want a piece of history and culture....and to feel connected with their past....that could be why we all still go with wanting older guitars (relic looking or closet queen esque)....btw....I have some old hotwheels from when I was a tike....only 20 years ago....man I am young

    OK.....I got one.

    WTBDW................uber wattage amps?....sure its impressive to have 300 to the 4th power in tubes in the back of the amp, and it might improve tone having them (maybe)....but c'mon!....a 30-50 watt combo is ALL you will ever need...think about it; Big gigs your either direct line out or a microphone is in front of the cab and your just using the volume from the amp as a "monitor" or for stage volume for the drummer.....even big Stacks like Wylde's wall of DOOM is just for show (though its cool in that metal kinda way) and he only uses two full stacks....STILL OVERKILL!

    And just to clear some stuff up....some of you might know this and some might not....Tube amps and solid state amps of the same wattage are just as loud...The reason Tube amps sound louder is of a round sine wave...your ear picks up the dist. differently than with a SS amp which creates a squared off sine/freq. at clipping....the round is a third and fifth harmonic and the SS is just nasty clipping that the ear picks up as garbage...and since the ear perceives it as louder (the third and fifth harmonic clipp from a power tube) and is fooled into it....
    Guitars: Epiphone Special 2 LP modded with a SD Pearly Gates and a SD Alnico 2 flat strat pro.300K pots.Tone pros Brass Stop tailpiece.Dunlop frets dressed to .031,LSR roller nut, Spezel custom stainless steel locking tuners. Satin finished neck.Fender MIM 50's strat modded with LSR roller nut, graph tech string tree,sperzel satin chrome locking tuners, graph tech saddles,300K push pull volume for "neck on pup" and 200K tone pots.PUPS:Neck seymore duncan QP single coil for strat. Middle: Seymour Duncan JB Jr with coil tap (so actually a 9 way tone selection). Bridge: Same as neck.Amps/Cabs.2 Epi Valve Jr's, Peavey Delta Blues 1x15. Randall RG200es,Guitar research 4x8 cab loaded W/celestion super 8's and rewired for two-2x8 operation.Marshall 4x12 slant lead cab,Johnson cab 1x12.

  14. #14
    pes_laul Guest

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    eh it looks really cool


    so what is the big deal with concept guitars like bc rich warlocks i mean they play like crap

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