02-12-2023, 08:44 AM
#1891
Originally Posted By Dominik⏩
Yeah I’m expect that the Fireball 25 will have more bass and highs and will sound better in live/practice scenario.
Listened to the back to back samples. Prefer the Fireball 25 (6L6).
From the clips though I’m not sure if the gain structure is tight enough which is where the Ironball SE supposedly shines. The Ironball SE also has two boosts, delay, reverb, an IR loader, headphone output, and an XLR out for recording.
I want tight, thrashy tone but I also want that power tube thump when turned loud.
Inb4 I end up just keeping both.
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02-12-2023, 08:45 AM
#1892
Originally Posted By bignpisst⏩
A fender? I thought you were a shred head.
I sold all my bigger amps and been playing through practice amps for the past few years. Thinking about picking up a Fender amp maybe a Fender Tone Master Deluxe Reverb
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02-12-2023, 08:55 AM
#1893
Originally Posted By rollerball⏩
I'm a metal head and still like shred but it's not my go to when listening to guitar music.
A fender? I thought you were a shred head.
I play clean most of the time now. IMO it's harder to get a great clean tone like in the vid than it is a very good metal tone
https://youtu.be/MXPQz2K6N9I
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02-12-2023, 08:59 AM
#1894
Originally Posted By bignpisst⏩
I used to have a Twin Reverb that I later regret selling. It didn’t take drive pedals well and had almost no crunch but it had an amazing clean tone that I haven’t seemed to be able to reproduce with modeling.
I'm a metal head and still like shred but it's not my go to when listening to guitar music.
I play clean most of the time now. IMO it's harder to get a great clean tone like in the vid than it is a very good metal tone
https://youtu.be/MXPQz2K6N9I
I play clean most of the time now. IMO it's harder to get a great clean tone like in the vid than it is a very good metal tone
https://youtu.be/MXPQz2K6N9I
What would you use to boost/drive?
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02-12-2023, 11:41 AM
#1895
Originally Posted By rollerball⏩
I love Yngwie's music, but these days I've been diving deep into George Lynch. He doesn't sound on his game all the time if I'm being honest but when he is playing well his pick attack and phrasing are very interesting to listen to and try to emulate in my own playing.
I wasn't saying Yngwie's music was complex, I was saying both in certain contexts can be seen as bland. Yngwie definitely uses his signature chit over and over, I just love the way he sounded when he was in Alcatrazz. At that time he was just fukking blistering.
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02-12-2023, 01:46 PM
#1896
I don't answer questions
02-12-2023, 07:21 PM
#1897
Originally Posted By CherryPopinski⏩
I've never really been able to get into Lynch. He's a decent player for sure but I'm not really into his tone, there' s just something about his pick attack that I don't find very satisfying to listen to. Also, no offense because I know you have one of his guitars, but I really dislike the aesthetics of his guitars. That whole cheesy combo of camouflage or tiger stripe with asian symbols and characters is just not it imo.
I love Yngwie's music, but these days I've been diving deep into George Lynch. He doesn't sound on his game all the time if I'm being honest but when he is playing well his pick attack and phrasing are very interesting to listen to and try to emulate in my own playing.
Originally Posted By bignpisst⏩
He's a beast from what I can tell.
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02-13-2023, 04:28 AM
#1898
Originally Posted By bignpisst⏩
I'm a metal head and still like shred but it's not my go to when listening to guitar music.
I play clean most of the time now. IMO it's harder to get a great clean tone like in the vid than it is a very good metal tone
https://youtu.be/MXPQz2K6N9I
I play clean most of the time now. IMO it's harder to get a great clean tone like in the vid than it is a very good metal tone
https://youtu.be/MXPQz2K6N9I
Originally Posted By rollerball⏩
I wonder if you've heard of or experimented with Kramer guitars? An 80s brand which fell into obscurity for awhile, basically designed to get that archetypal 80s stadium rock sound. The SM1 sounds beautiful, and I think it should be pushed more for metal as well, it would compete nicely with all the ESP and Schechter out there.
I used to have a Twin Reverb that I later regret selling. It didn’t take drive pedals well and had almost no crunch but it had an amazing clean tone that I haven’t seemed to be able to reproduce with modeling.
What would you use to boost/drive?
What would you use to boost/drive?
Effects, what are your thoughts on Axe-Fx and Fractal, etc? I've seen so many interesting sounds captured through digital stuff and I don't know of an overarching reason to stick with traditional pedals, unless you just like having the pedals there. But having a "Dimebag" sound, or a "Vai" sound captured in a downloadable patch would just be so convenient.
Originally Posted By CherryPopinski⏩
I love Yngwie's music, but these days I've been diving deep into George Lynch. He doesn't sound on his game all the time if I'm being honest but when he is playing well his pick attack and phrasing are very interesting to listen to and try to emulate in my own playing.
Lynch is incredible, not for technical ability but his phrasing and the whole way he attacks the guitar. He just had his own way of doing it all and he knew how to catch the ear with a unique sound or riff or solo idea. Did you see his video on the gothic octave? That is some of the coolest sounding **** you will hear.
Back off, Warchild.
Seriously.
02-13-2023, 07:16 AM
#1899
I sold my 2 original Kramer's about 2 years ago on eBay, both sold in about 2 hours
I had a Baretta and another lower end with a single HB in the bridge but I can't remember the model. The Baretta was my first higher end guitar. I think I got it in 1990 or so so I had a hard time selling it.
They were great guitars back then. Made from ESP parts of think
I'm not sure how the new ones are
I had a Baretta and another lower end with a single HB in the bridge but I can't remember the model. The Baretta was my first higher end guitar. I think I got it in 1990 or so so I had a hard time selling it.
They were great guitars back then. Made from ESP parts of think
I'm not sure how the new ones are
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02-13-2023, 09:31 AM
#1900
Originally Posted By Bodhy⏩
I'm not into the aesthetics of Kramers. They have a terrible headstock shape imo.
I wonder if you've heard of or experimented with Kramer guitars? An 80s brand which fell into obscurity for awhile, basically designed to get that archetypal 80s stadium rock sound. The SM1 sounds beautiful, and I think it should be pushed more for metal as well, it would compete nicely with all the ESP and Schechter out there.
Effects, what are your thoughts on Axe-Fx and Fractal, etc? I've seen so many interesting sounds captured through digital stuff and I don't know of an overarching reason to stick with traditional pedals, unless you just like having the pedals there. But having a "Dimebag" sound, or a "Vai" sound captured in a downloadable patch would just be so convenient.
Lynch is incredible, not for technical ability but his phrasing and the whole way he attacks the guitar. He just had his own way of doing it all and he knew how to catch the ear with a unique sound or riff or solo idea. Did you see his video on the gothic octave? That is some of the coolest sounding **** you will hear.
Effects, what are your thoughts on Axe-Fx and Fractal, etc? I've seen so many interesting sounds captured through digital stuff and I don't know of an overarching reason to stick with traditional pedals, unless you just like having the pedals there. But having a "Dimebag" sound, or a "Vai" sound captured in a downloadable patch would just be so convenient.
Lynch is incredible, not for technical ability but his phrasing and the whole way he attacks the guitar. He just had his own way of doing it all and he knew how to catch the ear with a unique sound or riff or solo idea. Did you see his video on the gothic octave? That is some of the coolest sounding **** you will hear.
In terms of my FM3 I don't really do a lot of tone building, I tend to use the stock presets with a little bit of adjustment. For example, I'm just using the preset for the Plexi 50W and I'll either put a modeled T808 or Klon in front as a boost. Maybe a little reverb and delay and that's about it, usually no EQ pedal or compressor. The modeled pedals for the FM3 are decent but the core amp tones seem to be much better in terms of relative modeling standards.
One of the reasons why I ordered those Engl lunchbox tube amps is to be able to conveniently access desired tones immediately in a simple amp format. The Ironball SE is a bit more of a all in one amp and recording set-up.
Maybe the main reason why I dislike Lynch is that it seems that he chokes up on the pick too much and gets too many harmonics in his sound from his thumb touching the vibrating strings and igniting those harmonics. Too many pinch-harmonic sounds start to annoy me.
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02-14-2023, 09:39 AM
#1901
Originally Posted By CherryPopinski⏩
hell yea, I loved his playing with Dokken, and especially his Wicked Sensation album. I practiced his riffs/licks a long time ago when I was trying to capture that aggressive sound.
I love Yngwie's music, but these days I've been diving deep into George Lynch. He doesn't sound on his game all the time if I'm being honest but when he is playing well his pick attack and phrasing are very interesting to listen to and try to emulate in my own playing.
this has already been posted a long time ago but always worth another watch, especially the intro jam:
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02-15-2023, 09:45 PM
#1902
Originally Posted By ThePump0561⏩
hell yea, I loved his playing with Dokken, and especially his Wicked Sensation album. I practiced his riffs/licks a long time ago when I was trying to capture that aggressive sound.
this has already been posted a long time ago but always worth another watch, especially the intro jam:
this has already been posted a long time ago but always worth another watch, especially the intro jam:
Have you heard his gothic octave demo? It's one of the most interesting and coolest scales I've heard:
Back off, Warchild.
Seriously.
02-16-2023, 01:01 AM
#1903
Originally Posted By Bodhy⏩
Have you heard his gothic octave demo? It's one of the most interesting and coolest scales I've heard:
Gothic Octave? Fake and gay. What is that guy smoking to rename scales and dress like he thinks his instructional video is being watched by chicks instead of a bunch of sweaty guys, lol.
That is the Hirajoshi scale that he's playing, or Aeolian Pentatonic if you want to be like the typical American that is too lazy to learn how to pronounce an odd looking word. Like other hemitonic pentatonic scales, its origin is from Japan.
I like how he's like, "learn this scale and then it sounds like this" and he has a harmonizer adding two pitches, a 5th and octave higher than the fundamental.
Deepfat: "I guarantee I beat you by at least 6 strokes. Afterwards, I'll slide my thick conservative cawk in your old lady just to finish the job."
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z4: "MMA match works, too. So when are you available this month?
Deep: "I won't subject myself to being in the presence of a scumbag."
02-16-2023, 01:42 AM
#1904
Originally Posted By z4v4⏩
How can the origin of a scale based on the Western major scale be of Japanese origins if the guy who found it by himself used the Western major scale as a starting point and never heard of the Japanase variant?
Gothic Octave? Fake and gay. What is that guy smoking to rename scales and dress like he thinks his instructional video is being watched by chicks instead of a bunch of sweaty guys, lol.
That is the Hirajoshi scale that he's playing, or Aeolian Pentatonic if you want to be like the typical American that is too lazy to learn how to pronounce an odd looking word. Like other hemitonic pentatonic scales, its origin is from Japan.
I like how he's like, "learn this scale and then it sounds like this" and he has a harmonizer adding two pitches, a 5th and octave higher than the fundamental.
That is the Hirajoshi scale that he's playing, or Aeolian Pentatonic if you want to be like the typical American that is too lazy to learn how to pronounce an odd looking word. Like other hemitonic pentatonic scales, its origin is from Japan.
I like how he's like, "learn this scale and then it sounds like this" and he has a harmonizer adding two pitches, a 5th and octave higher than the fundamental.
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02-16-2023, 01:46 AM
#1905
Whether it's a derivative of the Hirajoshi scale is not all that important. It's what Lynch does with the phrasing. Look at his arpeggiated patterns and how fast he can move with those absurd wide intervals. He's not just whizzing up and down a scale, he's selecting particular notes in an unorthodox way to get that unique sound.
Marty Friedman used the Hirajoshi a lot, but he never came up with this gothic octave.
Marty Friedman used the Hirajoshi a lot, but he never came up with this gothic octave.
Back off, Warchild.
Seriously.
02-16-2023, 10:02 AM
#1906
Originally Posted By brosapiens⏩
The short answer is because it was derived from a modification of the Ritsu scale from Buddhist chants and not from the Western major scale.
How can the origin of a scale based on the Western major scale be of Japanese origins if the guy who found it by himself used the Western major scale as a starting point and never heard of the Japanase variant?
If you want to make an argument that Ritsu was derived from the major scale or vice-versa based on information none of us can possibly determine, have at it, but I think it's pretty clear that hemitonic pentatonic scales were the indigenous pentatonic sounds of Eastern music, such as music on the koto, which is tuned to the Hirajoshi scale.
In any case, we can certainly agree it wasn't created by George Lynch.
Originally Posted By Bodhy⏩
It's not a derivative of Hirajoshi; it's Hirajoshi: 1 2 b3 5 b6. And he
is
just whizzy up and down the scale.
Whether it's a derivative of the Hirajoshi scale is not all that important. It's what Lynch does with the phrasing. Look at his arpeggiated patterns and how fast he can move with those absurd wide intervals. He's not just whizzing up and down a scale, he's selecting particular notes in an unorthodox way to get that unique sound.
In this case, the lick he is playing is in this order: 2 b3 5 5 b6 1 2 2 b3 5 5 b6 1 1 etc. He is quite literally just playing the scale starting on the 2nd pitch and going in order with a unison between strings changes.
If I played a major pentatonic scale (1 2 3 5 6) in this order: 2 3 5 5 6 1 2 2 3 5 5 etc., you would just call it a flashy major pentatonic lick with stretches, even if I called it something different. He is doing exactly that except flatting the 3rd and 6th of the major pentatonic by a half step, which makes the major pentatonic a Hirajoshi pentatonic.
Deepfat: "I guarantee I beat you by at least 6 strokes. Afterwards, I'll slide my thick conservative cawk in your old lady just to finish the job."
z4: "So when are you available in September to play?"
Deep: "On second thought, I don't play golf with broads. You're such a scumbag that I'd be much more inclined to just slap the chit out of you."
z4: "MMA match works, too. So when are you available this month?
Deep: "I won't subject myself to being in the presence of a scumbag."
02-16-2023, 10:19 AM
#1907
Originally Posted By Bodhy⏩
Lol he totally is just whizzing up and down in the most simple way.
Whether it's a derivative of the Hirajoshi scale is not all that important. It's what Lynch does with the phrasing. Look at his arpeggiated patterns and how fast he can move with those absurd wide intervals. He's not just whizzing up and down a scale, he's selecting particular notes in an unorthodox way to get that unique sound.
Marty Friedman used the Hirajoshi a lot, but he never came up with this gothic octave.
Marty Friedman used the Hirajoshi a lot, but he never came up with this gothic octave.
I know this because that’s my style, to whizz up and down easy af scales to play.
And lmao at comparing Lynch to Friedman when it comes to exotic scales. Friedman actually did employ interesting phrasing whereas in this example Lynch is just doing run of the mill lines.
I don’t know theory and it’s still easy to hear this lol.
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02-16-2023, 10:22 AM
#1908
Originally Posted By z4v4⏩
I understand your point but music is physics. Nobody created physics. If Lynch found out that these notes sound good together - separated from asian culture - then he might as well call it whatever he wants to regardless of whether it has a proper name or not somewhere else.
The short answer is because it was derived from a modification of the Ritsu scale from Buddhist chants and not from the Western major scale.
If you want to make an argument that Ritsu was derived from the major scale or vice-versa based on information none of us can possibly determine, have at it, but I think it's pretty clear that hemitonic pentatonic scales were the indigenous pentatonic sounds of Eastern music, such as music on the koto, which is tuned to the Hirajoshi scale.
In any case, we can certainly agree it wasn't created by George Lynch.
If you want to make an argument that Ritsu was derived from the major scale or vice-versa based on information none of us can possibly determine, have at it, but I think it's pretty clear that hemitonic pentatonic scales were the indigenous pentatonic sounds of Eastern music, such as music on the koto, which is tuned to the Hirajoshi scale.
In any case, we can certainly agree it wasn't created by George Lynch.
Now if someone from Japan who knows his culture decided to call this scale the "Gothic scale" then that would be something else.
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02-16-2023, 05:13 PM
#1909
Originally Posted By brosapiens⏩
Okay, but he didn't noodle around and discover the scale. It was 100% shown to him by his guitar teacher. In fact, if I recall correctly, his teacher even helped him organize all of the materials for that REH video for him. George probably being a lazy yank just called it Gothic Octave rather than trying to read the scary name off the sheet and his teacher was probably like whatever just keep the checks coming.
I understand your point but music is physics. Nobody created physics. If Lynch found out that these notes sound good together - separated from asian culture - then he might as well call it whatever he wants to regardless of whether it has a proper name or not somewhere else.
Now if someone from Japan who knows his culture decided to call this scale the "Gothic scale" then that would be something else.
Now if someone from Japan who knows his culture decided to call this scale the "Gothic scale" then that would be something else.
Deepfat: "I guarantee I beat you by at least 6 strokes. Afterwards, I'll slide my thick conservative cawk in your old lady just to finish the job."
z4: "So when are you available in September to play?"
Deep: "On second thought, I don't play golf with broads. You're such a scumbag that I'd be much more inclined to just slap the chit out of you."
z4: "MMA match works, too. So when are you available this month?
Deep: "I won't subject myself to being in the presence of a scumbag."
02-16-2023, 05:21 PM
#1910
music theory is 4 dorks and scales are fake and gay
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02-16-2023, 10:24 PM
#1911
Here's two quick clips of the Ironball SE's clean channel and lead channel at the 1 watt setting. Don't pay attention to the playing, I'm just playing random chit showing tones and how articulate the lead channel is for single note playing. The amp's reverb and delay is pleasing. It's nice having all the effects I usually use integrated into the amp. This is at bedroom volumes, probably at about conversation volume. The power soak works really well imo.
Smartphone speakers ain’t gonna do justice to the tone in these clips cuz no bass, use decent speakers to get sense of amp tones imo.
Smartphone speakers ain’t gonna do justice to the tone in these clips cuz no bass, use decent speakers to get sense of amp tones imo.
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02-17-2023, 01:43 PM
#1912
Man this Engl amp is so much fun. Is the time coming that rollerball finally ditches the modelers?
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02-18-2023, 12:34 AM
#1913
Originally Posted By rollerball⏩
Makes sense to me. No scrolling through presets. Dial in a tone and enjoy it.
Man this Engl amp is so much fun. Is the time coming that rollerball finally ditches the modelers?
The output section of an amp like that isn't doing much at bedroom volume so that's why I'm a fan of tube preamps into the effects return of a clean amp, a pedalboard friendly power amp, or power amp modeling and then into a real cabinet. I've been running a tube preamp into a Walrus Audio ACS1 on the Fender model and into a Fender 1x12. Everything is on a 23x11" pedalboard with a little pedal sized power amp dual locked onto the back of the 1x12. While it's set up for mono with the flick of a switch I can go into two amps and have stereo delay. For recording I can either mic the cabinet or go into a pair of Two Notes CAB Ms since they're already set up to take a signal sans speaker.
I'd rather use as much of the real thing as possible. Tube amps are only a PITA from the power section out. Tube preamp + power amp modeling + real cabinet = best of everything at low volume.
Anyway I only went down that road because I couldn't find a tube amp that sounded great at low volume. If you've found that with a lunchbox sized Engl that's great news.
Originally Posted By SwimToTheMoon⏩
Theory just adds another string to your bow. Knowing it won't necessarily make someone a better musician but it can make it a lot easier to work things out or taking what you're hearing in your head and translating it to the instrument. Fewer stabs in the dark.
music theory is 4 dorks and scales are fake and gay
02-18-2023, 01:12 AM
#1914
Originally Posted By Dominik⏩
The on-board power attenuator seems to work really well. In comparison the Friedman lunchbox amps sounded like garbage at low volumes whereas this Ironball SE is like a modeler in the sense that I’m getting awesome tones at incredibly low volume. I assume it sounds much better on the 20 watt setting turned up but I can get singing, complex overdrive tones at whisper levels.
I'd rather use as much of the real thing as possible. Tube amps are only a PITA from the power section out. Tube preamp + power amp modeling + real cabinet = best of everything at low volume.
Anyway I only went down that road because I couldn't find a tube amp that sounded great at low volume. If you've found that with a lunchbox sized Engl that's great news.
Anyway I only went down that road because I couldn't find a tube amp that sounded great at low volume. If you've found that with a lunchbox sized Engl that's great news.
Now there is a boxy-ness/lack of low end thump when played at such low volumes at the 1 watt setting but I imagine that’s to be expected. Out of these lunchbox amps I’ve been researching it seems only the Engls have such good bedroom level tones.
Also the clean channel is just so good it’s surprising. Very versatile from sweet, crystalline cleans to edge of break-up to full on british rock when one or both the boosts are engaged with the clean gain turned up.
Again the overall sound of the clean channel, at least at 1 watt and low volumes, doesn’t sound huge. I’m interested to see how everything sounds when I’m able to turn up loud.
The Fireball 25 is sitting unopened in the living room but I’m looking forward to hearing how it compares with its larger power amp tubes.
I’m playing through my DV Mark 2x12 with neodymium magnets that weighs around 27lbs. I would like to hear it through some V30s in a closed back chassis with thick construction.
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02-21-2023, 02:37 AM
#1915
I once bought a $1000 acoustic guitar over 10 years ago but never played it. Always left it in its hard case in my bedroom which always had high humidity (recently bought a dehumidifier)
I went to a guitar luthier, and he was astounded by the bad condition of my guitar even though I basically never used it.
The frets were corroded and even the wood was discolored from the apparent humidity.
The total cost to repair it, with a neck reset and replacing the strings was $175 (the new strings I brought myself)
My question is: will my acoustic guitar be basically as good as new after he is done with the work? Or did the humidity over the years have damaged the entire guitar to the point where I should be buying a new guitar in the future if I want guitar that plays solid?
I went to a guitar luthier, and he was astounded by the bad condition of my guitar even though I basically never used it.
The frets were corroded and even the wood was discolored from the apparent humidity.
The total cost to repair it, with a neck reset and replacing the strings was $175 (the new strings I brought myself)
My question is: will my acoustic guitar be basically as good as new after he is done with the work? Or did the humidity over the years have damaged the entire guitar to the point where I should be buying a new guitar in the future if I want guitar that plays solid?
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02-21-2023, 04:17 AM
#1916
Originally Posted By rollerball⏩
damn dude you dude made my mind up on my first 'great' amp. i've always had practice amps, but used high end modellers like kempers etc. but I want a real amp now.
Here's two quick clips of the Ironball SE's clean channel and lead channel at the 1 watt setting. Don't pay attention to the playing, I'm just playing random chit showing tones and how articulate the lead channel is for single note playing. The amp's reverb and delay is pleasing. It's nice having all the effects I usually use integrated into the amp. This is at bedroom volumes, probably at about conversation volume. The power soak works really well imo.
Smartphone speakers ain’t gonna do justice to the tone in these clips cuz no bass, use decent speakers to get sense of amp tones imo.
Smartphone speakers ain’t gonna do justice to the tone in these clips cuz no bass, use decent speakers to get sense of amp tones imo.
looking for the 'whole shabang'. great cleans, great leads - just a great amp. but also, this amp looks like it's built *really* well
Overthinking, overanalysing separates the body from the mind
02-21-2023, 05:29 AM
#1917
Originally Posted By Upperlower⏩
Post some pics of the guitar. He probably said neck adjustment; a neck reset is much more costly and usually needed on much older acoustics. He's probably just going to steel wool the frets and fingerboard, oil it, and do a truss adjustment.
I once bought a $1000 acoustic guitar over 10 years ago but never played it. Always left it in its hard case in my bedroom which always had high humidity (recently bought a dehumidifier)
I went to a guitar luthier, and he was astounded by the bad condition of my guitar even though I basically never used it.
The frets were corroded and even the wood was discolored from the apparent humidity.
The total cost to repair it, with a neck reset and replacing the strings was $175 (the new strings I brought myself)
My question is: will my acoustic guitar be basically as good as new after he is done with the work? Or did the humidity over the years have damaged the entire guitar to the point where I should be buying a new guitar in the future if I want guitar that plays solid?
I went to a guitar luthier, and he was astounded by the bad condition of my guitar even though I basically never used it.
The frets were corroded and even the wood was discolored from the apparent humidity.
The total cost to repair it, with a neck reset and replacing the strings was $175 (the new strings I brought myself)
My question is: will my acoustic guitar be basically as good as new after he is done with the work? Or did the humidity over the years have damaged the entire guitar to the point where I should be buying a new guitar in the future if I want guitar that plays solid?
Deepfat: "I guarantee I beat you by at least 6 strokes. Afterwards, I'll slide my thick conservative cawk in your old lady just to finish the job."
z4: "So when are you available in September to play?"
Deep: "On second thought, I don't play golf with broads. You're such a scumbag that I'd be much more inclined to just slap the chit out of you."
z4: "MMA match works, too. So when are you available this month?
Deep: "I won't subject myself to being in the presence of a scumbag."
02-21-2023, 07:55 AM
#1918
Originally Posted By 7empest⏩
The Kemper days seem numbered now that the Tonex pedal has arrived.
i've always had practice amps, but used high end modellers like kempers etc. but I want a real amp now.
looking for the 'whole shabang'. great cleans, great leads - just a great amp. but also, this amp looks like it's built *really* well
looking for the 'whole shabang'. great cleans, great leads - just a great amp. but also, this amp looks like it's built *really* well
Yeah I haven’t really used the AxeFX since getting the Ironball SE. The tones I’m getting at the 1 watt setting are fantastic for low volume playing but the amp also competed well with a loud drummer at the 20 watt setting.
The on-board effects - particularly the delay, the two boost options, and the noise gate - work really well.
I can’t stop playing it.
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02-21-2023, 07:56 AM
#1919
Originally Posted By z4v4⏩
Neck resets are a major reason why I want to sell my Martin and get a Taylor for the long term.
Post some pics of the guitar. He probably said neck adjustment; a neck reset is much more costly and usually needed on much older acoustics. He's probably just going to steel wool the frets and fingerboard, oil it, and do a truss adjustment.
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02-21-2023, 07:59 AM
#1920
Originally Posted By Upperlower⏩
i think he's pulling your leg to justify that repair bill. 10 years in the case should be fine. I would have just changed the strings and started playing.
I once bought a $1000 acoustic guitar over 10 years ago but never played it. Always left it in its hard case in my bedroom which always had high humidity (recently bought a dehumidifier)
I went to a guitar luthier, and he was astounded by the bad condition of my guitar even though I basically never used it.
The frets were corroded and even the wood was discolored from the apparent humidity.
The total cost to repair it, with a neck reset and replacing the strings was $175 (the new strings I brought myself)
My question is: will my acoustic guitar be basically as good as new after he is done with the work? Or did the humidity over the years have damaged the entire guitar to the point where I should be buying a new guitar in the future if I want guitar that plays solid?
I went to a guitar luthier, and he was astounded by the bad condition of my guitar even though I basically never used it.
The frets were corroded and even the wood was discolored from the apparent humidity.
The total cost to repair it, with a neck reset and replacing the strings was $175 (the new strings I brought myself)
My question is: will my acoustic guitar be basically as good as new after he is done with the work? Or did the humidity over the years have damaged the entire guitar to the point where I should be buying a new guitar in the future if I want guitar that plays solid?
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