I'm much the same. The closest I've ever gotten to actually being a gear head was experimenting with the effects on my AVT100 run through a few pedals. But, I think something like Axe-Fx is worth getting because of the insane tweakbility and nuance and quality of sounds you can acquire.


I mean, I've heard people sitting on their beds filming crappy YT vids getting album quality sounds. I think it would pay dividends to invest a bit of study into figuring out how this works.



Don't mind rollerball btw. He's just a nazi POS who thinks I can't post in here because I don't own a guitar ATM.

As you can see, I never said I was a "master" of any jazz theory. I said I studied it and admired its complexity and saw Holdsworth employing some of the highly abstract ideas in his outside form of playing.


Wonder why he had to lie about what I said?

Cept I passed all the music theory quizzes, including the latest one. Took me a minute to get the question about the more complex substitution, but got it regardless.

Little nazi jerks behind keyboards who like to start internet fights, not even once.

You've never gone near a weight in your life, you little nazi loser. The only thing you'd beat is your 3 inch dick to a box of tentacle porn, lol. Why don't you go back to your autism-tier fantasies about putting blacks and homos into giant ovens instead of popping off on the internet?

That's impressive. A big part of Mal's tone along with his technique was Gretsch Firebird + Filtertron + heavy strings with a wound 3rd + playing ridiculously loud while you've got a Charvel superstrat with light strings and hotter pickups like you said. Good job.

Anyone can post here. I've seen a few people come and go and when they were banned I'd check their recent post history and it didn't always make great reading.

I think the most important thing right now is actually getting a guitar in your hands.

Here's a quick take with a NAM profile

Nicely done. Which amp profile did you use?

It's from a 1959HW clone:

https://tonehunt.org/brianbuckles/8c...7-3b073f00a39e

This is with a 1978 2203

Very impressed by how close you can get with these. Same goes for rollerball's FM3. If you were allowed to play loud and had dummy Marshall cabs on stage I don't think many would be able to tell the difference.

I've got a pretty big Marshally sound going here but I'd have to do a bit of tweaking to get closer to that Live Wire tone which is pretty stripped back and lacking low end which sounds much better in a mix with the bass. With IRs vs a real cabinet it's a lot easier to share that sound because you can just directly record it like you did there. With a real cabinet and IRs disabled you get a much bigger sound in the room but how you record it will have a big influence on how someone who wasn't actually there evaluates it.

AC/DC's tone changed a lot over the years. That early tone was raw and I don't think they even cared about tuning — they'd just tune to whoever started playing the riff. The last of the 3 albums with Mutt Lange in 1981 got pretty dark but I love that tone a lot. I don't think the amps were any different and the earliest JCM 800s were probably in use by that time especially given how much Mutt Lange used them on everything else, but I suspect the darker tone was all about mic placement and overall production.

The raw energy those guys brought was just awesome!

I've never played through an actual Marshall, but these captures are making me want to. NAM was supposed to be a gas cure

A good testimonial for why amp builders shouldn't see modeling gear as all bad news — when you find tones you really like you're probably going to want the real thing one day. When I went balls deep in the Two Notes stuff I discovered which speakers I really like and how speakers that are polarizing like V30s can sound great when paired with greenbacks for example.

Anyway I think I've hit my gear talk quota before SwimToTheFractal negs me. Even if your world is digital it's good to know more about the actual gear the tones you like are built on.

It's just so crazy that this is free!

The guy who did the '78 2203 went all out:



My real cab is a Bogner oversize 212 with V30's and I love it with my MkIV. I wonder how it'd sound mixed with a greenback in there....

The fact that you have to work with a snapshot and can't really adjust anything is limiting.

I've been looking at Tonex, Kemper, Strymon Iridium, Helix floor XL, and the FM3 or FM9.

A big mix of modelers and profilers/sims.

These days I'm only playing and recording at home (quietly) and all of the above could easily fit into that use case.

What's nice about the NAM is that it's free to test the waters and experiment.

I profiled my amp and use that most often. Up next, I want to get a good IR of my cabinet.

Also



#vinyl

I'm all over the place.

One outlet for me is using stem separation on songs I like (diversity lives here) and then replacing the guitars with me. So flexibility in copping toanz is key. I think both modeling and profiling can do this.

But, I also record originals and want to get the sounds in my head recorded. Profiling doesn't let you turn knobs, modeling does.

I see modeling in my future. I think I mostly need(ed) to experience fake amps sounding good when recorded.

The fractal vs line6 debate rages on, so I really appreciate you sharing FM3 and Stomp impressions :ccol:

Jamming to a backing track as we speak

JLC, have you seen this?

Free and $149 paid version.

https://www.tonocracy.com/