Millmoor

I was considering buying a Vox AC30 reissue, but it's only 30W, so I'm worried it may be too quiet. I may be joining a band where the leader plays with 100W solid-state. Is there anyway to get it modded to 60W.

If there isn't an inexpensive way to do this, how did Gilby get his AC30's heard when matched against Slash's 100W Marshall's

Don't know if you are talking about on stage or not, but whenever you see a wall of Marshall stacks at a venue, they are just there for show. Slash plays through a small amp (no more than 30w) through the PA system. This was taken from a guy I know who used to play with and support The Who back in the day. He bet his house (£1m+ house here) that every guitarist on stage does it.

I doubt Slash uses a 30W amp onstage. He uses his Signature heads which are at least 50W. And i am aware that most cabs you see onstage are dummies.

With a good PA I suppose it could be done but in a practice/rehearsal situation, would a 100W SS and 30W tube match up?

The AC30 isn´t LOUD LOUD, it´s loud yeah... It´s clean as hell though.

And sharper waves go faster, less volume needed to get up to pair with a 100watt that needs to carry alot of bass with it.

But all in all on stage you don´t need to worry.

in rehearsals I´d recommend you to get him to lower his volume a bit.

The singer needs to hear himself too ya know

I bet that when you are maxed out on the AC then your singer can´t hear himself anyways.

unless you have a PA system that´s REALLY fuckn solid.

Thanks for the pics, Millmoor. I don't know if you meant to focus the low E string (if it was you that took the pic), but I was actually looking for the high E. Anyway, let say I put the string through the hole in the tuning peg. I have all this left over string (being that ALL i did was put the end of the string in the hole). Do I wrap the rest of the string around the peg? And if yes, how do I?

Hopefully you get me..

that I can´t help you with, rule of thumb, 3-4 turns is good on ALL strings. Two is too little.

Three is the best. four is also good. you don´t want TOO much wire on there...

you gotta feel it around... use a pen or a marker to mark the strings and see where where you get 3 turns.

then meassure the strings so you can mark the strings next time so you excactly know where they should start on the peg. If you got problems, get someone to help you, and show you. that´s the best way really

ernie ball are the best i hear

Depends, Accoustic Ernies IMO suck!! they are too stiff and sound warm.

I have an expensive Gibson hummingbird and the sound is too warm and not defined.

So that´s why I use Elexir, they are smoother and give a cooler tone.

As for electric Ernie Ball strings are very good IMHO.

it all boils down to want and what sound you want.

The best thing is to play around, I HATE d´addario or whatever.

I tried them for two weeks and threw them away.

I use Ernies on my Les Paul tho... And didn´t bother to try other strings.

Maybe I will though.

The best way to set it up is to get 3 turns of strin around the tuner needle.

I can upload you a high-res picture.

the spiral should go downwards. and the top turns push it down and give the right sound.

That´s what I learnt from Eric Johnson´s friends tech and a guy who works for PRS.

PIC 1

STRING SETUP PIC 2

i love dean markley's, but ernie ball's kick ass for floyd rose, since you don't have to cut the strings

what do you mean by CUT the strings?

The truth is that the cost of making amps and guitars the way they did back in the day was so high and time consuming, leaving the makers with little to nothing in profits. The could only make so many amps a year with that production technique.

It´s just modernism.

Remember, of all musicians in the world today, only 1% can afford the really expensive stuff.

So why bother to cater that 1%?

No they don´t, that´s why Epiphones sell so well.

Normal people can´t afford spending 25k or 12k on an awesome 59 replica. or the 250k for a burst 59, the real thing.

Many people beg to differ the paths some guitarists choose. They claim it´s better to play stuff that´s new, simply because technology has given them something better, or it should.

That´s not always the case, profits have become so important. And the standards are lowered.

Yes you can find amazing guitars for 3-4k if you don´t HAVE to have a Gibson.

It most likely will give you good enough of a tone, but then, your idol didn´t play it.

Same goes with amps, and more so. There are tons of new amp makers who put out better amps than Marshall does now. ´cus the fact is that Marshall doesn´t have the best amps out there anymore.

Like Johnezz mentioned, the stock stuff many guitarists used was stock VINTAGE stuff.

Vintage sounds better because of the more expensive production method. Not because it´s vintage per say.

I´d say it´s safe to say it´s all up to each and its own. What you like and what you don´t like.

If there´s a tone or a sound you want, money can get you there, vintage, marshall, gibson or not.

Sometimes people need to let go of something in order to move on and make something new.

We can´t rely on vintage stuff forever.

Yuor 1st 3 points are VERY true. Not a lot of people can afford Gibson's. Epiphones are good to get started on, but I'd rather have a low-end Gibson LP rather than a high-end copy. Unless it was the 3 pickup custom, or the '56 re-issue. Only because the Gibson version of those are ASTRONOMICAL.

Then you haven´t played Tom Murphy´s 57-59 replicas, the Max 59 replica or Tokai LS120-200 and the LS320. Max built Slash´s 59 back in the day. and the guy isn´t dead as Slash has said in some interviews.

I talked to him the other day and he´s now working on a brand new guitar. (max is)

The MAX 59 to some players has a different neck than the real 59. though the sound is as good if not better. The murphy is the truest copy, and you can´t feel or hear the difference.

The Tokais are the most affordable copies. Bringing you closers than the Gibson R9.

Even gibson doesn´t know how to work the magic of the real 59. mostly because they don´t

have the wood anymore.

You should try out those guitars. The Max is 25k and up, the Murphy is 12k and up.

The LS120-200 about 1000-2500 bucks. and the LS 320 if you can find one, is about 2500-3000++k

all USD.

I´ve played my share of Gibsons, and yes. some of the reissues are great.

But the newer standard series is pure crap. After mid 80ies Gibson didn´t make guitars anymore.

All pre-87 I´d say are good guitars. And the newer custom, hertiage/histroic lineup.

Those cost a little more. But are also worth it.

As for cheaper guitars Tokai and Orville copies come across as just as good as the Epiphone.

The older Japan made Tokais are the sex! they rock. and rock out the epis.

And can pair up to a normal Gibson LP standard.

Put some feeling?........into a Buckethead solo......would you like me to split the atom while I'm at it?

LMAO!!!!! that´s some serious funny shit

The truth is that the cost of making amps and guitars the way they did back in the day was so high and time consuming, leaving the makers with little to nothing in profits. The could only make so many amps a year with that production technique.

It´s just modernism.

Remember, of all musicians in the world today, only 1% can afford the really expensive stuff.

So why bother to cater that 1%?

No they don´t, that´s why Epiphones sell so well.

Normal people can´t afford spending 25k or 12k on an awesome 59 replica. or the 250k for a burst 59, the real thing.

Many people beg to differ the paths some guitarists choose. They claim it´s better to play stuff that´s new, simply because technology has given them something better, or it should.

That´s not always the case, profits have become so important. And the standards are lowered.

Yes you can find amazing guitars for 3-4k if you don´t HAVE to have a Gibson.

It most likely will give you good enough of a tone, but then, your idol didn´t play it.

Same goes with amps, and more so. There are tons of new amp makers who put out better amps than Marshall does now. ´cus the fact is that Marshall doesn´t have the best amps out there anymore.

Like Johnezz mentioned, the stock stuff many guitarists used was stock VINTAGE stuff.

Vintage sounds better because of the more expensive production method. Not because it´s vintage per say.

I´d say it´s safe to say it´s all up to each and its own. What you like and what you don´t like.

If there´s a tone or a sound you want, money can get you there, vintage, marshall, gibson or not.

Sometimes people need to let go of something in order to move on and make something new.

We can´t rely on vintage stuff forever.

Pfff, guns are probably the biggest band to have influenced next to no-one.

Slash is a great guitar player, but not particularly inventive, hes like jeff beck on speed, and not very influential in this day and age.

The stuff about basslines is embarassing, go get a reality check.

Ok yeha i don't give Slash enough credit, i spose i'm just fed up of little fan boys on this forum thinking he's the best thing since sliced bread. Slash is defantly good, not the greatest though.

Slash never had the feeling Stevie Ray Vaughn had or has.

Slash does however play great laidback solos.

But his fast stuff is at best OK.

How many songs besides YCBM did really Slash excell with with mean guitar skills?

That is when it comes to playing mean fast. The rest of the stuff is just good. Not superb.

There are better riffmakers in the industry. Slash stole the well known Paradise City riff,

and there aren´t any other riffs that have landed him any fame besides SCOM.

That happened to be a BALLADE. Let´s face it, slash is a soft rocker hehe

Izzy is a great songwriter, not a player. He could make the melodies and some chord progressions to go along.

Duff indeed was just an OK bass player at the best.

Not to sound like an idiot, But Axl is the guy who made the band.

Even though he was offpitch 80% of all the time while singing. He made his way with attitude, style and being the true rock n roll God that he was.

Sorum was an anchor who made it all come true.

Adler was prolly more on the feeling side. He wasn´t as tight and "good" as Sorum.

But sorum had a hefty sound with alot of balls to it. Though in many ppls eyes he was a bit boring at times.

Sorum was a healthy addition to GNR.

everybody express individuality.

that´s why they are great I guess.

Which guitars? If price wasn't an issue? Fucking everything. But at the top of my list would come:

Gibson Les Paul 1959 (Heritage Cherry)

Gibson Les Paul Standard 60's Neck (Manhattan Midnight)

Fender American Standard Strat (All black)

BC Rich Slash Signature Mockingbird

Feline None More Black Les Paul

Gibson SG Standard

Ohh so many...

Actually the MAX 1959 replica is the SHIT!

he is also working on a new guitar.

Both use 50 year old mahogney.