Klay

14 hours ago, ZoSoRose said:

Local shop just got a JCM 900 combo in for $600. If I trade in my Blues Deluxe and return the Friedman BE OD I can probably get it.

What do I do???? HELP @OmarBradley @James Bond @Klay @SoundOfAGun @AxlisOld @Silverburst80 etc!

What do you guys think of the JCM 900s? I've heard mixed things but youtube demos always sound kick ass to me and an old, British made Marshall really appeals to me. It'd just suck unloading my amp for it and not liking it more. Trying it in the store won't give me a great idea on how it sounds with a band, either, so I want as many opinions as I can get.

Thanks!

EDIT- Its the JCM 900 4102 combo

I've played quite a few times the head version. This is the Dual Reverb, there's another version of the 900 series that's the SL-X that sounds even better to me.

This amp gives you the traditional Marshall voicing which is great for classic rock, sounds like a Marshall should and I think it's much better than the Blues Deluxe if you're into rock. However this is not the most loved Marshall ever.

I do prefer other Marshalls on the same price range that are also very common to find - the DSL or even better the Vintage Modern, one of my fav Marshalls ever. If you want the ultimate Marshall then go for a 800 2203 or it's combo version (the single channel one).

Everyone can sing Slither.

On 09/02/2017 at 0:00 AM, OmarBradley said:

The R8 measured right above .9 at the nut, with "normal" shoulders - so yeah, it's a bit of a handful. As far as R8s go, .9 is on the smaller end, but not the smallest I've seen. It was just on the fence of too big for my style/hands.

Normal R9 necks are generally around .9 also, with similar a bit less shoulder generally, but the shapes are not consistent and there are R8s that have smaller necks than R9s. The one I have is a V-neck, unlike the normal C and D shapes for LP necks. So it still measures around .9, but the neck shape has no shoulders, so it plays faster and feels smaller. 

That's a pitty, they look great and everybody says they're a big step up the regular USA line (I don't know how's that possible!).

I don't have big hands, I much prefer a in between slim 60s neck and 50s round style neck; I would love to have a R7 Gold Top or R8 (as R9 and R0 are crazy expensive) but I guess it's not meant to be.

On 08/01/2017 at 4:54 PM, OmarBradley said:

An OD isn't necessary, there is plenty of gain (4 tube stages + diodes) and it's bright enough to cut through a band mix no problem. The only rare instance I've used an OD with it, is with the onboard boosts disengaged for some tone coloring and tightening - not at all saying the amp needs it, putting an OD in the chain just gives you access to a different type of tone. 90% of the time though I'm plugging straight into the head with nothing in between. If I needed to, I could sell all of my gear except my 68RI and this head, and still be 100% satisfied with my tone. It's just fun to try other gear.  

I have a few pretty good music stores near me in the DC area, but I'm lazy and rarely go to them. So I just wheel and deal a lot via forums, Reverb, Craigslist, etc..

Here's a picture of the R8, it had an amazing top, but it was just missing something abstract, good guitar though:

And the R9, I actually switched the pickups out for a new set, they're uncovered zebra - this is an older picture:

How do you like the R8 and R9 necks?

Is the R8 really that chunky? 

Gilby used to be much better than this , I don't know what happened to him.

I love Kill For Thrills and his first solo albuns

That rehearsal sounded great.

The tone onstage is much better than what the public is hearing through the PA, judging from the several videos I've seen (captured with cell phones just like this seems to have been).

That was great ,  I learned some stuff , thanks !!

Not that I think that album guitar tones were memorable but the techniques a top producer like him shares are always precious for those who love this stuff.

The device to move the mics position remotely... I had that idea and was planning to do a device like that but after all it exists already - oh well...

On 18/12/2016 at 10:02 PM, SoundOfAGun said:

Thanks @Klay! Great feedback, I do get carried away with vocal layers, classic lead singer ego I think. I will be keeping this in mind when I work on them in the new year.

Did you hear my first finished (non-demo) track? It is called High Hopes:

https://soundcloud.com/sound-of-a-gun/high-hopes-1

Sounds fantastic, congrats!

They all sound real great!!

Most of them remind me of Snakepit kinda tunes, which is good. 

The only thing I would change is I would isolate more your great vocals instead of harmonizing most of the time with that lower octave you have going on most of the time, which sounds great but should be placed wisely to emphasize certain key parts of the song.

Looking forward to 2017!

Sounds cool man; also the singer'd voice reminds me of Jim Morrison - keep it going and have fun!

I think midi control is the way to go - you can keep all your pedals away close to the amp (no more big lengths of cable going back and forth to suck your tone) and with a Midi pedal looper switch you can activate any combination of pedals remotely. 

Edit:

Here's the midi controller I built - this is the final prototype which is fully working (it's not pretty but it works fine!):

It has some unique features:
- all signals (including power supply, Midi,...) are sent and received by a simple LAN cable RJ45, like you use on any computer: cheap, readly available, you can have long runs of cable
- the expression pedal position isn't read by any potentiometer to wear out over time, I set up a way to read it's position without any wires! 
- it receives the guitar signal (coming by the Lan cable) so that you can connect an external tuner pedal close to you

This was quite a challenge as I knew nothing about programing microcontrollers , working with displays, sending midi messages, ...
Now I'm building a rack pedal switcher, which will also receive this pedal signals and turn on or off individual pedals (or combinations of them) to complement by effects processor with analog pedals.

I think you better go with a more pro device like a TC Electronic G System pedal or G Major II rack midi controllable , or Strymon or Eventide ,  that's what top players like you use .

I bought myself a TC Electronic G Major II and have been building myself a midi pedal controller with software done by me as well ,  which is almost done.

Not only his snare always sounds unique but also the way he brings the cymbals to his beats, Adler's druming is unique and unmistaskable.

Cool... you have the new mini jub head?

How does it sounds and compares do the DSL40C ?

It's 30 Watt but indeed it's loud; fortunatelly I have an attenuator.

The tone is very good, british but different from a Marshall; has more clarity / brightness and less body even through a Marshall closed cab. Has plently of gain for everything I do but I enjoy it the most in mid gain, where it cleans up or crunches depending on the pick attack.

New amp day:

Vox AC30C2.

On 22/07/2016 at 10:48 PM, Tiffani said:

Definitely! Are you going to do any internet radio releases in the future? 

I'm not sure what you mean with Internet radio release but I plan to keep recording demos and share them on YouTube!

14 hours ago, Tiffani said:

I really love your sound. I absolutely love your attack in the more aggressive songs and good tone. Great work! I can listen this we around the house, in the car, etc...even without vocals. Nice work!

Many thanks Tiffani, I'm real glad you found these demos and liked them!

Portugal, clear and well deserved winner!

Simply the best, we stand proud!!!

I can relate to Alan point of view, despite the fact that musically it's a brilliant collaboration as AC DC never sounded so good. To bad they're satan worshippers, ruins it for me as well.

Get yourself any Audio Interface and it usually comes with a free DAW software (even if it's a limited features version) which is all you need for pro multi-track recording.

Mine came with Cubase and I love it.

Rust in Peace, Nick Menza.

Easely my fav metal drummer ever.

Sounds like vintage Axl, rock n' roll!!

From what I've seen he's using the old Jubilee's again and a JCM 800.

The main difference for the thiner and more trebly tone he has now compared to the UIY / Snakepit I / Blues Ball tours is that now he's using to much of the Shure SM57 - that's where all that treble comes from. He needs to blend it with something fatter or more low mids foccoused.