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What do 30 different guitars sound like through 14 different amplifiers. I don't think I'll get through all the combinations, but here is the start.
Some guitars are solid, semi and hollow. Amps are clean, and overdriven.
Overdrive Special HRM Amplifier with Gibson "61" SG.
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03-03-2022 11:01 PM
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It is a good idea to do this so you have an online reference to what you have available.
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1947 Gibson L-7 through Gibson EH-125 Amp.
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Sounds awesome in every way. What’s HRM?
Originally Posted by icr
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HRM = Hot Rod Marshall Originally Posted by Eck
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Yes, in fact that amp's specification, per Mr Dumble's original design on which it is based, dictate EL34 power section and Marshall style tone stack and Marshall transformers.
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I’m curious for a 6L6 single ended…
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Four EL34 and 100W Marshall output transformer.
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1990s Paul Reed Smith Custom 24 through 6L6 based Overdrive Special (different amp from above).
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Thanks man! I always thought I should build a little 6L6 SE but the differences are difficult ti gauge. The Gibson L7 with amp sounds quite unique and quite sublime although the others all sound great too. PRS/6L6 sounds like Schofield- if I’m right. And there are a few notes on the SG/EL34 that sound like Gilmour. But with my skills and lack of time I’m not worthy of any of these but it’s a great experience to listen to. Originally Posted by icr
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Sounds great, what are the actual amps we are listening to?
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5 picks, 5 strings on 5 guitars and 5 amps with 5 settings in a hand of 5 guitarist... (15625)
seems overwhelming to find the (personal) holy grail. However my experience is similar what I concluded 30 years ago looking for amps, loudspeakers, turntablles, arms, PUs, cables, preamps, when the only reasonable method was evaluate the chain in its whole. Some PU was significantly better with some arm or loadspeaker, and vica versa.
i guess some strings are significantly better with a particular pick or guitar or cabinet... and vica versa
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My other "theory of mine" :-), that the player have some sound preference. So if one element in the chain is fixed and makes some characteristic in the final result, then the player will tend to change picks, strings, settings, even his picking style to the direction to make that characteristic sound closer to this ideal in his head. This way very different chains combination will produce very similar sound:: the player preference.
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Nice Thread! Thanks for posting icr. And very good groovy tunes
Beyong being, each of us, overwhelmed by millions of gear combinations, I have always been puzzled that a given gear association will never sound exactly the same on two consecutive gigs that you will perform in the same place. This has happened more than once to me: on the first gig I have a great sound. Then I don't touch anything, letting the amps, mic' exactly at the same place for the night after. And then, the day after, you have a shitty sound an there is nothing you can do for that...There are so many parameters in our sound chain, guitars, pedals, amps, cables, mic', PA... plus hygrometry and temperature that can vary from day to day. Also, there must be some psycho-acoustic reasons, a fresh or tired brain will not hear and react the same way.
Puzzling...Last edited by Fred Archtop; 03-05-2022 at 02:28 PM.
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I’ve watched a few of the clips and just wanted to say thanks for posting. This is a guitar geek’s dream. It may be GAS inducing though.
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Yass, Yass, Yass! Originally Posted by icr
Four EL34 and 100W Marshall output transformer.
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In my experience, everything counts. Temperature, humidity, barometric pressure, and perhaps crucially, line voltage and its attendant complexities are a few factors among many. Context is king; your drummer's choice of cymbals will affect your archtop's perceived tone to a greater extent than you realize. Volume, in and of itself, has a dramatic effect on the perception of sound. A few dBs here, a few dBs there, pretty soon you're all Bel-ed up. Originally Posted by Fred Archtop
Nice Thread! Thanks for posting icr. And very good groovy tunes
Beyong being, each of us, overwhelmed by millions of gear combinations, I have always been puzzled that a given gear association will never sound exactly the same on two consecutive gigs that you will perform in the same place. This has happened more than once to me: on the first gig I have a great sound. Then I don't touch anything, letting the amps, mic' exactly at the same place for the night after. And then, the day after, you have a shitty sound an there is nothing you can do for that...There are so many parameters in our sound chain, guitars, pedals, amps, cables, mic', PA... plus hygrometry and temperature that can vary from day to day. Also, there must be some psycho-acoustic reasons, a fresh or tired brain will not ear and react the same way.
Puzzling...
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THE ROOM: Why does everything sound above-average in my 99 sf music room, and yet so ^$%$@ wheedley on gigs? Originally Posted by citizenk74
In my experience, everything counts. Temperature, humidity, barometric pressure, and perhaps crucially, line voltage and its attendant complexities are a few factors among many. Context is king; your drummer's choice of cymbals will affect your archtop's perceived tone to a greater extent than you realize. Volume, in and of itself, has a dramatic effect on the perception of sound. A few dBs here, a few dBs there, pretty soon you're all Bel-ed up.
THE SPOT: Geez, that sounds so rich here . . . and so muddy here . . . and so totally generic over here!
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Acoustics is like shooting pool, or billiards, if you prefer. The angle of incidence is equal to the angle of reflection, and things get complicated really, really fast. One of the reasons why my Den of Antiquities, my Vineyard of Vintage Voltage is set up entirely off-kilter - nothing parallel or at right angles to the walls, floor, or ceiling, to the extent practically possible. I want those reflections taking the long way home. Originally Posted by Sam Sherry
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Gibson ES-175 Wine Red/Gold and Mesa Blue Angel 4x10 Cabinet.
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Gibson Les Paul with M-III Electronics through Mesa Blue Angel 4x10 and Tube Screamer.
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1947 Gibson L-7 and McCarty Pickup through Mesa Tremoverb clean channel.
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This is a Les Paul Standard through an "Alamo 5" amplifier.
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Is it just me, or does every combination in every video sound awesome?
It just might be the player ...
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Tone is in the fingers... Originally Posted by rpjazzguitar
That set the knobs and switches and stroke the strings and form the chords and so forth....
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Late 1990s Gibson ES-335 through a restored Gibson EH-125 amplifier (6v6 x 2) with modern ceramic magnet speaker and Ibanez TS-9.
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