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| THE GUITAR PLAYER'S THREAD
Posted: 1/26/2007 9:11:14 PM | A SHORT RANT BY ME:
ok in the last 8 pages or so of this thread,many people are asking about buying gear.....
they start off with.......
"I don't have a lot of money"
"what is the cheapest............."
"I just bought the latest digital modeller......."
ETC
I realise your maybe be hobbiest and have other expenses............but
you are approaching purchasing music gear from the wrong angle.......
-spend a little more time researching gear
-try really nice/expensive gear at the store,to understand WHY it costs more
-resolve to spend a bit more for gear that will last you your lifetime possibly,instead
of gear that you will not like in a year and want to sell
RULES of THUMB:
-solidstate amps for live playing suck,in comparision to TUBE amps
-digital modeling gear is good for direct recording-not very satisfying for live playing
-used is a good bet with guitars-buying a 10 yr old guitar that has had time to settle is good
many new guitars are still drying out and subseptible to warpage/lifting frets
-buy nice or buy twice
examples:
-I just setup a TAYLOR acoustic ($1500) for a lady,she was not that advanced playing wise
BUT
she can play that guitar for her whole life,and 'grow into the guitar'....as in...
she is DONE,she does not ever need another acoustic guitar if she cares for that one........get it?
-the guy who buys a good US strat and a Fender twin/marshall jcm 800.....etc
instead of the latest digital zoom/line 6/behringer/modeller
can play that forever and be on any stage in the world with that rig....cause he is done
see where I am going with this?
'SAVING money' -actually is COSTING YOU MORE in the long run
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| THE GUITAR PLAYER'S THREAD
Posted: 1/26/2007 9:16:42 PM | Hmmm...excellent advice....I did put a lot of thought into buying my car and I only use it for necessary driving...seems you're right, if i'm going to invest into something I do for PlEASURE i should probaby invest as much research time into it...problem IS cash though...I myself just dont have the financial resources I used to have so now Im pricing out cheaper models based on that little fact sad as it is....sigh....
<<----wondering if she should take up the ukelele?  | |
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| THE GUITAR PLAYER'S THREAD
Posted: 1/28/2007 11:25:47 AM |
"I just bought the latest digital modeller......."
Yup...I've learned my lesson...bought a VOX DA5 cause I wanted a portable amp with effects at my fingertips....the tone sucks...traded in a cheap Peavey solid state with no effects that sounded way better....
...buy hey, at least I can slap batteries in it and take it camping....
...sold my Epiphone acoustic after I slapped a new saddle and nut on it...cause the frets were lifting...realized I was gonna spend more money getting it serviced that if I were to shell out a grand for a good one....
...although...I was jamming at a buddies a while ago...his dad had a mexican Strat and compared to mine...the quality seemed really shitty...so maybe I didn't screw up my Strat purchase after all...it is in the "deluxe series" ....close to a year later...not a proper setup and it plays very nice.... | |
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| THE GUITAR PLAYER'S THREAD
Posted: 1/28/2007 1:22:16 PM |
sold my Epiphone acoustic after I slapped a new saddle and nut on it...cause the frets were lifting
this is such a true occurence..............
I did the guitar tech work for a local music store for the last 2 yrs and 90% of my
work load was that.........lifting frets
'
the lastest trend in guitar building is to make something 'cheap and pretty' ($200-$300) so people will buy it. Later as the wood continues to dry it will freak out frets lift/necks twist..
The only acceptable fix is injecting glue under the frets to fill in the newly created gaps then do a fret level ($125 can.) | |
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| THE GUITAR PLAYER'S THREAD
Posted: 1/28/2007 3:43:12 PM | man i just got a new guitar..(squier telecaster,20th anaversity(sp),with a "new york pro neck". after reading the last few pages,i may be feeling a little dumb....i thought about making it a "project" guitar...switching out parts and pieces,seeing what does and doesn't work..
any suggestions on a new set of pickups??????????? | |
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| THE GUITAR PLAYER'S THREAD
Posted: 1/28/2007 5:26:41 PM | dogshow50
swapping pickups can be cool
my suggestion is to play it for awhile,really listen,figure out what sounds good and what sounds bad....then decide
also see if the neck is stable,in 9 months
often cheap guitars can benefit from replacing the vol/tone pots -CTS or Dimarzio,alpha
sheilding the inner cavities
a good fret level,nut lowering | |
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| THE GUITAR PLAYER'S THREAD
Posted: 1/29/2007 4:22:14 PM | dogshow50
earlier on in this thread we chat about good tube combos for less
checkout a peavey classic 30 (1x15)
a great amp,for that kinda $$$$
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| THE GUITAR PLAYER'S THREAD
Posted: 1/30/2007 12:14:36 PM | | G-MAN...i have a fender stratacustic,the height of the strings at the10th and 12 fret is almost a 1/4 in. is there any way i can lower them.is a truss rod ajustment the only way? i here that can be rather tricky............thanks | |
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| THE GUITAR PLAYER'S THREAD
Posted: 1/30/2007 12:54:49 PM | dogshow 50
remove the plastic saddle ,file it down evenly in incliments
by 1st drawing a line on it remove 1mm at a time......
-also adjust the trussrod striaght( no bow)
-then adjust the saddle to taste
-ease off the trussrod a bit so the notes played on the 2-5 fret play cleanly | |
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| THE GUITAR PLAYER'S THREAD
Posted: 1/31/2007 1:48:10 AM | 'allo gents,
I've been studying guitar independently for about nine months now. Last night I was reading some tablature out of a book that was describing the fingerstyle of playing arpeggio'd chords, and something didn't seem right to me. Maybe one of y'all can shed some light on it.
Normally, the name of the chord is placed above the musical staff, and the tab numbers in the tablature below the staff. For example, if it's an A-minor chord, it'll say "Am", then have the notes for A-minor, then the tab numbers for A-minor. It all matches up.
But a bunch of the chords in this particular example didn't match up. One of them was a C chord, and the string that's normally fretted on the 1 fret (the D string? I told you I'm new at this) was tabbed as being fretted on the 3 - along with the string normally fretted on the 3 in a C chord.
If I understand arpeggios correctly, they're a chord played one note at a time. So since this specific example in the book was supposed to be illustrating this with a C chord, then why weren't the notes actually those of a C chord? I know it wasn't a misprint because the same notes appeared later in the score and they were tabbed the same way. So if it was a misprint, it was a darn consistent one.
So, my first question is... uh.. does this make sense to any of you? 
My second question is, how would you actually fret the fifth string and the second string on the third fret like that? Would you use a barre? And again... if so, why the heck was the book showing that as a C chord? The open C is not a barre chord.
I'm confused. Anyone?
Oh, and;
'SAVING money' -actually is COSTING YOU MORE in the long run.
Makes perfect sense... *if* you know you're going to stick with it long enough for that to matter. :) Me, I bought a cheap guitar (electric Washburn Lyon) because even though I've always wanted to learn to play, I didn't see any sense in dropping a lot of money on something I may very well get frustrated with in a month and never touch again. I also have no clue where I actually want to *go* with my playing... performing? Probably not. Playing by myself doesn't make a lot of sense, either... but right now I'm not good enough for anyone to want to hear me anyway. heh.
But if I get any good, and the need presents itself... yea, I'll drop some cash on a Gibson or something down the road if I need it. But for now, the Lyon's doin' me good, especially since I got a decent (well, compared to the five-watt practice amp it came with) amp for it. | |
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| THE GUITAR PLAYER'S THREAD
Posted: 1/31/2007 3:22:34 AM | Hmmm...excellent advice....I did put a lot of thought into buying my car and I only use it for necessary driving...seems you're right, if i'm going to invest into something I do for PlEASURE i should probaby invest as much research time into it...problem IS cash though...I myself just dont have the financial resources I used to have so now Im pricing out cheaper models based on that little fact sad as it is....sigh....
Okay, this changes things, but you still want a second guitar that can't possibly be as good as your Larrivee to be able to play acoustic/electric.
The same solution applies.
Put a decent entry-level soundhole pickup in the Larrivee. Go to a well stocked music store and try out a bunch, get the one that sounds best and fits your budget.
And realise that a decent SO pick-up, like a:
http://www.seymourduncan.com/news/mag_mic_sounhole_pickup.shtml
Both a magnetic pickup, and a mic contained in one unit, both active, with the option of permanent or temp type installation. Good enough for Ben Harper, David Lindley, Lenny Kravitz, Keb’ Mo’, Jeff Pevar / CSN, Kelly Joe Phelps, Peter Stroud / Sheryl Crow, Xavier Rudd, Bill Frisell.....
Consider, you can find these for well less than $300, a hunk a' junk acoustic/electric is not going to have anything close to as good a sound as a pick-up like this, even a $700 hunk a' junk.
I've been studying guitar independently for about nine months now. Last night I was reading some tablature out of a book that was describing the fingerstyle of playing arpeggio'd chords, and something didn't seem right to me. Maybe one of y'all can shed some light on it.
Wrong thread, this is a gear thread, there's a "learning to play guitar thread" on this forum too, but I'll save you a trip. Toss the TAB junk, it's confusing you and wasting a lot of time. I put up a page for beginners on the "learning to" thread, I'll paste it in here too.
One page, all you need to know to play ANY chord, name ANY chord, and not be crippled by the bad habit of learning by memorizing l'il diagrams (which isn't learning if you think about it, ...it's m e m o r i z i n g).
http://homepage.mac.com/ewald/Theory/rps1.html
'SAVING money' -actually is COSTING YOU MORE in the long run.
Makes perfect sense... *if* you know you're going to stick with it long enough for that to matter.....
Hold it right there...
Not quite, it's here when it begins to make even more sense. *if* you find that the biggest barrier to learning is "I may very well get frustrated with in a month and never touch again", ...the cheaper you go, the more likey "frustrated with in a month" is going to happen, in fact, if you go cheap enough, it's almost a guarantee.
Further, should you find yourself not willing to continue trying to learn on a piece of kindling you got for a bargain, are you going to want to keep it? ....No, you want to sell it, so now you have a piece of crap boat anchor that you paid very little for, ....do you really think anybody is going to want to buy it for even 50¢ on the dollar?
*if* you get a decent instrument, playable, and not a challenge to learn on, ...chance of frustration? is only relative to your own desire to learn. And should you still find that you don't want to continue trying? You will find it much easier to sell a "decent instrument, playable, and not a challenge to learn on" for close to what you paid for it.
Guess which guitar was less expensive? | |
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| THE GUITAR PLAYER'S THREAD
Posted: 1/31/2007 9:42:55 AM |
Wrong thread, this is a gear thread, there's a "learning to play guitar thread" on this forum too.
Yea, I stumbled across it *after* I posted here (it was on the second page). I have another question for you but I'll move it over there.
Not quite, it's here when it begins to make even more sense. *if* you find that the biggest barrier to learning is "I may very well get frustrated with in a month and never touch again", ...the cheaper you go, the more likey "frustrated with in a month" is going to happen, in fact, if you go cheap enough, it's almost a guarantee.
Further, should you find yourself not willing to continue trying to learn on a piece of kindling you got for a bargain, are you going to want to keep it? ....No, you want to sell it, so now you have a piece of crap boat anchor that you paid very little for, ....do you really think anybody is going to want to buy it for even 50¢ on the dollar?
Your logic is sound. I guess I lucked out, 'cause I'm not finding the guitar I bought to be a barrier to learning even though by any real musician's standards it'd probably be useful only in hand to hand combat.  Re-selling it never even occurred to me at the time.
At the moment I'm not even sure why I'm learning, because I don't plan on performing and I'm still iffy on writing my own music. If I wind up doing anything constructive I'll probably get a decent axe somewhere down the line. | |
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| THE GUITAR PLAYER'S THREAD
Posted: 1/31/2007 1:00:50 PM | OK, actually I do have a question related to this thread. 
How much of a variation is there in the size/width of electric guitar necks? The one I've got, a cheap-O Washburn Lyon, seems to have a neck that's a smidge too narrow for my fingers. It makes things a little tight when I'm trying to, say, finger an A chord 'cause the edges of my fingers stick out and brush against the strings that I'm trying to leave open - although it could just be that my fretting technique still needs work.
If I decide to upgrade and get a better guitar, would it be possible to get one that fits my hand size better? If so... would it have to be a custom job or can I get one "off the rack" just by shopping around?
Secondly...
I know amps in the 5-10 watt range are considered "practice" amps. I recently bought a 25-watt Lyon amp and it sounds pretty good. Is an amp of that strength still considered a practice amp? I've heard that if you expect to perform with a band you need something in the realm of 100 watts - what's a good rule of thumb for determining how much wattage is necessary for solo playing versus performing versus rocking Shea Stadium? | |
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| THE GUITAR PLAYER'S THREAD
Posted: 1/31/2007 1:11:35 PM | ^^^^^
Don't get a mexican strat...pretty sure the necks are a smidgen more narrow than the american ones...my dad was playing mine and complaining it seemed a little narrow for his liking..... | |
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| THE GUITAR PLAYER'S THREAD
Posted: 1/31/2007 2:48:02 PM | wonkabar
I have worked on many guitars some electric have much wider necks,It is a bit more random though than just saying 'go try this model'
I suggest trying a bunch,you will find one
-on amps .....a 30 watt tube amp is a nice bridge beetween practicing and jumping with a band
LATE .........excellent posts as always
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| THE GUITAR PLAYER'S THREAD
Posted: 1/31/2007 8:53:08 PM | OK, actually I do have a question related to this thread.
How much of a variation is there in the size/width of electric guitar necks? The one I've got, a cheap-O Washburn Lyon, seems to have a neck that's a smidge too narrow for my fingers. It makes things a little tight when I'm trying to, say, finger an A chord 'cause the edges of my fingers stick out and brush against the strings that I'm trying to leave open - although it could just be that my fretting technique still needs work.
If I decide to upgrade and get a better guitar, would it be possible to get one that fits my hand size better? If so... would it have to be a custom job or can I get one "off the rack" just by shopping around?
Actually you are going about solving a problem the hard way, develop proper technique, you should be able to fret strings on any chordaphone instrument if you use proper wrist and arm posture, and hang the instrument from the strap properly. Proper technique on a baritone guitar will transfer seamlessly to a mandolin.
See post # 86 -
http://forums.plentyoffish.com/1542626datingPostpage4.aspx
Secondly...
I know amps in the 5-10 watt range are considered "practice" amps.
Watts are meaninless
It depends "watts" is misleading, perceived sound level is dependant on a lot of things.
- Class of amp (A, AB, A-B, C, etc.)
- Type of output format (Solid state, vacuum tube)
- Type of output transformer/speaker layout
I recently bought a 25-watt Lyon amp and it sounds pretty good.
That's relative, and dependant on what you're used to playing through, compared to a 5 Watt, class "A" single-ended 6V6 tube amp combo with a good AlNiCo 12" speaker, your amp might sound like a mosquito.
Is an amp of that strength still considered a practice amp? I've heard that if you expect to perform with a band you need something in the realm of 100 watts
Most experienced pro's I know find the 18 - 30 watt range of tube amps to be perfect for live playing. Any room big enough to require a large PA? - mic it. This is the only reasonable way to "scale" the sweet spot of an amp. The actual reason for 100 watt amps really doesn't exist anymore, FOH techniques caught up by the mid '70s
- what's a good rule of thumb for determining how much wattage is necessary for solo playing versus performing versus rocking Shea Stadium?
You will hear many views on this, but the truth is, both can be easily accomplished with a 18 - 30 watt tube amp, and and understanding of musical dynamics. Past a certain level of SPL, quality of timbre and dynamics drops very fast. There are however, styles and fashions that help add a machismo/testosterone "image" by having huge stacks of amps, ...good magazine shots, ...most of the speaker cabs are empty.
Many guys use high powered amps with attenuators (tranny toasters), it's like using a dragster to go 40 mph, by flooring the accelerator with the brakes locked. - and while it comes close to achieving the same result of a lower powered amp in output transformer/speaker load saturation, ...it robs the end result of some very sweet 3rd and 4rth order harmonic resonance, even with a reactive dummy load. It's the shift of loading between the output tubes, transformer, and speaker that creates the sweet tone that is lost by trying to fool the "load" into thinking it's a lower SPL.
AND, IT'S A MORE EXPENSIVE WAY OF GETTING A BETTER RESULT THAT EXISTS IN A LESS EXPENSIVE FORM. | |
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| The guitar player's thread
Posted: 1/31/2007 8:55:40 PM | My equipment:
Epiphone Les Paul Custom (wine red color)
Seymour Duncan JB/Jazz Humbuckers (bridge/neck, respectively)
Marshall JCM800 2203 Lead Series Head (100 Watts)
4x12 cabinet w/ Celestion speakers (custom built)
BOSS Super Overdrive, Super Chorus, Metal Zone, and Graphic Equalizer pedals
Digitech RP200
Weber MASS power attenuator | |
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| The guitar player's thread
Posted: 1/31/2007 9:25:15 PM | late has some excellent points on amp wattage
earlier on this thread we had this same discussion...............
the only point I would like to add is,wattage also depends on what type of music you are
playing in a live context............
30 watt tube amp -for blues,jazz,60's and 70's rock.....more mid range tones
BUT, if you are playing 'modern rock styles',detuned rock styles,7 string styles,that require
a larger tighter lowend....I would recommend more watts to allow for the extended frequency range
IE
going to a gig with a 30 watt amp and trying to play songs in the tonality of
Metallica,Pantera,Korn,Sevendust............is not going to work well
in my experience,bringing in a small amp and relying on 'front of house' to "give me enough in the monitors so I can hear myself"
can lead to not being able to hear yourself for the whole gig, cause the soundguy is more focused on gets 'the end of the world kick sound' then making sure the players can hear themselves.
It really depends on the music you are playing live | |
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| The guitar player's thread
Posted: 1/31/2007 9:37:11 PM | BUT, if you are playing 'modern rock styles',detuned rock styles,7 string styles,that require
a larger tighter lowend....I would recommend more watts to allow for the extended frequency range
IE
going to a gig with a 30 watt amp and trying to play songs in the tonality of
Pantera,Korn,Sevendust............is not going to work well
Hell, you don't even need a quality amp, most of these guys use "sand", do realize that this type of rig is specific and pretty much single purpose - useless for anything else.
in my experience,bringing in a small amp and relying on 'front of house' to "give me enough in the monitors so I can hear myself"
can lead to not being able to hear yourself for the whole gig, cause the soundguy is more focused on gets 'the end of the world kick sound' then making sure the players can hear themselves.
In my experience, over the years I've played many different styles (non of the chugga chugga I'M ANGRY chugga chugga stuff though), the more experienced the guys are, the lower the "mean" stage volume, the wider the range of dynamics. I've never had to use monitors for anything else other than lead vocalist, kick, and bass.
Even on stage using nothing more than a 22w BFDR - with a showband with 5 pc horns, two drummers, Hammond player, Rhodes player, Bass, two guitars, 3 bu singers, with a frontman blowin' harp. Do you know how much power most Leslie cabs are? 30w | |
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| The guitar player's thread
Posted: 1/31/2007 9:52:21 PM | LATE
I totally hear what you are saying man,I love R&B and the Blues
I just bought the dvd-STEELY DAN-AJA-Classic albums,I just watched it for the 12th time
IE
I get it
BUT..........................
I also can jam with the young 'kids' their heros are different,sadly the don't know who Jaco is or Weather report/Tower of Power. Even though the spirit and intention of your message is 'extremely correct' ....In 2007 it is a different story
walking into a room with a young drummer who grew up listening to Lars Urich (drummer of metallica) and telling him the message of dynamics while you plug in your ' Fender Princeston'
is a loosing battle..........it is' sad but true'.
Trust me I have been there.
I am not saying it is a good thing or correct,it is just reality in 2007
20 something's these days are more likely to know songs by Evanessence than
Robby Robertson Solos from 'the last Waltz'
I own a small custom Guitar shop so I meet players that are 16 - 60,I pride myself in listening to and studing music from many generations so I can help them get their desired tone. | |
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| The guitar player's thread
Posted: 1/31/2007 10:06:01 PM | Drummers - if they can't be professional - I don't play with them, I'm a firm believer in not buildin a rig to compensate for someone's lousy musicianship. A drummer who can't play a small room at proper levels with an AC 30 is useless to me, any style.
And 20 something's grow up usually, I used 120w V4s in my 20's, ...it was stupid for most of what I used them for, I learned from playing pro, ....not from kids playing what's cool this week.
If you want to approach this as a stylist, fine, ...but from the standpoint of best tool for the widest application, a 100 watt amp is wrong, proved by simple physics.
SPL for guitar amps got huge in the 70's but they were a few years behind the curb, ....those amps are boat anchors for the most part. Do you know why?
Do you know why Fender brought in Paul Rivera in the '80s to redesign their amps.
Do you know why?
I own a small custom Guitar shop so I meet players that are 16 - 60,I pride myself in listening to and studing music from many generations so I can help them get their desired tone.
I've been a musician for almost 40 years, pro for 32, I have also taught people from 5 - 70 how to play, I also work with some of the most experienced musicians in the biz, I've also designed amps and helped other's design amps and am on a first name basis with the guys in Canada, the US, and the UK who build and repair them for the big name players, ...this isn't just opinion on a whim, and most of it is verifiable, ....seriously. | |
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| THE GUITAR PLAYER'S THREAD
Posted: 1/31/2007 10:18:13 PM |
Actually you are going about solving a problem the hard way, develop proper technique, you should be able to fret strings on any chordaphone instrument if you use proper wrist and arm posture, and hang the instrument from the strap properly. Proper technique on a baritone guitar will transfer seamlessly to a mandolin.
Oh no doubt, I'm not saying my technique is anywhere near perfect (it's probably the lower end of "barely passable"). I was just curious as to whether one size was supposed to fit all, or if there were variations. I read earlier in the thread (I've been jumping around so forgive me if I bring up something that's already been discussed) that it was possible to get better fretting by lowering the strings, so I was wondering if something similar applied to necks.
That's relative, and dependant on what you're used to playing through, compared to a 5 Watt, class "A" single-ended 6V6 tube amp combo with a good AlNiCo 12" speaker, your amp might sound like a mosquito.
Probably, but I highly doubt the amp that came with my guitar (low-end "guitar starter kit" I got at Target) is the sort you just mentioned... although I can probably get the specs and post them. All I know is, unless I lay it flat on the carpet the sound is drowned out by the buzz caused by the unit vibrating.
The main reason I got the 25 watt amp was because it had a bunch of effects built in, and I'm slowly becoming an effects whore. Got a distortion pedal, loved it, got a wah, didn't love it but was glad to have it anyway, so I think I got a little silly with the amp. Saw all the effects and said "gotta have it!"
As to what kind of music I'm playing, right now I'm trying to learn some of my favorite songs from artists like Tom Petty, The Monkees, and maybe Led Zeppelin or other "classic" rock. Right now, all I can do is play power chords well enough not to embarass myself. I'm still working on everything else.
It keeps me off the streets, anyway.
Glad this thread is here... listening to you guys is fascinating. | |
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| The guitar player's thread
Posted: 1/31/2007 10:24:43 PM |
Do you know why Fender brought in Paul Rivera in the '80s to redesign their amps.
Do you know why?
no, I am interested TO know though.....my guess was that Fender wanted a louder amp,that was more 'Marshally'
I've been a musician for almost 40 years, pro for 32, I have also taught people from 5 - 70 how to play, I also work with some of the most experienced musicians in the biz, I've also designed amps and helped other's design amps and am on a first name basis with the guys in Canada, the US, and the UK who build and repair them for the big name players, ...this isn't just opinion on a whim, and most of it is verifiable, ....seriously.
Hey bro don't get me wrong, I know, you know the dudes ,but I feel your opinion on here are basised to specific styles(blues,world music Jazz). In fact ask if any of your amp guys built amps for Steve Lukather,Eddie Van Halen,Zakk Wyde,Slash,James Hetfield,John Petrucci,Joe Satriani,Steve Vai............etc. For live applications
how many watts were they requesting?
ps
Rivera Built a 300 watt Sub box for Steve Lukather | |
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| The guitar player's thread
Posted: 1/31/2007 10:58:17 PM |
no, I am interested TO know though.....my guess was that Fender wanted a louder amp,that was more 'Marshally'
Nope, to undo the damage done by the CBS marketing bunch that pushed for higher powered amps using ultra linear trannies in the '70s. - all of those amps are junk.
The list would be too long if I included all of the client lists, here are some of the amp guys I know-
Doug Roccaforte - LA (Matt Bruck is one of his clients, if you know who Matt Bruck is)
Willie Whittaker (Fat Willie/Lord Valve) - also sits in with Derek Trucks Band sometimes on Hammond
Rich Koerner - New Jersy
Ned Carlson (Uncle Ned) - Chicago
Gar Gillies - RIP
Gary Gerhart (Gerhart amps)
Roy Blankenship - LA - relocated to Florida
Robert M. Braught - Kansas
Andy Fuchs - Fuchs Audio
Richard Guy - Guytronix
Mike Schway - Washington
Danny Russell (Kendrick) - Detroit
Michael Hoffman - (Hoffman amps)
Ted Weber (Weber VST)
Len Flint - Montreal (My personal tech)
Duncan Munro - UK (Look this guy up - all the designers use his databases now)
Keven O'Conner - London Power
Dave Zimmerman - Maven Peal amps
The only 100w amp that can do it all - http://www.mavenpeal.com/
There's more, but I tell you what, if you want to base your standard on trends by 20 somethings? more power to ya, if you want to know how and why things sound like they do?
Look these guys up, ...tell 'em "Dr. Wow" sent you | |
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