capmaster Posted November 17, 2014 Share Posted November 17, 2014 Then there are the purists like Angus Young. He rejects any FX between guitar and amp, and I'm dead on sure he uses VOX AC30 non-top boost amps for studio recordings regularly. I assume the same for the now sadly seriously ill Malcolm Young, too. For achieving the same tone as when using a cable, Angus Young has a capacitor adding the missing cable capacitance added to the guitar input of his wireless system since decades. Link to comment Share on other sites More sharing options...
Marshall Paul Posted November 17, 2014 Share Posted November 17, 2014 Yeah, and I'm betting by the time the wet signal hits the amp head it's pumped through a dirty channel too. And playing the master vol against gain to naturally overdrive the amp is two. FX plus. He's just doing it the old fashion way thats all (lol). And yes, sad news about Malcolm. Link to comment Share on other sites More sharing options...
capmaster Posted November 17, 2014 Share Posted November 17, 2014 Both the guitarists of my first band - I had been vocalist and percussionist then - started with AC30 TopBoost amps they sadly sold soon after. These came with three pairs of inputs, Normal, Top Boost, and Vibrato, each featuring High and Low jacks. As with most of these sort of jack pairs, they were linked and the Low one set to High when using the High one. They jumpered all three inputs with patch cables and created most of their sounds through blending them. I'm sure both these AC30s would be worth a fortune today. Link to comment Share on other sites More sharing options...
daveinspain Posted November 17, 2014 Share Posted November 17, 2014 Very nice indeed… Excellent job! Link to comment Share on other sites More sharing options...
awel Posted November 17, 2014 Author Share Posted November 17, 2014 Then there are the purists like Angus Young. He rejects any FX between guitar and amp, and I'm dead on sure he uses VOX AC30 non-top boost amps for studio recordings regularly. I assume the same for the now sadly seriously ill Malcolm Young, too. For achieving the same tone as when using a cable, Angus Young has a capacitor adding the missing cable capacitance added to the guitar input of his wireless system since decades. To jump on this, I have to admit that for this show I have used only the second channel of the JVM-410, so that means light dirty sound with the Maxon OD808 overdrive in front, and use the amp pedalboard the switch to the master volume 2 for leads and to activate the MXR Carbon Copy delay in the loop. So no Wampler Pinnacle anymore, honestly I 've been looking for 'THE tone' for years but with my Marshall and this maxon and the mxr delay, I can get what I like, I think I am fed up looking all the time for something new, I like tones I get with my Black Beauty and my modified Strat and if I want pure agressive texas blues I have my Tele, perhaps the only thing I will look for is to buy a Les Paul Studio as backup guitar, 'cause yes I have to say ... even if I have fight it I am a Les Paul guy! Link to comment Share on other sites More sharing options...
awel Posted November 17, 2014 Author Share Posted November 17, 2014 Very nice indeed… Excellent job! Thanks Dave Link to comment Share on other sites More sharing options...
Marshall Paul Posted November 17, 2014 Share Posted November 17, 2014 Both the guitarists of my first band - I had been vocalist and percussionist then - started with AC30 TopBoost amps they sadly sold soon after. These came with three pairs of inputs, Normal, Top Boost, and Vibrato, each featuring High and Low jacks. As with most of these sort of jack pairs, they were linked and the Low one set to High when using the High one. They jumpered all three inputs with patch cables and created most of their sounds through blending them. I'm sure both these AC30s would be worth a fortune today. Yeah, you betcha they'd be worth a fortune! I'd love to own one myself but I have to be content with a VT30 that I use in the main house. It's actually a great little amp. I've re-miked it into the main Marshall stack before and it wails! Link to comment Share on other sites More sharing options...
Golden Posted November 17, 2014 Share Posted November 17, 2014 I enjoyed it also. I agree about the PRS, and the balance on the entire EQ. I love the possibility of interaction with a keyboard also as it makes for a fun live playing situation. The strings, eh, you know I messed with a hybrid set that eliminated the 9 but basically the total sum of the gauge of six strings the same. I can live with 9s just not "the nine". Its not the tone, to me its the feel of the nine. But the strings shouldn't break if the set-up is right. On the other hand if the set-up has a sharp edge on a TM or a sharp break angle and hits a metal edge, pinches at the nut and so forth you can be changing strings habitually and spending needless cash on strings. And every now and again you will hit a bad string that will just unravel at the ball or something QC related etc. That said playing Strats and doing your own set-ups will quicken the learning curve imho because the Trems simply take more tweaking. I like the Vox AC 30 and 15 also. I'm playing a 15 now. Thar said I'm playing an Egnator also which amazed as I am has been holding up and sounds slightly better than the 15 imho. Oh I also think its a big help for personal info on strings to record them side by side for demonstrative purpose, thats how I ended back on heavier strings. Purely subjective I suppose. Link to comment Share on other sites More sharing options...
milod Posted November 17, 2014 Share Posted November 17, 2014 Awel... You wrote: "I think I am fed up looking all the time for something new..." I know I'm just a grouchy old man, but I guess I've never searched for "tone" except as an extension of technique that I've always sought to improve for expressiveness - whether "plain" or "fancy" picking. For example, the great singers, whether pop variations or opera, have mostly been known for phrasing - even when they're doing fancy singing such as yodeling or making like a valkyrie in Wagner's opera. Each to his or her own, though. m Link to comment Share on other sites More sharing options...
capmaster Posted November 17, 2014 Share Posted November 17, 2014 My search for strings was finished until today after about two years of playing in 1982. Later there had been two changes from .010 to .012 and back as my standard gauge between 1997 and 2003. I had to return to .010s due to the beginning of my carpal tunnel syndrome. Since three years ago Optima, the brand of my choice, released Electric Chrome .011s, they are the ones I use on hardtail guitars. On vibrato models I play .010s, and my semi-hollow is strung with a .012 set. I check some different strings, mostly .010s and .011s, every few years due to curiousity. Through more than three decades I found just one particular make interesting, the Gibson Brite Wires. They have an incredible tone, a weird sustain, they match any guitar I could imagine, and there's lots of life expectancy in them. Their sound is most impressive through piezos of hybrid guitars and on - Fender instruments with single coils, both standard and noiseless. Very sensitive to touch, highly dynamic, cutting through even at low levels and when played moderately. I like a rich tone, same time fat and bright - attenuating something is much easier than trying to boost the lack thereof. Link to comment Share on other sites More sharing options...
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