hideout Posted April 16, 2017 Share Posted April 16, 2017 My take on all of this is that certain groups have a very hard time moving on toward something different than what they've always known. Change is hard, but as Frank Zappa said, "change isn't just inevitable, it's necessary". Guitar players and drummers seem to be that the top of the list for such things...drummers probably even moreso than guitar players. And there may be some truth to the idea of a tactile visceral thing going on in both cases. I can't say I've ever experienced it, and maybe that's why i've never been put off by actually seeking a more "studio" sound than "amp" sound in live gigs. What drives and excites me is achieving a really well articulated, precision sound in a live environment...one that competes pretty effectively with a polished studio sound. But I do agree that's a pretty scary leap for some people which makes it hard for them to embrace it. I do think we're just at the beginning of performers at the upper end of entertainment echelon making that transition, which will probably help alleviate the fear of it from people in the trenches. It's interesting to me to note how many of the drum kits used in big name bands are really driven by triggers through sampling machines nowdays, and we're even seeing the beginnings of this same type of transition with some bigger name bands and guitar players. In those cases they've pretty much had to do it in order to have a competitive sound with the bands that have embraced it...and in the end that may have been what Uncle Frank was referring to as being necessary. I'm in agreement. Truth be told, I do not prefer playing through a tube amp over most modelers I've ever used, and I prefer using a powered speaker to a cabinet. I started using modelers pretty quickly after I switched from acoustic to electric guitar, so I guess I never got used to playing through a traditional tube amp, at least not an expensive one. Gotta echo these sentiments. Even though I grew up playing through amps (tube and ss), I was never ever satisfied with the sounds I got. The sonic and practical limitations really bugged me and as I grew older, the weight of tube amps really started to matter. As young player, I'd ask older more experienced players how the pros got the sounds they got on recordings and got the same tired answers; "Oh you gotta have a Marshall or a Fender to do that". I had access to a Fender Twin in high school and had tried Marshalls at the local music store (even though I couldn't afford them) and was puzzled for years as to why none of them could sound anything like what I heard on recordings. A few years went by before I understood the complexities of how they got those sounds on albums and later CDs. Then it dawned on me... I've never given a rat's patootie about getting good amp sounds. I wanted the sounds I heard on recordings. Those were my holy grail. Quote Link to comment Share on other sites More sharing options...
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