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Post by dee on Aug 22, 2012 9:53:37 GMT -5
I've got a Bandit 65 in the basement you can have, Dee. It's got a bit of a cackle but it works! Thanks Jer,but my closet of cackling amps is full! I wouldn't mind finding a non cackling Peavey Special 130 though.
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timsch
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soothes the savage beast
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Post by timsch on Aug 22, 2012 13:24:15 GMT -5
Hold on now you peavey bashers. I gotta Peavey Classic 50, all tube, 2x12 and I'll put its clean tones up against my Fender twin reverb silverface any day. Granted its a $550 Peavey amp (so not cheap by Peavey standards) but it packs an extremely warm tone.
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Post by GtrPlyr on Aug 22, 2012 17:27:56 GMT -5
My very first amp was a Peavey Backstage Plus. Even used it at a few gigs. Eventually, once I got some money together I got myself a proper amp as that one was a bit too weak to cut it live. Hold on now you peavey bashers. I gotta Peavey Classic 50, all tube, 2x12 and I'll put its clean tones up against my Fender twin reverb silverface any day. Granted its a $550 Peavey amp (so not cheap by Peavey standards) but it packs an extremely warm tone. That's a good one. The Peavey Delta Blues 115 is pretty great too.
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creep66
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Post by creep66 on Aug 23, 2012 0:12:36 GMT -5
I've got a Bandit 65 in the basement you can have, Dee. It's got a bit of a cackle but it works! Thanks Jer,but my closet of cackling amps is full! I wouldn't mind finding a non cackling Peavey Special 130 though. Hey Jer, I may need to rehearse through that, LOL!
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Jer
Beagle Scout
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Post by Jer on Aug 23, 2012 6:38:28 GMT -5
Thanks Jer,but my closet of cackling amps is full! I wouldn't mind finding a non cackling Peavey Special 130 though. Hey Jer, I may need to rehearse through that, LOL! *fired*
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Post by theefinks on Dec 12, 2015 14:13:50 GMT -5
wow thanks for posting- these videos are great! its also funny just seeing those two cheap peavey guitar amps up on stage - especially when lots of people aways want to get "that replacements guitar sound" I use those Bandit 65s, lol theyre actually not bad amps and you can buy them for under $100, theyre built like a tank and if someone steals them its not a big deal, who would steal a fucking Peavey??? the trick is running them through 4x12 cabs like Stinson and Westerberg.
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Post by anarkissed on Dec 13, 2015 3:35:30 GMT -5
My second amp was some kinda Peavey...I wanna say the head was, maybe, 80 or 100 watts, and the cab had two 10" or 12" speakers...It had to be at least two years old in 1980...Played through it for at least six years...Dragged it in the open bed of pickup trucks on dirt roads through a thousand county fairs and bad dive bars...Abandoned it to the care of a former drummer who stuck it in the corner of his jam room for two years...Came across it again after I divorced..."Dude! Remember this? Do you want it?" Sold it back to the guy who originally sold it to me for $50...He sprayed a little contact cleaner in the pots, and, as of at least 2010, occasionally still used it...Not a great amp, but, geez, you could beat on that thing with a hammer, pour beer in the head, and probably still make your gig that night...Pretty powerful if you ran a Les Paul through it with a Big Muff and a Morley wah...
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Post by FreeRider on Dec 14, 2015 16:15:28 GMT -5
as Keith Richards said, "the right guitar through the right amp" is all that you need.
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Jer
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Post by Jer on Dec 15, 2015 7:05:59 GMT -5
as Keith Richards said, "the right guitar through the right amp" is all that you need. I think he also says "5 strings, 3 notes, 2 hands and 1 asshole" are requirements too.
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Post by FreeRider on Dec 15, 2015 12:12:19 GMT -5
nice! Would love to try out a Matchless amp though...still can't find any in my area. Also, what do you folks think of Paul's tone? I guess it depends on which guitar he's using as well. I've always thought that some of his tone came across as a bit harsh, not as smooth. At least, to my ears.
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Post by anarkissed on Dec 16, 2015 0:49:24 GMT -5
Live or recorded? Either way, I generally approve...He has that sorta warm, slightly overdriven, almost jazz tone that, in my later years, I aspired to...I never saw him live and ever had any quibbles about his tone...But, I'm kinda a hack...If he got through a song without a short-out or unintentional feedback, I guess I was already giving him points...I thought the guitar work, and sound, generally, on PTMM was about as Valhalla as it gets...I never really got people who preferred the sound on "Tim", which kinda sounds like it was recorded by an engineer wasted on morphine while underwater...Then again, I really liked the production on DTAS...Yeah...I'm that one guy...I also enjoyed Flock of Seagulls at that point...
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Post by FreeRider on Dec 16, 2015 10:24:27 GMT -5
I generally approve...He has that sorta warm, slightly overdriven, almost jazz tone that, in my later years, I aspired to... I approve too, but I think it's mostly live. Again, it depends upon what guitar he's using and what songs. I'm really speaking to his overdrive and gain tone, it seems a little harsh and brittle sounding to me. I'm thinking of songs like "Pinebox" as an example. And that's fine, because it suits that kind of style and sound. Or maybe I'm over generalizing. Could be just certain songs and certain guitars where I notice the tone....but I love the tone of the cleaner sounding guitar on 'Wild and Lethal" for example. It sounds like maybe he recorded that directly into the board or something? Oh yeah, it definitely has this weird muffled quality to it. They made Chris' drums sound horrible, like he was whacking away on garbage cans or something. lol,
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Jer
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Post by Jer on Dec 16, 2015 13:14:15 GMT -5
Things were a lot different in the 80s, especially for punk/alternative bands, in the recording studio. And Paul's always been more of a plug-in-and-play sort of guy, so I think all the Twin-Tone records were a lot more about energy and volume than guitar tone. Now days guitar players spend longer getting the tone they want than they do playing the parts, trying different combinations of amps and guitars.
Things got a little different with Sire, but not great. There seemed to be a little more focus on guitar tone with PTMM and ASD, but Tim and DTAS weren't great guitar records, IMO. I totally get what Anarkissed was saying about the recording of Tim. To me it's just way too restrained. They took the band that played like they did on SNL and told them "no - play it like this" and turned the amps down and played more muted chords and less open chords, then used that damn 80s reverb on everything. It took the volume and a lot of that energy (and spirit) out of it, probably with the intent of bringing the songs themselves to the front, which may have succeeded to a degree. I mean, it's a great record and it's not void of guitars or anything, but I just don't think it captured the spirit of the band like it could have (if, say, Alex Chilton had produced it). I thought the production of DTAS was an extension of Tim with the same restraints in place and the compression and reverb jacked up about 50%. I'd love to hear that record remixed from scratch today. It almost seemed like ASD was a reaction to DTAS the same way PTMM was a reaction to Tim. "Let's make a guitar record this time, not all that studio stuff."
As his solo career went on I think Paul (and his producers) started to pay more and more attention to tone, as did the greater recording industry in general. Guys like Don Was are great at recording things that sound like a band playing in a room, not all washed out like DTAS and to a lesser extent Tim. Suicane isn't my favorite, but the production is great - super warm and just real sounding.
Then with the basement stuff and the Mono record and all that Paul seemed to really be digging that tele through whatever amp he had in the corner. Not a lot of diversity with the tones through that stuff, and not recorded all that great, but it was cool.
His live tone on that last tour was pretty good for the most part I thought. In the 80s they were so loud that it really didn't matter a whole lot, at least the times I saw them. They were amazing, but you didn't leave and say how great Paul's tone was. Sound technology is better now and bands are working harder on tone, and it's made a big difference to live music in general in the last decade or so.
It'll be interesting to hear the new record. I know Juliana almost always plays an SG so we'll see what Paul uses to complement that.
...and finally, Freerider, yeah Matchless makes a great amp. I came across a used combo a few weeks back I couldn't pass up so I have that and a head now and they're both great. There's so many boutique amp companies out there putting out quality stuff that it's just impossible to keep up. But it's fun to see and hear about them all!
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Post by Veets on Dec 17, 2015 10:15:27 GMT -5
Sorry if this has been posted here already, but all this talk of guitar tone reminded me of this one:
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markc
Dances With Posts
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Post by markc on Dec 17, 2015 15:37:50 GMT -5
One thing I'll add from some old guitar magazine. Unlike many rock guitarists who love lots of sustain, Paul actually doesn't like sustain on his guitar, which of course is very punk rock. And he also hates "pointy" guitars
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Schecky
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Post by Schecky on Dec 17, 2015 21:43:31 GMT -5
One thing I'll add from some old guitar magazine. Unlike many rock guitarists who love lots of sustain, Paul actually doesn't like sustain on his guitar, which of course is very punk rock. And he also hates "pointy" guitars not entirely...
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Jer
Beagle Scout
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Post by Jer on Dec 18, 2015 7:30:00 GMT -5
That's funny. Has he been seen with that V before or after? Maybe it wasn't his, just borrowed for that show. He has a history with SGs though, from the real early days (in the TwinTone video and the back cover of Sorry Ma). In Musician, I think, Chris Mars was asked what kind of drums he used. "Black ones."
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Chris
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Post by Chris on Dec 18, 2015 7:38:14 GMT -5
That SG tone is essential to tracks like Left of the Dial and Answering Machine. Just the right measure of snarl and grow that you just don't get with a strat, tele, etc.
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Post by FreeRider on Dec 18, 2015 10:21:57 GMT -5
Things were a lot different in the 80s, especially for punk/alternative bands, in the recording studio. And Paul's always been more of a plug-in-and-play sort of guy, so I think all the Twin-Tone records were a lot more about energy and volume than guitar tone. Now days guitar players spend longer getting the tone they want than they do playing the parts, trying different combinations of amps and guitars. makes sense....energy and volume over the sound and tone. Again, I think it depends upon which song and which axe he picks up. Just to be clear, I am not complaining, though---it was just an observation that on occasion his tone sounds kind of harsh and brittle to me. And maybe that's the point, to have this sonic assault upon you that's snotty, abrasive and obnoxious, versus the warmth and smoothed overdrive sine waves of, oh, let's say the classic rock guitar sounds. Dude! that is awesome! I keep looking around to see if any shops in my area have become Matchless dealers, but alas, there aren't any. What did you dig about your Matchless set up? And also, since I know you're a working musician, I appreciate your posts about production and finer points on stuff like this on gear. I enjoy hearing your observations and things from your perspective about sound/production, etc... I have GAS (Gear Acquisition Syndrome) but unfortunately, not a lot of $ (or talent) to indulge in getting stuff that is probably way too nice for me, or above my abilities!
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Jer
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Post by Jer on Dec 18, 2015 11:05:03 GMT -5
That SG tone is essential to tracks like Left of the Dial and Answering Machine. Just the right measure of snarl and grow that you just don't get with a strat, tele, etc. Yeah, Answering Machine would never have the same kick with a Strat. I'm not sure but guessing that he's got a P90 in that SG. I know he's been fond of P90s in recent years and that's where that snarl and growl come from. Great, dirty pickups. Nothing like them. It works really well with a lot of his stuff.
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