when I saw Orange Goblin, he was using an SWR 410 with an Orange Terror amp....it sounded pretty terrible in my opinion
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but who knows why that was. too many variables.
but who knows why that was. too many variables.
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Thanks for the input. I've looked at the ampeg 410he the most before now and seems solid. That Peavy looks pretty alright aswell. any swr in particular?
Any word yet on a visual way to discern whether or not the Daddy-O is a surface mount or not? Currently, I'm under the impression if the TM is high on the "O", it's NOT surface mount. Can anyone confirm/deny this?
Awesome! Thanks! Just no gut/logo pics of the puppy. She looks nice and happy as is!Sorry side tracked with puppy and work. Heading home after a haircut to confirm. I'll take gut and logo pics.
You do, Bryce!Anyone make a cheap yet semi accurate Dallas range master treble booster?
Awesome! Thanks! Just no gut/logo pics of the puppy. She looks nice and happy as is!
Can't really tell. You might have to take a good look inside by taking off the entire bottom. Thanks for the help, though. Anybody else able to tell from this if it's surface mount or not?View attachment 620369
View attachment 620370
That's fabtone, but both say 1996.
View attachment 620371
Fabtone guts
View attachment 620372
Daddy-o guts.
I've kept all that I've bought and never peeked inside others to judge really though. So if you can tell what mine are, then cool!
What's known as fusion now just blows. Give me Miles Davis' Bitches Brew / On The Corner.Yeah, as mentioned, Buddy Guy and Albert (The Iceman) Collins both really go for that high-pitched, dog-frequency, all-treble sound. I don't get it. I agree re: Luther Allison too. Blues based, but took off in many directions, ending up with more of a gumbo. I don't mind pretty straight up blues, but I like it a LOT more rawboned than the way most players from the past 30-40 years pull it off...once you get to middle-aged white dudes with horn sections and backup singers doing covers of already watered-down stuff ("After Midnight...") I go beyond losing interest.
Jazz is like that for me too...so much stuff recorded after around 1965 just seems so rote and clinical and sterile to me. My ears HATE pretty much all fusion stuff I've ever heard (although sometimes it gets a little wilder) and even when I hear post-60s jazz that strikes me as decent, I always think "Why wouldn't I just go back and listen to the original cats doing this..Coltrane, Monk. Mingus, Dolphy, Sam Rivers, Albert Ayler, Ornette Coleman..."
It's true I am a music snob I guess. It's odd because I am not that way at all with other art forms. I love all kinds of Grade B-to-Z movies and can enjoy decent pop fiction that goes down like a candy bar, but my criteria for what is worthwhile is a whole lot more stringent when it comes to music.
What's known as fusion now just blows. Give me Miles Davis' Bitches Brew / In The Street.
At the Priest show, Saxon was the surprise opener. So far so good!