ilovefuzz.com

dubkitty wrote:everybody wants to be the centaur of attention

Can I put strat pickups on a Jaguar?

Can I put strat pickups on a Jaguar?

Yeah most you can put in, the pots you may want to change to 500k though to clear it up.

Muse FTW wrote:Okay seriously stupid question. SERIOUSLY.

I have no clue about the whole Head + Cabinet thing. The Cabinet is just speakers? Does the Head make any sound? Can you just play through a Cabinet?

Haha. When I first started playing guitar I wondered the same thing... I was like, why would you need the extra speakers if the head is 400W? That's soooooo loud! Expeshially when looking at Marshalls... since they have a similar grill on the front... I thought all the sound came out of the front of the head and the speakers were just extra.

Really it's as easy as plugging speakers into a record player. Probably easier.

C

some of these are generally dumb but legit, and others are half-legit and intended to irk the average ILF user:

do compressors really do fucking anything because i never hear a difference AT ALL

is the concept of "transparency" full of shit?

why do people think noise is experimental?

are expensive guitars really worth it?

why do all bands above the local level that aren't metal or jazz always have bassists that play jazz or p basses and nothin else?

why do people think clapton/vaughn/etc. are any good?

why are all demos blues licks?

why dont more people play baritone guitars?

why do so many fucking companies cater to the metal end of guitar playing?

if clones sound identical to the original pedal, why waste so much money for an original superfuzz/green muff.etc. etc.?

if you're making noise music, do you really NEED an elaborate/exotic/expensive setup?

Gearmond wrote:
if you're making noise music, do you really NEED an elaborate/exotic/expensive setup?

Gearmond wrote:
if clones sound identical to the original pedal, why waste so much money for an original superfuzz/green muff.etc. etc.?

Bragging rights.

jskadiang wrote:

Gearmond wrote:
if clones sound identical to the original pedal, why waste so much money for an original superfuzz/green muff.etc. etc.?

Bragging rights.

thats some TGP logic right there, son

Gearmond wrote:

jskadiang wrote:

Gearmond wrote:
if clones sound identical to the original pedal, why waste so much money for an original superfuzz/green muff.etc. etc.?

Bragging rights.

thats some TGP logic right there, son

Well, if you go through pedals a lot, originals tend to either lose no value or gain value, whereas you'll probably take a hit on a clone. Thus even if you know a clone sounds exactly the same, making the additional cost of an original a "waste" in the short term, you'll come out ahead on resale. This reasoning only works while the TGP people are still in the market, though.

Gearmond wrote:if you're making noise music, do you really NEED an elaborate/exotic/expensive setup?

Money doesn't make "noise." Gear makes "noise."
Sometimes gear is expensive/elaborate.

Sure, you can make "noise" with really cheap shit/simple gear and many do, but it's all about finding what works for you and what sounds the best to your ears. Sure, there's probably some mentality of some gear being better than others for whatever reason (convention, price, etc.), but if it works for the user, then it works for the user.

This post isn't attack you personally, I just felt like responding to this kind of statement in general. I could easily use an extremely similar argument to someone who asked if a guitarist really needed pedals or a fancy/old amp/guitar .

the_carl wrote:

Gearmond wrote:

jskadiang wrote:

Gearmond wrote:
if clones sound identical to the original pedal, why waste so much money for an original superfuzz/green muff.etc. etc.?

Bragging rights.

thats some TGP logic right there, son

Well, if you go through pedals a lot, originals tend to either lose no value or gain value, whereas you'll probably take a hit on a clone. Thus even if you know a clone sounds exactly the same, making the additional cost of an original a "waste" in the short term, you'll come out ahead on resale. This reasoning only works while the TGP people are still in the market, though.

I want to know if there's a difference between all the Triangle muff clones and Tonebender MKII clones out there.

Gearmond wrote:why dont more people play baritone guitars?

i often wonder the same thing. there aren't a whole lot that are readily available for a decent price out there imo

Gearmond wrote:do compressors really do fucking anything because i never hear a difference AT ALL

yes.

Gearmond wrote:is the concept of "transparency" full of shit?

no, but like Justice What's-his-name's definition of porn, it's only defineable as "i know it when i (hear) it."

Gearmond wrote:why do people think noise is experimental?

because noise is outside of the verse-chorus-solo norm, and people think anything outside of that norm is "experimental" even if it's been caned to death for the last fifty years, viz. the number of people STILL biting "Sister Ray" or "Hallogallo" and thinking they're they're getting away with something.

Gearmond wrote:are expensive guitars really worth it?

up to a certain point, yes for materials and workmanship. after that, only if you really, really like handwork and inlay, you're getting an archtop with a hand-carved top and back, you're buying incredibly sophisticated electronics, or you're getting advanced materials or fabrication.

Gearmond wrote:why do all bands above the local level that aren't metal or jazz always have bassists that play jazz or p basses and nothin else?

that's an oversimplification, but to the extent it's true, because that's the sound that is most effective in most types of commercially successful rock music. it's tight, it's tonally balanced, it amplifies well, and it fits easily into the mix.

Gearmond wrote:why do people think clapton/vaughn/etc. are any good?

because they--Clapton much more than SRV, as layers of derivation typically lower the level of wonderfulness of recapitulation--mastered the tropes of a particular genre. Clapton in particular is also admired because of his many years of high-level playing (as distinct from quality material!)...i used to puzzle over EC's reputation until one day i realized that i'd been hearing him for 25 years, live and in the studio, in various settings and had NEVER heard him play anything i could call inappropriate or a wrong note. his playing is always on-target, right for the song, and emotionally accurate. he's never been a hero of mine, because i find him too conservative, but i respect him. SRV really irked me for most of his career. when he first appeared, my instantaneous reaction was "oh, great, another white boy who thinks he's Albert fucking King." but his last album showed real growth and originality as a guitarist and writer, and i was really sad to see him die just as he was beginning to flower.

Gearmond wrote:why are all demos blues licks?

because that's how most electric guitarists approach the guitar. though it seems like nowadays everything i'm interested in is demoed by people who do nothing but play shoegaze chords. which is fine--i do that when i play--but it helps to know what a fuzz sounds like when you play lead, y'know?

Gearmond wrote:why dont more people play baritone guitars?

because the lower pitch muddies up the mix and clashes with the bass and drums, and because players and audiences aren't accustomed to the baritone in most applications. if you play bari in, say, an Americana band people are gonna look at you like you're from Mars.

Gearmond wrote:why do so many fucking companies cater to the metal end of guitar playing?

becausae that's where the money is.

Gearmond wrote:if clones sound identical to the original pedal, why waste so much money for an original superfuzz/green muff.etc. etc.?

status/collector value. same reason why people buy ancient guitars they can't dare take out of the house.

Gearmond wrote:if you're making noise music, do you really NEED an elaborate/exotic/expensive setup?

of course not. you never NEED a particular expense level of setup...i can loop with my cheapazoid setup with a degree of effectiveness that's reasonably close to what i could do with a pretty expensive double-looper. it's a question of what you do with the stuff you have, and finding the maximum number of possibilities in what you've got. remember: Jimi Hendrix used a wah, a Fuzz Face, and a Uni-Vibe. go listen to some of those 1967 concerts, and the shit he did. all you really need is a guitar and an amp, if you're brave enough.

do compressors really do fucking anything because i never hear a difference AT ALL
Yes
is the concept of "transparency" full of shit?
No
why do people think noise is experimental?
Because both are generally unliked by the majority, so ignorant people think they go hand in hand
are expensive guitars really worth it?
No
why do all bands above the local level that aren't metal or jazz always have bassists that play jazz or p basses and nothin else?
They're popular
why do people think clapton/vaughn/etc. are any good?
Because they're stupid
why are all demos blues licks?
FUCK
why dont more people play baritone guitars?
I dunno
why do so many fucking companies cater to the metal end of guitar playing?
Because those kids buy many shitty guitars and they need to put out a shitload of tear to keep up with that
if clones sound identical to the original pedal, why waste so much money for an original superfuzz/green muff.etc. etc.?
mojo
If you're making noise music, do you really NEED an elaborate/exotic/expensive setup?[/quote]