Bored of your setup even though it sounds awesome.
- Thread starter Andrew Lamprecht
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youngthrasher9
New member
Re: Bored of your setup even though it sounds awesome.
Take a break from playing for a week or two.
Buy the crappiest functioning amp or pedal you can, and challenge yourself to find a song or style of music that it sounds great doing.
Experiment with string brands, types and gauges.
Experiment with alternate tunings, and maybe try an opening tuning with a slide.
Find ways to add nuance to certain pieces of music with the volume and tone knobs, and your tremolo system.
Play with the lighting and atmosphere of your playing space.
Take a break from playing for a week or two.
Buy the crappiest functioning amp or pedal you can, and challenge yourself to find a song or style of music that it sounds great doing.
Experiment with string brands, types and gauges.
Experiment with alternate tunings, and maybe try an opening tuning with a slide.
Find ways to add nuance to certain pieces of music with the volume and tone knobs, and your tremolo system.
Play with the lighting and atmosphere of your playing space.
Last edited:
Myaccount876
Amira-Maker
Re: Bored of your setup even though it sounds awesome.
Play REALLY loud and learn new playing styles. Tinnitus always inspires me.
Play REALLY loud and learn new playing styles. Tinnitus always inspires me.
Empty Pockets
BadHairDayologist
Re: Bored of your setup even though it sounds awesome.
The entire concept is foreign to me. Most decent gear sounds good enough and works for gigging.... You mess with new gear because it is fun. If new toys aren't fun to you, don't worry about it.
The entire concept is foreign to me. Most decent gear sounds good enough and works for gigging.... You mess with new gear because it is fun. If new toys aren't fun to you, don't worry about it.
hydro
Prayin' to Cheeses
Re: Bored of your setup even though it sounds awesome.
He's not kidding. That's what I want but my old lady says I'm already creepy enough *without* a van!
He's not kidding. That's what I want but my old lady says I'm already creepy enough *without* a van!
crusty philtrum
Vintageologist
Re: Bored of your setup even though it sounds awesome.
I know when i was young I had some great gear and sounds, but somehow got on a rollercoaster ride of changing the gear constantly ... as if i was looking for something but didn't know exactly what it was.
(Ironically, many years and many guitars, amps and pedals later, I realised i was happiest with the gear i'd used as a teenager/ early 20s, and have since returned to exactly that kind of gear).
My suggestion would be to find some people to jam with, or at least a drummer. (i.e. shift the emphasis from gear and sound to making good noises in conjunction with other instruments/ players).
Also maybe buy a bass and spend a little time with that. I'd be surprised if it didn't help you write a few songs and get some new insights.
I know when i was young I had some great gear and sounds, but somehow got on a rollercoaster ride of changing the gear constantly ... as if i was looking for something but didn't know exactly what it was.
(Ironically, many years and many guitars, amps and pedals later, I realised i was happiest with the gear i'd used as a teenager/ early 20s, and have since returned to exactly that kind of gear).
My suggestion would be to find some people to jam with, or at least a drummer. (i.e. shift the emphasis from gear and sound to making good noises in conjunction with other instruments/ players).
Also maybe buy a bass and spend a little time with that. I'd be surprised if it didn't help you write a few songs and get some new insights.
Boogie Bill
New member
Re: Bored of your setup even though it sounds awesome.
I have been through this very thing myself. And even after 45 years of playing, I still go through it. I have some of the best gear a guy could have: I have 54 guitars, 8 amps and basically small, medium and large PA systems. I have all the junk and accessories to make it work, and a drawer full of pedals I haven't even figured out how to use. And sometimes I feel bored. I call it the, "I want a new toy!" syndrome.
The bottom line for me is, I LOVE TO PERFORM. For me, it is all about the stage. I don't particularly enjoy the recording process--partly because I don't have a dedicated room where I can set up and play with it for days. But performing live--there's nothing better than the high i feel when you walk off the stage. The applause from the crowd, the longing looks of the women, the players who come up and congratulate me on your tone--no high from drugs or alcohol can ever approach that. And anyone who tells you that you need some mind-altering substance is an idiot. If you really need to get high to play your instrument, you're in the wrong biz. You should probably go all Walter White and start using your chemistry degree, rather than make music.
Give yourself some credit--you are a player, and you're out there doing it. In many ways, it's not about spending the money for the gear--it about investing in YOURSELF--the time and the effort you've spent to develop your God-given talent, when there are so many wannabes who just won't make the effort, or the half-assed tin-eared wankers who shouldn't even be allowed near an instrument. There are a lot of pro and semi-pro players on this board who've sacrificed so much in their lives to make music. When you write a song, you're reaching down inside yourself, into those private spaces and exposing your soul to the world. It takes a lot of courage to do that. I put myself on the line every time I walk on a stage. It is a need that must be fulfilled. And you're doing it. A lot of people wish they could do it, but they don't make the effort.
Some ramblings:
I know I don't spend nearly as much time as I should practicing, but I have been thinking about taking some lessons again. I find that learning, be it a new song, or a new lick goes a long way. The thrill of a "new toy" really is fleeting, but LEARNING SOMETHING NEW is much more satisfying over the long haul. That is one of the keys to keep me from being bored. And sometimes TEACHING is a great way to really learn something. Perhaps a young Jedi apprentice is what you need to keep you on your toes?
Like I said, performing is something I love to do. The next best thing is just playing with other people. I did a single act for many years, but when I started going out to jams I got a lot better--in a hurry. Jam sessions are usually fairly stress free, but you've got to know the proper etiquette. Sometimes it can be a lot of fun--with the occasional train-wreck to keep things real. But even if you're not performing a formal jam in public, getting together in the cozy confines of a den, garage or living room is a great experience. You can also work with recorded jam tracks by yourself--but it really is important to learn to communicate with other players when your playing. One other piece of advice--let other people shine. You might be the greatest lead player ever, but if you are playing over the vocalist, or can't play rhythm guitar to back the other players--people WILL hate you, and they won't ask you back. (And please...don't be the guy that uses his wah pedal to go wacka-wacka-wacka on every note of every song!)
Sometimes, changing your gear is necessary. The amp that sounds great in your bedroom just won't cut it on the stage. Over the years, that's happened to me several times. The amp I used in my solo act didn't work very well with a hard rock band. The vintage Marshalls and Fenders I owned were great amps, but for one reason or another, they didn't fit my needs. The big Mesa Mark III half-stack I started using had the perfect blend of features, and it gave me the tones I needed for that band. I became a Mesa-holic, and I am so satisfied with these amps. I collected a few more over the years, and now I have a stable of amps that can go from small to big venues. I've learned over the years what gear works for me, and what doesn't. I like G&L strat-bodied guitars, Gibson Les Pauls and ES-335s, and Martin dreadnoughts. I also have a Taylor acoustic, and some Ibanez electrics too. You won't find Bigsbys, Floyds or trapeze tailpieces; modelling amps; pointy guitars; jazz archtops or rare vintage pieces. I buy what I like, and everything gets used. It's stuff that has proven itself in the crucible of live performance. Sure, I sometimes think that I "need" another Marshall, but it's not necessary in my circumstances--and I know in the long run, I'm better off spending that money on lessons, rather than an amp that will just sit. And the place that I'm at now--I get a big smile on my face every time I play. So in many ways, you're very lucky--you've already identified the gear that works for you, and you have a certain level of satisfaction in that. Some guys never get it--they spend their whole careers searching for something that actually lies within themselves--something that can't be found in a piece of gear.
Sometimes, learning another instrument helps. Years ago, I picked up a 5-string banjo and learned some basics on it. It has added a lot to my stage show--made me some money in the process, even though I'm probably the world's WORST banjo picker, lol. If you're strictly an electric player, give some thought to picking up a fiddle, acoustic guitar, mandolin or banjo. I've played acoustic for years and picking up a Takamine 12-string was one of the best things I've done, and it has opened up some new tones and new material, and sparked some creativity. Even adding a harmonica on a neck holder, channeling your inner Bob Dylan or Neil Young, can be a inexpensive way to boost your stage act and get the creative juices flowing. Adding another instrument is not the same as adding a Les Paul to your Strat, BTW. Again, it's about the challenge of learning something new.
Remember to be thankful. I try to make it a habit to express my appreciation not only for my God-given talent, but the people in my life who made it happen for me. I am so thankful, and truly blessed. I started playing when I was 15, and my mom and dad sacrificed a lot to give me the opportunity and encouragement. And my girlfriend is my biggest fan--she has really helped my in my music career. I know how truly fortunate I am. I keep affirming to myself how much I love my life, my music, my guitars, my gear and my tones. I truly believe that the more I express the love for my instruments--the more I get back from them; the bigger the smile on my face. (And remember--that principle works for all aspects of your life.) I'm sure you have many people in your life that you owe your gratitude. Just remember them and embrace them.
I can't fix this for you--no one can. You'll have to find your own path. It may take a while, but don't get discouraged; keep putting yourself out there. Keep challenging yourself and making music. The boredom isn't a product of the gear--it's in you, and you can rise above it.
And please, remind me of this post next time I get bored! Okay? LOL!
I wish you all the best.
Bill
I have been through this very thing myself. And even after 45 years of playing, I still go through it. I have some of the best gear a guy could have: I have 54 guitars, 8 amps and basically small, medium and large PA systems. I have all the junk and accessories to make it work, and a drawer full of pedals I haven't even figured out how to use. And sometimes I feel bored. I call it the, "I want a new toy!" syndrome.
The bottom line for me is, I LOVE TO PERFORM. For me, it is all about the stage. I don't particularly enjoy the recording process--partly because I don't have a dedicated room where I can set up and play with it for days. But performing live--there's nothing better than the high i feel when you walk off the stage. The applause from the crowd, the longing looks of the women, the players who come up and congratulate me on your tone--no high from drugs or alcohol can ever approach that. And anyone who tells you that you need some mind-altering substance is an idiot. If you really need to get high to play your instrument, you're in the wrong biz. You should probably go all Walter White and start using your chemistry degree, rather than make music.
Give yourself some credit--you are a player, and you're out there doing it. In many ways, it's not about spending the money for the gear--it about investing in YOURSELF--the time and the effort you've spent to develop your God-given talent, when there are so many wannabes who just won't make the effort, or the half-assed tin-eared wankers who shouldn't even be allowed near an instrument. There are a lot of pro and semi-pro players on this board who've sacrificed so much in their lives to make music. When you write a song, you're reaching down inside yourself, into those private spaces and exposing your soul to the world. It takes a lot of courage to do that. I put myself on the line every time I walk on a stage. It is a need that must be fulfilled. And you're doing it. A lot of people wish they could do it, but they don't make the effort.
Some ramblings:
I know I don't spend nearly as much time as I should practicing, but I have been thinking about taking some lessons again. I find that learning, be it a new song, or a new lick goes a long way. The thrill of a "new toy" really is fleeting, but LEARNING SOMETHING NEW is much more satisfying over the long haul. That is one of the keys to keep me from being bored. And sometimes TEACHING is a great way to really learn something. Perhaps a young Jedi apprentice is what you need to keep you on your toes?
Like I said, performing is something I love to do. The next best thing is just playing with other people. I did a single act for many years, but when I started going out to jams I got a lot better--in a hurry. Jam sessions are usually fairly stress free, but you've got to know the proper etiquette. Sometimes it can be a lot of fun--with the occasional train-wreck to keep things real. But even if you're not performing a formal jam in public, getting together in the cozy confines of a den, garage or living room is a great experience. You can also work with recorded jam tracks by yourself--but it really is important to learn to communicate with other players when your playing. One other piece of advice--let other people shine. You might be the greatest lead player ever, but if you are playing over the vocalist, or can't play rhythm guitar to back the other players--people WILL hate you, and they won't ask you back. (And please...don't be the guy that uses his wah pedal to go wacka-wacka-wacka on every note of every song!)
Sometimes, changing your gear is necessary. The amp that sounds great in your bedroom just won't cut it on the stage. Over the years, that's happened to me several times. The amp I used in my solo act didn't work very well with a hard rock band. The vintage Marshalls and Fenders I owned were great amps, but for one reason or another, they didn't fit my needs. The big Mesa Mark III half-stack I started using had the perfect blend of features, and it gave me the tones I needed for that band. I became a Mesa-holic, and I am so satisfied with these amps. I collected a few more over the years, and now I have a stable of amps that can go from small to big venues. I've learned over the years what gear works for me, and what doesn't. I like G&L strat-bodied guitars, Gibson Les Pauls and ES-335s, and Martin dreadnoughts. I also have a Taylor acoustic, and some Ibanez electrics too. You won't find Bigsbys, Floyds or trapeze tailpieces; modelling amps; pointy guitars; jazz archtops or rare vintage pieces. I buy what I like, and everything gets used. It's stuff that has proven itself in the crucible of live performance. Sure, I sometimes think that I "need" another Marshall, but it's not necessary in my circumstances--and I know in the long run, I'm better off spending that money on lessons, rather than an amp that will just sit. And the place that I'm at now--I get a big smile on my face every time I play. So in many ways, you're very lucky--you've already identified the gear that works for you, and you have a certain level of satisfaction in that. Some guys never get it--they spend their whole careers searching for something that actually lies within themselves--something that can't be found in a piece of gear.
Sometimes, learning another instrument helps. Years ago, I picked up a 5-string banjo and learned some basics on it. It has added a lot to my stage show--made me some money in the process, even though I'm probably the world's WORST banjo picker, lol. If you're strictly an electric player, give some thought to picking up a fiddle, acoustic guitar, mandolin or banjo. I've played acoustic for years and picking up a Takamine 12-string was one of the best things I've done, and it has opened up some new tones and new material, and sparked some creativity. Even adding a harmonica on a neck holder, channeling your inner Bob Dylan or Neil Young, can be a inexpensive way to boost your stage act and get the creative juices flowing. Adding another instrument is not the same as adding a Les Paul to your Strat, BTW. Again, it's about the challenge of learning something new.
Remember to be thankful. I try to make it a habit to express my appreciation not only for my God-given talent, but the people in my life who made it happen for me. I am so thankful, and truly blessed. I started playing when I was 15, and my mom and dad sacrificed a lot to give me the opportunity and encouragement. And my girlfriend is my biggest fan--she has really helped my in my music career. I know how truly fortunate I am. I keep affirming to myself how much I love my life, my music, my guitars, my gear and my tones. I truly believe that the more I express the love for my instruments--the more I get back from them; the bigger the smile on my face. (And remember--that principle works for all aspects of your life.) I'm sure you have many people in your life that you owe your gratitude. Just remember them and embrace them.
I can't fix this for you--no one can. You'll have to find your own path. It may take a while, but don't get discouraged; keep putting yourself out there. Keep challenging yourself and making music. The boredom isn't a product of the gear--it's in you, and you can rise above it.
And please, remind me of this post next time I get bored! Okay? LOL!
I wish you all the best.
Bill
DreX
New member
Re: Bored of your setup even though it sounds awesome.
I'm curious, how rigorously did you select that gear back in your 20's? Do you think you return to it out of familiarity, or because you found what fit your long term tastes instantly?
In my early years I HATED strat single coils, but now I'm fanatical over them.
I'm curious, how rigorously did you select that gear back in your 20's? Do you think you return to it out of familiarity, or because you found what fit your long term tastes instantly?
In my early years I HATED strat single coils, but now I'm fanatical over them.
crusty philtrum
Vintageologist
Re: Bored of your setup even though it sounds awesome.
My gear selecting began when I was a teenager (16/17, in 1972/3). But there wasn't a great deal to select from in Australia back then .... there were a lot of locally-made amps, and by the early '70s, Vox, Marshall and Fenders had become available (I ordered myself a full Marshall 100 watt stack that had to be shipped out from England as there were none here ... it took a full year to get here. I guess that was around 1973/4). I also owned a couple of Vox AC30s, one pre-Top Boost and one Top Boost model. Later I owned a couple of s/f Fender Super Reverbs. All these amps, and the locally-built stuff i used, were non-master volume amps, in fact they pre-dated the master volume.
That gear was the sound of the times, and the examples i owned were simply second-hand amps (apart from the Marshall stack, which was a year old but brand new when i got it, heehe). My first Strat was a 1968 model I bought second hand. None of this gear was 'vintage', 'retro' or ludicrously valuable back then, it was all simply second-hand music gear, just like 2008 music gear is now.
It wasn't too hard back then, and although i wasn't a tone genius at 17, I knew the sounds i liked on records and when i played guitar, and made some fortunate decisions. The local amps could sound pretty good, the big three imports, Fender, Marshall and Vox, just had a little more class. We'd all worked out that to make the big old amps rock, we had to use some kind of booster up front, and many of us would make our own, often unwittingly using germanium transistors.
The Vox and Marshall amps were the sound of the Brit players, and having spent the first fifteeen years of my life in England, their sounds seemed natural to me, the right fit ... a kind of comforting, familiar warmth (particularly Vox). Of course we could play much louder back then, so we were able to extract the good stuff. My setups were simple and sounded great to my ears, it was only my playing that needed work, hehe. I'd also learnt that most valve amps needed to be set to 6 or 7 on the volume dial to give up the sound for rock, so it would be necessary to own two or three different-sized amps to be able to cover all types of gigs with the volume wound up. It was just a matter of picking the right amp for the gig.
After decades of dabbling in other, newer devices and instruments, and eventually confusing myself and getting lost, I finally sat down and asked myself when i'd been truly happy with my sounds. The clear answer was when i was a teenager/ early 20s, with simple gear that just worked, sounded fine and let me concentrate on playing. I'd also learnt that the more complicated i made things, the more problems i'd have at critical times ... like in the middle of a gig.
The sounds of those amps are still the sounds i prefer over all others, although of course now they are worth ridiculously large sums of money. Twenty years ago when a local music shop offered me a s/h AC30 for $3,000, i walked out of the store and vowed to build my own. A few years later i was building amps based on the type of amps i'd used as a teenager. Now i use a Matchless/Vox amp i built myself using torroidal transformers and PIO caps, all the good stuff (and NO master volume control), and it's by far the best sounding amp I've ever owned, right in the ballpark of the old AC30s i used as a kid. But better. Now that i'm out and about in my local community making guitar noises, that amp has become well-known, much more so than myself, hahaha.
As a kid, i had reasonable ears for sounds, made some reasonably good observations and had some good fortune with my choices, but there was some kind of innate restlessness that caused me to cycle through a lot of gear, chasing .... well ... something. The goalposts seemed to keep moving, and I ended up getting lost and confused. But as i got older and finally began to develop my own voice on my instruments, i realised i was no longer led by the gear, but could bend it to my will to a large degree. The old amps just seem better to me now for my purposes, or amps i build in that style. I don't really fully understand the journey but i'm happy to be home. Money is no longer wasted, and i'm free to focus on improving by playing better instead of trying to buy my way forward.
So as much as some might think I'm a 'vintage gear snob', I'm not .... i just prefer the gear that was around me when i was getting started, and the only improvement has been that i can now build better versions of those amps at a fraction of the cost of seeking out good examples of the originals.
My gear selecting began when I was a teenager (16/17, in 1972/3). But there wasn't a great deal to select from in Australia back then .... there were a lot of locally-made amps, and by the early '70s, Vox, Marshall and Fenders had become available (I ordered myself a full Marshall 100 watt stack that had to be shipped out from England as there were none here ... it took a full year to get here. I guess that was around 1973/4). I also owned a couple of Vox AC30s, one pre-Top Boost and one Top Boost model. Later I owned a couple of s/f Fender Super Reverbs. All these amps, and the locally-built stuff i used, were non-master volume amps, in fact they pre-dated the master volume.
That gear was the sound of the times, and the examples i owned were simply second-hand amps (apart from the Marshall stack, which was a year old but brand new when i got it, heehe). My first Strat was a 1968 model I bought second hand. None of this gear was 'vintage', 'retro' or ludicrously valuable back then, it was all simply second-hand music gear, just like 2008 music gear is now.
It wasn't too hard back then, and although i wasn't a tone genius at 17, I knew the sounds i liked on records and when i played guitar, and made some fortunate decisions. The local amps could sound pretty good, the big three imports, Fender, Marshall and Vox, just had a little more class. We'd all worked out that to make the big old amps rock, we had to use some kind of booster up front, and many of us would make our own, often unwittingly using germanium transistors.
The Vox and Marshall amps were the sound of the Brit players, and having spent the first fifteeen years of my life in England, their sounds seemed natural to me, the right fit ... a kind of comforting, familiar warmth (particularly Vox). Of course we could play much louder back then, so we were able to extract the good stuff. My setups were simple and sounded great to my ears, it was only my playing that needed work, hehe. I'd also learnt that most valve amps needed to be set to 6 or 7 on the volume dial to give up the sound for rock, so it would be necessary to own two or three different-sized amps to be able to cover all types of gigs with the volume wound up. It was just a matter of picking the right amp for the gig.
After decades of dabbling in other, newer devices and instruments, and eventually confusing myself and getting lost, I finally sat down and asked myself when i'd been truly happy with my sounds. The clear answer was when i was a teenager/ early 20s, with simple gear that just worked, sounded fine and let me concentrate on playing. I'd also learnt that the more complicated i made things, the more problems i'd have at critical times ... like in the middle of a gig.
The sounds of those amps are still the sounds i prefer over all others, although of course now they are worth ridiculously large sums of money. Twenty years ago when a local music shop offered me a s/h AC30 for $3,000, i walked out of the store and vowed to build my own. A few years later i was building amps based on the type of amps i'd used as a teenager. Now i use a Matchless/Vox amp i built myself using torroidal transformers and PIO caps, all the good stuff (and NO master volume control), and it's by far the best sounding amp I've ever owned, right in the ballpark of the old AC30s i used as a kid. But better. Now that i'm out and about in my local community making guitar noises, that amp has become well-known, much more so than myself, hahaha.
As a kid, i had reasonable ears for sounds, made some reasonably good observations and had some good fortune with my choices, but there was some kind of innate restlessness that caused me to cycle through a lot of gear, chasing .... well ... something. The goalposts seemed to keep moving, and I ended up getting lost and confused. But as i got older and finally began to develop my own voice on my instruments, i realised i was no longer led by the gear, but could bend it to my will to a large degree. The old amps just seem better to me now for my purposes, or amps i build in that style. I don't really fully understand the journey but i'm happy to be home. Money is no longer wasted, and i'm free to focus on improving by playing better instead of trying to buy my way forward.
So as much as some might think I'm a 'vintage gear snob', I'm not .... i just prefer the gear that was around me when i was getting started, and the only improvement has been that i can now build better versions of those amps at a fraction of the cost of seeking out good examples of the originals.
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kramersteen
PowerMetalRaph
Re: Bored of your setup even though it sounds awesome.
I am completely happy with my peavey JSX and even my bandit. I honestly cant see myself ever buying another unless one dies or something.
Tree tattoo :laughing:
I am completely happy with my peavey JSX and even my bandit. I honestly cant see myself ever buying another unless one dies or something.
Tree tattoo :laughing:
everdrone
New member
Re: Bored of your setup even though it sounds awesome.
thats awesome!!!!!!!!!!!!!!!!!!!!!!!!
thats awesome!!!!!!!!!!!!!!!!!!!!!!!!
Re: Bored of your setup even though it sounds awesome.
I find myself looking for new gear whenever I'm not in a gigging/rehearsing situation... Whenever I have bandmates and songs to write/learn, I just grab my gear and play and love it. When I'm not in that situation, I start wondering... luckily for me, I don't buy much amps/pedals anymore, I build, which is another thrilling phase. Still means I'm spending money though.
I find myself looking for new gear whenever I'm not in a gigging/rehearsing situation... Whenever I have bandmates and songs to write/learn, I just grab my gear and play and love it. When I'm not in that situation, I start wondering... luckily for me, I don't buy much amps/pedals anymore, I build, which is another thrilling phase. Still means I'm spending money though.
DreX
New member
Re: Bored of your setup even though it sounds awesome.
Thanks for going into such detail about gear hunting in the early 70's. I'm all about the little things when it comes to historical accounts, they get glossed over when people talk about the history of guitars and amps. I wonder what it would have been like to walk through a music store in the 70's, what sort of items were on display. It's the kind of thing nobody bothers to take pictures of, or keep around if they did. The pickup winders they sell now look like modern hardware, yet they're simple in design. Did they sell some sort of pickup winder back in the 70s? Were there any aftermarket pickups at all?
I'd be nervous about ordering a Marshall stack and waiting a year to get it, like if it came damaged, what recourse would you have? Calling them to work out any problems would have been several expensive phone calls instead of a simple email interaction.
Regarding the tone search, it does sound like the music of the time made a long lasting impression if you gravitate towards the VOX sound to this day. I actually always liked the sound of Strats, the problem was I was too horrible of a player to work a Strat properly. The crystal clarity of single coils exposes things like ham fisted picking and strumming, and it takes more know how to deal with the treble end of the output.
Why were you able to play louder back then? Do you mean in terms of practice space and living situations, or did clubs and patrons tolerate louder music?
Thanks for going into such detail about gear hunting in the early 70's. I'm all about the little things when it comes to historical accounts, they get glossed over when people talk about the history of guitars and amps. I wonder what it would have been like to walk through a music store in the 70's, what sort of items were on display. It's the kind of thing nobody bothers to take pictures of, or keep around if they did. The pickup winders they sell now look like modern hardware, yet they're simple in design. Did they sell some sort of pickup winder back in the 70s? Were there any aftermarket pickups at all?
I'd be nervous about ordering a Marshall stack and waiting a year to get it, like if it came damaged, what recourse would you have? Calling them to work out any problems would have been several expensive phone calls instead of a simple email interaction.
Regarding the tone search, it does sound like the music of the time made a long lasting impression if you gravitate towards the VOX sound to this day. I actually always liked the sound of Strats, the problem was I was too horrible of a player to work a Strat properly. The crystal clarity of single coils exposes things like ham fisted picking and strumming, and it takes more know how to deal with the treble end of the output.
Why were you able to play louder back then? Do you mean in terms of practice space and living situations, or did clubs and patrons tolerate louder music?
