Where/when did "modern" guitar tone begin?

How would this make any sense at all? All you can do with FPGAs is look up Boolean logic tables; guitar signals aren't discretes, they're not gates and muxes, so this doesn't even begin to work unless you think you have an FPGA with a LUT large enough to do an entire analog-to-digital conversion, an entire ampsim's worth of programming logic, and a digital-to-analog conversion.

Does VHDL's real type even have enough bits to be useful for studio audio?

I'll take a look for my paper. It's kinda hard to explain on here
 
How would this make any sense at all? All you can do with FPGAs is look up Boolean logic tables; guitar signals aren't discretes, they're not gates and muxes, so this doesn't even begin to work unless you think you have an FPGA with a LUT large enough to do an entire analog-to-digital conversion, an entire ampsim's worth of programming logic, and a digital-to-analog conversion.

Does VHDL's real type even have enough bits to be useful for studio audio?
Be fair. It was only for a Masters thesis. At that level of education, he could have written about making it with newt’s spawn, poison Ivy, and used baked bean tins - and got a pass these days.
Since he ignored my wraparound suggestion, which covers your idea fully - I think you’re on a shot to nothing if you want any sense.
I say that in all warm sincerity. We all have off days!
 
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Be fair. It was only for a Masters thesis. At that level of education, he could have written about making it with newt’s spawn, poison Ivy, and used baked bean tins - and got a pass these days.
Since he ignored my wraparound suggestion, which covers your idea fully - I think you’re on a shot to nothing if you want any sense.
I say that in all warm sincerity. We all have off days!
What a strange thing to say
 
I think the main entries at the start are the SLO100, the 5150, and the Dual Rectifier. I think Soldano was the first to the party, but I don't think of those amps as coming onto the scene with what I'd describe as modern tones. They certainly weren't vintage in sound, but I also don't think the hair metal tones they were initially known for really count.
The SLO100's preamp circuit is pretty much the ancestor of all modern high gain tube amps. The 5150 was based on the SLO100, was more affordable, and mass-produced. The 5150 and 6505 remain ubiquitous metal amps to this day. It seems to my ears that many metal bands today are either playing these amps or using a QC or Kemper profile based on these amps.
 
Holy crap, a post I can understand. SLO, IIc+, that's where my thinking is on the topic. To my ears Ride the Lightning is when metal tone changed.

Of course, there's the other bear in the room, about when fusion tone changed from MacLaughlin's fire to the insipid 90s Wave sounds. That's a modern guitar tone, too.
 
The SLO100's preamp circuit is pretty much the ancestor of all modern high gain tube amps. The 5150 was based on the SLO100, was more affordable, and mass-produced. The 5150 and 6505 remain ubiquitous metal amps to this day. It seems to my ears that many metal bands today are either playing these amps or using a QC or Kemper profile based on these amps.
A lot of modern high-gain amps are more Mark II in the preamp than SLO.
 
Well, I’ll respectfully choose not to disagree, but my view is different. I’m not so blinkered as you might think.
Myself, I was inspired by all the guitars on the Easy Rider soundtrack album. I was 10 years old. This was a loving, innocent kid, coming straight out of The Lion The Witch and The Wardrobe!
Definitely The Electric Prunes. Definitely Roger McGuinn. Steppenwolf’s “Pusher”. Of course Jimi’s “If Six Was Nine”. All blasted through my sister’s headphones when I was allowed. Stereo? Wow!
That shaped my life. I then bought Backtrack 4, with The Who/Hendrix on one album.
I also read A Clockwork Orange and 2001, and saw 2001 in 180 degree Cinerama on my 11th birthday.
Those also shaped my life.
Watching The Exorcist alone in a cold cinema at 15 - that had a big effect too. But I digress.
I simply couldn’t get enough guitar, and would take the good out of any old shit you care to mention. They all had something - but by this time, what they also had was GEAR, GEAR, and more GEAR. I simply loved that aspect.
To own 3 Marshall stacks, and stand in front of them making my own row was an itch just waiting to be scratched.
I knew from the age of 4 that I was, or would be, a guitarist, or at least own one, but didn’t start playing until I was 18. Although at 9, I watched my sister struggling with Greensleeves on an acoustic, and when she put it down I picked it up and played it perfectly for her. I was no prodigy, but all the signs were there.
I don’t think there’s a guitarist out there that hasn’t given me something to ponder, and use as a guide for my own journey in music.
We shouldn’t take ourselves too seriously, but at the same time we have to protect our ‘art’.
There’s enough success to go round, if you are prepared to work hard at it.
If I got caught up in silly pedantics then shame on me. But I must stress that Jimi was a true force of nature, and blew away any barriers to the advancement of guitar music in it’s own right. I think of him as a brother I never had - one that paved the way for my own early musical experience. He never put any cat down, no matter what they did. But sometimes life gets me, and I react negatively. Wish I could be more like Jimi in that respect.
I guess if I’d been born 10 years later, then it may have been different. But I was lucky enough to tag on to the end of the 60’s, and watch the 70’s unravel in the way it did - but always with a backdrop of Jimi’s sheer musicality and daring.
What’s so bad about dressing up? It’s called showmanship. Besides, I dress like a freak even when I’m not on stage…
 
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