Some joke about Slash, models, heads, and me being a bad person goes here

I guess I didn't get the joke. Cheeky was of course directed at mr obik and his magic "link"

"hey guys, how are youmagiclink doing"

why would jimi care if metal dates?

Oh Hink, go burn a Les Paul or something *cue*

A series of propositions is the quickest way to put the funny right back into a joke that died!

1. It is assumed that rock stars and models (the fashion type, not amplifiers) interact.

2. Slash is a rock star.

3a. Therefore, Slash interacts with models.

3b. "Models" can, in this context, be used as a homonym for either amplifier models, or the other sort previously described.

4. It is further given that amplifiers without cabinets are referred to as "heads," or singularly as a "head."

5. It is further given that the term "head" is a homonym for a... wait, is this a PG forum?

I'm just going to stop here.

Yeah, I don't know how I missed it

you get heads?

ObiK, the tune was composed and performed by Hozo Okazaki.Unfortunatly, the actual gear used was not specified.I bought amplitube metal. I think I'm going to get V-metal.Amplitube metal was used in this track,for rhythm guitar.
composed and performed by Akihito Okawa:http://www.youtube.com/watch?v=Q5YQqPTLuIg&feature=cha nnel&list=UL.

Thanks for the update, if you find out which models were used I'd still love to know!

I've thought of jokes like that to myself, since I first read the thread title, and almost posted some. I'm really glad you guys beat me to it. I mean that.

I'm sure there are many who will line up to tell me I'm naive, but given the quality and variety of equipment available in Metal (and AT3 standard for that matter) couldn't one who is reasonably versed in such things create essentially any kind of metal effect (vintage, modern or otherwise) they desired?

While I understand that purists who crave, say, some piece of vintage gear, want a close emulation of that piece of gear, the actual SOUND of the desired effect could be, in most cases, accurately approximated with a knowledgeable use of a combination of the gear already available.

To that end, I would think that there would be a high value placed on cleverly routed presets that get you where you want to be sonically. And both IK and NI (for example) provide access to a healthy well of user-made patches that really extend the use of this gear, IMHO.

Again, I'm not a purist by any stretch. And as much fun as it might be to replicate the EXACT sound of the 2nd solo on the 3rd track from Van Halen's 4th album, using the EXACT gear they used, I'm reasonably sure that there is actually more than one way to accurately get to that sound.

Just sayin'.

Carry on.

-B

Hmmmmmmmmm. Not sure I follow. But I like using other things for fx and such so usually find preset pretty useless. Not a snob or anything about it, just would much rather dial everything in myself. My mux presets are important though.

Yes, BERFAB, that harks back to the days where we didn't have all this available and we HAD to do what we could to get the sounds as close as we could. This was definitely an issue during my cover band days especially when I was starting out (back in the day, as they say). When I made a major upgrade like I did to my first Marshall JCM800 it was of course to a pretty specific sound due to the gear lacking the cornucopia of gizmos and whatsits - but that was fine by me.

I like having the variety at my fingertips so I can focus on crafting sound for a project or song or what have you, as the days of replicating THAT tone for THAT cover tune are over for me. No remorse there, just glee at the tools available now. Things that are a bit more unique like the Soldano or Orange models really appeal to me. That's why I get excited about some of the more oddball items like the one in our amp room that is on the table for modeling in an upcoming update, and some more boutique items we've currently got on the medium/long term roadmap (note that all is subject to change of course) .

As far as what you can do with the existing models, that's a fair assessment - I know Brian had really done some nice Slash presets before we even started talking with Slash. He was happy to update them when the actual gear came to fruition, though, as he was really wanting to chase and nail that tone. He's done some good EVH work but as of yet we haven't replaced the models he uses with the licensed deal yet. One can only hope there (if that's your cup of tea)...

This is, essentially, the point I was trying to make. I've got more gear now than I ever dreamed of owning in one lifetime. Not only that, but the SETTINGS on all that gear are instantly recalled. Anyone who remembers trying to change the flange settings on your stomp box by hand during a gig between tunes knows the euphoria involved there.

But do you really need Slash's exact gear to get his exact sounds? I know it's cool that you can now own his gear, and real Slash fans won't be deterred from getting this package no matter what. But seriously, how many different types of wahs, verbs, distos, flange, delays, etc. do you really need to do this?

@hibidy: although I'm a preset guy, I assume that others that aren't (i.e. YOU)at least can look at presets as a jumping off point, or shortcut, to get to where they want to go. If that's not part of your work flow, I get it. To each his own.

cheers
-B

I see now. Yeah, I love that.