*checks news*
Nope, Hell hasn't frozen over yet!
Good to see you, Matt!
We all know you are secretly saving for a Cold Sweat or Miracle Man ;)
Now that my sched is free again, you up for a phone chat soon??
LOL! It's 70 degrees here today.
Truth be told though, I'm pretty good with the JB in the Jackson.
Truth be told, I cannot seem to find the right fit for the Les Paul. It's a LP Classic 1960 reissue, thin neck. To me, a Paulie should sound bigger than a Jackson - more bottom end. Perhaps I misunderstand though. I know it's got a maple cap and all that, but for being so dang heavy, my feeling is it should sound fat. Maybe I'm just thick, though. A JB in there was a catastrophe (Seymours recommended pup) - icepick, couldn't dial out the mids, C5 too scooped, the Distortion in there is just too much, and still a bit too middy, the Custom sounds GREAT for stuff like AC/DC, etc, but I dunno, still missing something under HI GAIN. I seem to tend more towards the Alnico V magnet. I tried to put a Demon in there, but it wouldn't fit without grinding off some of the metal frame around the pup, so I didn't (it's for sale if anyone's interested).
But since switching over to the Splawn, I have come to the conclusion that it's like basically starting all over again tone-wise. Everything I used to know about matching up with the Line 6 is gone. Up is down, down is up, cats sleeping with dogs, LOL. Then you start talking different speaker combos, pup combos. I was forced to take Statistics in college. If you have 2 guitars, 2 amps, 4 pickups and 6 choices of speakers, you have something on the order of 96 different combinations to consider. Then throw in bedroom volume versus high volume, Hot PLate vs volume pedal - Truly mindboggling LOL! My research to date tells me that the Splawn SEEMS to like mid-gain pickups and gain about noon, but I know you are getting great results with the higher-wound BKPs and gain dimed, and you've never steered me wrong (except for that Demon pickup - shame on you LOL! J/K, I already had a Demon when we met). Stepping up to the Splawn was a real learning curve for me. Don't get me wrong, it sounded killer from day one, but there IS something going on with the modeling amps which makes them easier to play. It's a tight amp, but without tight you don't have Panama and being able to hear EVERY string even with the gain and OD2 dimed. So, it's the cost of doing business. But, once the Splawn heats up and rolls, there's simply no compare. It was like you said, what an 80s Marshall WANTS TO be like. I really think that it was a smoking deal. I mean, for 1350 brand new with limited lifetime warranty and sounds killer and built to my specs. That's friggin' unreal considering a 25 year old JCM800 goes for about the same. I called Splawn when my tube blew, Scott answered the phone, we chatted for 15 minutes, talked about NITRO, he sent me a matched set of EL34s matched to what he originally put in - no biasing. That's unreal customer service. The Comp is a unique amp. As you know its 50w/25w. BUT, going to 25w doesn't require any change to the load (ie: 8 ohms = 8 ohms) because of the pentode/triode thing. Going to 25w has a slightly different tone than 50w. I don't know if it's better, worse, or otherwise, but just different. Just seems a tad mellower and I like it. Another nice feature courtesy of Scott.
What I want my Paulie to sound like is Whitesnake 1987. If it could handle AC/DC also, then more the better.
And yeah, it would be great to chat again soon. Been a long time.
