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Discussion in 'Gear & Equipment' started by sevenfoxes, Oct 24, 2019.
He started using Wizards with Blood of the Nations. He used that JCM for a looong while.
But unlike the EMG's, Rectos and 5150's don't sound like honky shiite! I simply have no idea how they were accepted as any kind of standard in all those new guitars, I'd tear them right out. I hope newer models are better but man, they were dreadful back then. Kinda like a bad passive with the tone pot turned to zero.
EMG's helped to tighten big low end of a Recto, and with 5150's mids were generally scooped quite a lot. My favorite EMG pickup was a 57, which I tried through my friend's 6505. 81 is very compressed, but honk can be dialed out. Even Ola likes it, even when he's really not a 5150 kind of guy, and has said he sounds like shit when playing through one
From 1991 interview with Hetfield:
I’d say they are amps that solidified/perfected certain aspects of the modern high gainer. And as such, yes. Sort of like Marshall Plexis & JCM800 and Fender Deluxes and Twins are still the bars for other amp types to measure up to. You could add a couple more too to the list (Marks ; something German ) but you get the idea. There are always gonna be a few archetypes and they don’t come along that often.
As far as the heavy stuff... You can only do so much preamp gain until you are completely saturated, too; so there’s that.
Wow, I found myself reading this at length and will have to pick it up later to finish. Thanks for the bit of history.
In the mid-90's you could pick up 5150s for super cheap. This was before they got popular in the metal community, and everyone still thought of Peavey as cheap pawn shop gear. It wasn't until the 2000's that they started to get popular for metal, and everyone wanted one, so the used prices increased.
"By 1990, along with the assistance of Bob Rock, Hetfield perfected the scooped-midrange studio tone that he had been seeking since 1983. He discovered that utilizing the midrange frequencies straight from a modified Marshall amplifier, layered over guitar tracks of his trusty Mesa/Boogie MarkIIC+ as well as the Mesa/Boogie MarkIV, plus an ADA MP-1 preamp and a Mesa/Boogie Strategy 400 poweramp, he would get a much thicker and richer tone. He enhanced the frequencies by enclosing his four Marshall 1960B speaker cabinets with foam walls and U-Haul blankets, and carefully phase-canceled particular frequencies with eight closely-positioned microphones and two ambient condenser microphones."
"AMPS: Mesa/Boogie Mark IIC++ (Volume 1: 9.5, Treble: 5/pull shift, Bass: 2, Middle: 0, Master 1: 4/pull deep, Lead Drive: 6/pull lead, Lead Master: 4, Presence: 3, Graphic EQ: 80: +2, 240: 0, 750: -12, 2200: 0, 6600: +3), modified Marshall JCM800 (settings unknown), Mesa/Boogie Mark IV (settings unknown), ADA MP-1 preamp, Mesa/Boogie Strategy 400 power amp"
Depends on who you asked and when. I own the amps... several of each, including the MKIIC++ HRG and DRG... they are not what you hear on the majority of the Black Album. Maybe with the preamp out slaved in to a Marshall power amp and a bunch of post production and eq tricks.... but not even then 100%. I am not going from internet conjecture. I have the amps in front of me. Black Album = MKIV (mostly). You can also come close with a modified Triaxis with a custom Mesa rack dual eq thru a Marshall EL34 100 power amp and even a MB 2:90. Side to side with the amps in front of you, it's easy to hear which amp is on this album.
If the 5150s are the gold standard than wouldn't it make sense for Peavey to have raised the price tag at some point since they are so sought after? I mean boutique amps that are + $3 - $4000 are really just amps based off of the gold standard amps with more bells and whistles, right? (And perhaps better quality components) Sure you could argue that the newer Peaveys are cheaply made, but I don't think people are buying them any less than they were 20 years ago.
There’s no way to justify a price increase. They’ve switched assembly to overseas plants, use common components and pump them out in large quantities. The used market also has an influence on the price tag for new amps. There’s so many of them out there after years of mass producing them. If they ever decided to get greedy everyone would buy them used until competition for used amps brought prices closer together again. Competition for the used amps may never occur because of how many are out there for sale and because they’re old news; other companies offer many alternatives that basically do the same thing differently.
I dunno if gold standard is the phrase I'd use, but definitely the 5150 and Dual Recto are readily available and very reliable work horses for this stuff.
If someone said they needed high gain electric guitars, you could show up with either and be guaranteed to lay down tracks/tones that will fit well into nearly any mix I could imagine.
Sure you can spend more on other amps and there are lots of amps that sound different that can work too.
Regarding EMGs, they've been a staple longggggg before 90s Metal. Michael Wagener produced a lot of killer hard rock/metal albums in the 80s, and my understanding is that he essentially tracked everyone with a Steinberger with EMGs into an ADA preamp.
EMGs are just another one of those things: if someone said I need pickups for high gain hard rock or metal, they are just a safe bet that it'll work out well.
I love my EMG's (707's at that). They do sound great, imo. People hate on them but then praise the tones of artists who've used them for years or albums that were recorded using them. Stop EMG shaming me! I'm just a poor sensitive and emotional artist : ) Just kidding.
Damn this post comes straight out of 2011.
I still love the shit out of my EMG-loaded guitars. I love that midrangey attack. Nothing sounds as tight or aggressive as it. Only passive that comes even close I've tried are the PRS Tremonti or BKP Painkiller.
"Please recommend me pickups that make me sound like Metallica, Killswitch Engage, Black Label Society, Slipknot, Rammstein, and Cannibal Corpse. Don't recommend me EMGs or actives though because I hate them."
Funny side story. I was recording guitars at the studio last month and noticed something between my two EMG loaded guitars. I was tracking with my LTD M-1001 with two EMG 81 Metalworks pickups. Then I tracked another song with my Agile Septor Pro Elite with a "regular" EMG 81 in the bridge, but the signal was not as hot as the LTD for some reason. Even with a brand new battery so I know the battery wasn't the problem; because of this, the engineer had to add more gain post signal to make it level with that of the LTD (sorry for lack of correct terminology). Are the EMG metalworks just hotter than the regular EMG 81? Or how are they different I should ask.
Sorry for being off topic.
I noticed my 2 EMG-loaded 7-strings have less output than my 6-strings. I think that's the nature of the ERG versions of EMGs?
Im not sure why or if the extra 1.5" scale length would make that kind of difference?
No idea what that could be. I've never tried the metal works versions. If I was to speculate it could be anything from string type to potentiometer type, cabling, etc, but if anything I'd say probably pickup height and just the guitar itself is probably most to do with it. I doubt the difference of plastiv vs metal case would have anything to do with it, but you never know until you experiment I guess.
Usually a 7 or 8 string pickup won't sound like it's 6 string counterpart. Just the nature of guitar windings.
But both of the guitars are 6 string. The Agile Septor I have I don't remember the exact model so if the one I listed was the name of a 7 string model than my bad.
Some guitars are just louder than others. It could be any number of things. It's hard to get 2 identical model guitars to sound the same let alone 2 different guitars.