chilipeppermaniac
Ambassador of Decibels
SOLD
individual custom orders Trainwrecks
- Thread starter eSGEe
- Start date
chilipeppermaniac
Ambassador of Decibels
Your lesson in Ferengi is much appreciated, my friend!
HAHA now teach me some Chef'n.
Here's one...
Let's play a game.
You play this amp and I'll play my Origin 50 for one week.
At the end of that period, let's see who earned more money...
That's how my mind works in situations like these.
Let's play a game.
You play this amp and I'll play my Origin 50 for one week.
At the end of that period, let's see who earned more money...
That's how my mind works in situations like these.
Amp Mad Scientist
Ambassador of Heresy
Songs recorded w/ Trainwreck.
Keith Scott Official Website:
KEITH'S RUNDOWN ON HIS RIG
(written by Keith Scott)
"Early years gear 1981-88
My set up in the early years was small and simple. My main guitar was my 1976 white Fender Stratocaster, which I nick-named “The Beast”! It had so much wear it looked like it was in a fire..which it was sort of..That did most of the recording and touring for Bryan from “Cut’s Like Knife” til “Into The Fire”..I had a Hiwatt 100 watt stack live, and in the studio used Marshall 100 watt amps..and a Marshall 50 watt combo with 2-12 inch speakers.. Then around 1987 I switched to a hybrid Hiwatt amp set up but only for a few years..Those amps were custom made for me by Hiwatt USA..and only a few examples exist..It was based on a Vox AC-30 and had Hiwatt preamp circuitry.
In 1987 I also started to use vintage Fender Stratocasters, a 1964 and a 1959 maple neck both sunburst..And a 1966 sunburst Fender Telecaster..They were used to record and live..I still have those guitars today but only use them for studio work since they got very worn after a few years of touring. Pedal board was a simple Bob Bradshaw relay type switcher..using an Ibanez TS-9 Tube Screamer and a Korg rack mount delay and an ADA chorus unit.
For the “Wakin Up The Neighbours disc I went to a larger rack mount amp set up, made by Bob Bradshaw. It had multiple pre-amps, Marshall, Bradshaw and Sansamp..run into VHT power amps..effects were delay, chorus by Lexicon and Dunlop remote wah wah.. all in rack mounted fashion..this enabled me to get a variety of tones for that era..It was big and was hard to maintain but it sounded right..
Guitars on tour were Fender Stratocasters from the custom shop and PRS.
In the studio was vintage Fender Stratocasters..notably Bryan’s 1962..1957 Gretch 6120..and 1966 Fender Telecaster plus the odd PRS or Gibson Les Paul..
For the 3 piece era 1998 til 2002
Since we had a white color theme for live then, we used white Marshall 100 watt amps and white re issue Gibson Les Pauls and Fender Stratocasters..the pedal board was much simpler then, only a few things on a hand made pedalboard, Ibanez Tube Screamer, Boss delay. and compressor.....no pre amp switcher set up until around 2002 when I went back to another Bob Bradshaw unit the RS-10 which I still use today..
Gear run down..2016
Main amps on stage are 3 different ones.
In racks to the side stage is a Marshall 900 series 100 watt head and a Vox ac-30 handwired head..both run into a Paul Rivera remote isolated speaker enclosure..each 12 inch speaker for each amp is a Celestion rated around 75 watts. Those 2 amps, panned left and right in our “in ear” monitors, function as a main rythmn sound with no effects in line..so each amp is fairly clean for the cleaner ballad type arpeggio sounds etc. Along with that sound is a Boss CS-1 compressor with maybe a Boss delay for depth or a Boss chorus..
When in a fatter rythmn set up I use an Ibanez TS-9 Tube Screamer, which functions as a gritty basic rock sound into the clean set up of 2 amps....This the main sound during the night.When used with a Gibson humbucking style guitar its can be a full rythmn sound and a full sounding blues solo sound
The other main solo setting is a Lovetone Brown Source boost pedal along with that and maybe a T.C.. Electronics delay for depth. Those are the main sounds during the set.
On the stage behind me is a custom Roy Blankenship 50 watt Marshall type plexy head clone run thru a 4 12 speaker cabinet. This amp is run very quiet , just enough to give some feedback and offer some more depth. That is the general sound set up during the night..The amps are normally reliable and stand up to the abuse of travel quite well..
The pedals used are mounted in a Anvil style rolling rack in multiple trays that can be accessed easily during the night .Effects are switched in and out via a custom Bob Bradshaw relay type switching unit with pre set pedal board. We run a Boss tuner on the stage pedalboard and a remote trigger style Dunlop wah wah. That is the meat of the rig..we are using Shure wireless tho I’m not sure which models..
Guitars are
Main guitar for most of the night..is a 1963 Fender Stratocaster sunburst, slightly modified with a reverse wound pick up retrofitted in the middle position to give us hum cancelling since the original Fender single coil pick ups can be very noisy with the large video and lighting rigs used due to inductance. I have the Strat tremelo bridge floating slightly so when I pull up on the trem bar I can get a whole tone rise in pitch on a lot of the guitar notes..
which also goes way down for dropped notes. This is a set up I have used for years and to combat the inherent tuning issues related to this set up I use slight heavier strings..D’addario’s 12-14-17-30-40-50.
Other main guitar is a gold Gibson custom shop Les Paul deluxe..made in 1992. It has Sheptone PAF style humbucking pick ups..
For one song have a black Fender Strat custom shop..and for another song we have a 1954 Gibson Les Paul goldtop..For the last part of the night I use a black 1997 Les Paul custom..For the nylon string guitar parts I have a 2007 Ramirez single cutaway..
That is the main touring guitar rig since the past several years..
We used to carry a few more guitars but since they rarely got used we kept them at home!
KEITH'S RUNDOWN ON HIS RIG
(written by Keith Scott)
"Early years gear 1981-88
My set up in the early years was small and simple. My main guitar was my 1976 white Fender Stratocaster, which I nick-named “The Beast”! It had so much wear it looked like it was in a fire..which it was sort of..That did most of the recording and touring for Bryan from “Cut’s Like Knife” til “Into The Fire”..I had a Hiwatt 100 watt stack live, and in the studio used Marshall 100 watt amps..and a Marshall 50 watt combo with 2-12 inch speakers.. Then around 1987 I switched to a hybrid Hiwatt amp set up but only for a few years..Those amps were custom made for me by Hiwatt USA..and only a few examples exist..It was based on a Vox AC-30 and had Hiwatt preamp circuitry.
In 1987 I also started to use vintage Fender Stratocasters, a 1964 and a 1959 maple neck both sunburst..And a 1966 sunburst Fender Telecaster..They were used to record and live..I still have those guitars today but only use them for studio work since they got very worn after a few years of touring. Pedal board was a simple Bob Bradshaw relay type switcher..using an Ibanez TS-9 Tube Screamer and a Korg rack mount delay and an ADA chorus unit.
For the “Wakin Up The Neighbours disc I went to a larger rack mount amp set up, made by Bob Bradshaw. It had multiple pre-amps, Marshall, Bradshaw and Sansamp..run into VHT power amps..effects were delay, chorus by Lexicon and Dunlop remote wah wah.. all in rack mounted fashion..this enabled me to get a variety of tones for that era..It was big and was hard to maintain but it sounded right..
Guitars on tour were Fender Stratocasters from the custom shop and PRS.
In the studio was vintage Fender Stratocasters..notably Bryan’s 1962..1957 Gretch 6120..and 1966 Fender Telecaster plus the odd PRS or Gibson Les Paul..
For the 3 piece era 1998 til 2002
Since we had a white color theme for live then, we used white Marshall 100 watt amps and white re issue Gibson Les Pauls and Fender Stratocasters..the pedal board was much simpler then, only a few things on a hand made pedalboard, Ibanez Tube Screamer, Boss delay. and compressor.....no pre amp switcher set up until around 2002 when I went back to another Bob Bradshaw unit the RS-10 which I still use today..
Gear run down..2016
Main amps on stage are 3 different ones.
In racks to the side stage is a Marshall 900 series 100 watt head and a Vox ac-30 handwired head..both run into a Paul Rivera remote isolated speaker enclosure..each 12 inch speaker for each amp is a Celestion rated around 75 watts. Those 2 amps, panned left and right in our “in ear” monitors, function as a main rythmn sound with no effects in line..so each amp is fairly clean for the cleaner ballad type arpeggio sounds etc. Along with that sound is a Boss CS-1 compressor with maybe a Boss delay for depth or a Boss chorus..
When in a fatter rythmn set up I use an Ibanez TS-9 Tube Screamer, which functions as a gritty basic rock sound into the clean set up of 2 amps....This the main sound during the night.When used with a Gibson humbucking style guitar its can be a full rythmn sound and a full sounding blues solo sound
The other main solo setting is a Lovetone Brown Source boost pedal along with that and maybe a T.C.. Electronics delay for depth. Those are the main sounds during the set.
On the stage behind me is a custom Roy Blankenship 50 watt Marshall type plexy head clone run thru a 4 12 speaker cabinet. This amp is run very quiet , just enough to give some feedback and offer some more depth. That is the general sound set up during the night..The amps are normally reliable and stand up to the abuse of travel quite well..
The pedals used are mounted in a Anvil style rolling rack in multiple trays that can be accessed easily during the night .Effects are switched in and out via a custom Bob Bradshaw relay type switching unit with pre set pedal board. We run a Boss tuner on the stage pedalboard and a remote trigger style Dunlop wah wah. That is the meat of the rig..we are using Shure wireless tho I’m not sure which models..
Guitars are
Main guitar for most of the night..is a 1963 Fender Stratocaster sunburst, slightly modified with a reverse wound pick up retrofitted in the middle position to give us hum cancelling since the original Fender single coil pick ups can be very noisy with the large video and lighting rigs used due to inductance. I have the Strat tremelo bridge floating slightly so when I pull up on the trem bar I can get a whole tone rise in pitch on a lot of the guitar notes..
which also goes way down for dropped notes. This is a set up I have used for years and to combat the inherent tuning issues related to this set up I use slight heavier strings..D’addario’s 12-14-17-30-40-50.
Other main guitar is a gold Gibson custom shop Les Paul deluxe..made in 1992. It has Sheptone PAF style humbucking pick ups..
For one song have a black Fender Strat custom shop..and for another song we have a 1954 Gibson Les Paul goldtop..For the last part of the night I use a black 1997 Les Paul custom..For the nylon string guitar parts I have a 2007 Ramirez single cutaway..
That is the main touring guitar rig since the past several years..
We used to carry a few more guitars but since they rarely got used we kept them at home!
gball
Ambassador of Boogie
Seems like just about anything else to me: You dig you dig it, and if you can afford it, then enjoy. You don't dig it you never really will and no amount of others explaining or playing clips of it will change your mind or make you understand why someone would part with that amount of cash for it.
I fall into the latter camp, but can respect that other people dig it. Variety, y'know?
I fall into the latter camp, but can respect that other people dig it. Variety, y'know?
Listen to these tones....
From this little thing!!!
www.zzounds.com
From this little thing!!!
Boss eBand JS-10 Audio Player with FX
Practice is fun again! The JS-10 gives you a 2.1 sound system loaded with 350+ audio loops, 50 songs, tons of onboard guitar effects, and dual inputs.
www.zzounds.com
Like these....
I lost the red one in a divorce. It was just a replica, but had the correct tunnel port side oiler 427.
I have plans to build another one...yellow this time...I have one NASCAR 427 Ford up at Dad's ranch looking for a home...
I wouldn't spend $2 million on a real one...
ivan H
Ambassador of Tubes & Grooves
No, especially considering that a Kirkham (made in the ex MIG fighter factory in Poland) is made sooo much better & with much better materials than an original UK made AC Cobra.
Original Thames Ditton UK Cobra bodies were hand formed & welded using this (for the front half, another for the rear etc)
As such, there could be quite a bit of variation (side to side, front to rear etc).
The Kirkham bodies are made using better alloys & after forming & welding the bodies are hydraulically pressed over CNC machined bucks, so are totally symmetrical. Steering/suspension components made with aerospace alloys, & Kirkham reproduce the 427 side oiler.
For a collector an original is the only way to go, of course. But for a driver, a Kirkham is the go.
As an aside, AC Heritage UK did make 9 AC Cobras a while back, built using the original Thames Ditton AC tooling etc, price was £500.000.
Apologies for the derail. Cheers
Your replies are always welcome!@!
These Cobra kits, like the yellow one shown above, cost $27,000 USD less engine and transmission.
ivan H
Ambassador of Tubes & Grooves
One little known fact about the Cobra,,, Ford was not Carroll Shelby's first choice of powerplant supply. He had first approached Chevrolet. They knocked him back, thinking that the Cobra would hurt Corvette sales. I imagine GM has been kicking itself ever since. Cheers
Correct.
Dad was involved in NASCAR. In 1968, Smokey Yunick built a black and gold #27 1967 Chevelle with a 396.
Ford heard about the efforts and destroked the 427 Ford 'FE' to 396 for the January 21, 1968 Riverside 500.
As Chevy always was more about being sneaky than racing, GM figured that even if they lost, they could "blame" their smaller engine.
The 396 Ford destroyed the Chryslers and the GM's...taking the first five winning spots.
Note Smokey's Chevelle in the background and '396 CID' on Parnelli's hood. I was in the pits that day with my Dad.
I'm a long time Ford nut...I drove 429's and 427's daily as a kid.
I'm looking forward to another one...(427)
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ivan H
Ambassador of Tubes & Grooves
One of the many fibreglass replicas???
I've heard that the Aussie made Robnell is up there with the best of these, but not really looked into them to know if this is in fact correct.
Another car I really like is the (very rare) Bill Thomas Cheetah
These things take up so little real estate they make a Cobra look kinda large. Cheers
SG John
Ambassador of Cool Guitars and Amps.
Exactly why you’ll never catch me near a post 1980 Marshall, or Mesa of any kind.
