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Showing content with the highest reputation on 09/03/17 in all areas

  1. 2 points
  2. blink-182 have been around for 25 years. If in over 20 years they haven't played a non-single live then yes, it's a 'deep cut'. It's from the start of their career, from the first 20% of it. the majority of blink-182 fans now have either no idea of it or completely dismiss the record it's on. it's definitely a deep cut.
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  3. That's pretty much how I feel at this point though.
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  4. @Q182...some extra info on the VL-1002. from lee jackson's webpage (since taken down): Two completely discrete channels with dedicated tubes and circuits result in uncompromised sound. Unlike so many other brands of amplifiers available, the VL-502 and 1002 have a clean channel that is pure sparkle, rather than a watered-down version of the overdrive side. The overdrive channel has three stages of gain, driven by. two gain controls. In fact there's so much gain, we had to put in a "red-line" area indicator to let you know when the preamp tubes are heavily compressing the signal. Three bands of wide-range EQ are supplemented by a 5 position midrange selector switch for total tone control. The midrange selector can change the voice of a guitar, thicken the sounds of a single-coil pickup, and clean up a muddy sounding humbucking pickup. Reverb is separately controllable for each channel, giving you complete control over the six spring, long pan tube reverb. A footswitch option gives you remote control of the reverb effect. A power attenuator section allows all of the compression and life of high-volume sound settings at reduced volumes. New freedom for anyone who has ever had to sacrifice quality for quantity of sound. Now you can overdrive the amp's tubes without overdriving your eardrums. All VL Series amplifiers have a tube-driven effects loop to match signals with any and every effect on the market. An on/off switch controls the effects loop, which doubles as an always-on signal out for connections to external on-stage power amps or mixing boards. Speaker cabinet impedance matching is easily accomplished by setting a rear-panel switch to either 4, 8 or 16 ohms, depending on your cabinets. To change the VL Series amplifiers from "American" to a more "European" sound, the output tubes can be changed. Either 6550 (the American sound) or EL34 (6CA7) tubes are acceptable, and biasing is accomplished with the flick of a rear-panel switch. No trips to the service center, no multimeters, and no guesswork required. Bias Select switch allows the unit to automatically accept EL34 or 6550 power tubes. from an interview with lee, 2011: "The first amp I designed was the VL-1001, a single channel amp with no reverb (I really do not like reverb in amps, they are great to play in your bedroom, but useless live). Spring reverbs are acoustic, so when your drummer starts beating his drums, you will find a lot of his sound coming through your amp, which is not desirable, I promise… The next amp was the VL-1002. We found that players wanted at least two channels, and Ampeg was adamant that they wanted it to have reverb. So I worked on adding reverb without wrecking the original tone. Both the VL-1001 and VL-1002 were designed to be over the top in sound and gain, and that is why I designed the Tachometer setting on the Preamp and Gain controls. I wanted to design an amp that would work for every kind of musical expression and guitar type. If you had a low output guitar, you could turn the Preamp and Gain up, and if you had a high output guitar, you could trim them back. The concept of the two controls was to pre-set as much distortion as you wanted that would be immediately accessible when you needed it. The Preamp control set input sensitivity, which enabled you to set the clean/distortion threshold, allowing you to roll your guitar volume down and get the amp to cleanup, and roll it up for more distortion. Of course, if you peg this control it is hard to get the preamp to cleanup when you turn your guitar volume down. This control really sets the feel and touch of the amp, while the Gain control just gives you more of everything. Over the years I had discovered that tube types (6550, EL-34, 6L6 etc.) made such a huge difference in the sound of the amp that I made sure I designed transformers that would work with all of them. Back in the Metaltronix days I built the first amp to feature switchable bias, where you could change your tubes from EL-34s to 6550s with a click of a switch. I retained that feature in the VL series because I felt it was so useful. Here’s a funny side story… After I finished the VL-1002, I get a call in my office from Jimmy Page. He had received his VL-1002 and loved it, but he said he had blown it up when he shifted the bias setting from 6550s to EL-34s.He thought the switch merely switched the sound of the amp from EL-34s to 6550s… When he switched the Bias switch with the 6550’s shipped with it to the EL-34 bias, which was much lower than the bias for 6550s, his amp went into thermal runaway and melted the output tubes. If the amp had been loaded with EL-34s, it would have just sounded really mussy instead of melting, because a high bias only brings down the current. I explained it to him and sent him a new amp. Duh!? Because Ampeg gave me free reign to do anything I wanted, I bought the finest German components, including paper wrapped transformers. At the time everyone in the industry had moved to plastic bobbins, and I found out that a small company in Korea had bought a bunch of the old transformer winding machines. When I called them, they didn’t think I’d be interested because they only had the old machines, and I told them I’d be on the next available flight to Korea. They had exactly what I wanted – paper bobbins. It is funny how so many boutique amp companies have finally discovered that paper bobbins are the key to a great sound. I just figured it out 30 years earlier. I have always been known for building the highest quality products possible at an affordable price, and that is why I never produced small runs of amplifiers. It drives me nuts to see companies selling amps for thousands of dollars either because they are making small (expensive) production runs with a high parts cost, or they are making a ridiculous profit…You can make a high quality amp in large numbers if it is designed right, and with large production runs your parts costs are extremely low. None of our amps have ever sold for more than $1,500.00 retail, and they are easily built to the same standard as any $4,000 amp they have been compared to. The VL-Series comfortably fit that model, built with the best parts available and never more than $1,500. I was a working artist for many years and I know how important a buck is. My design philosophy has always been to look forward rather than back, learning new technologies and implementing them in my designs. My latest is a Recording Preamp that is 100% analog and sounds amazing plugged directly into a recording board or DAW. If you are constantly thinking that the only product that is worth anything is 50 years old, you’re missing the chance to create new possibilities."
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  5. Ok well when they sold out 20 years ago TDB officially became a deep cut. Adam's Song is treading in that water now too.
    1 point
  6. Well I think the majority of blink fans today probably don't even know it exists. Love that song though, it has always been one of my favorites. I would love to see it live.
    1 point
  7. new date to add : 03/18/1999 Union Square, California (Levis Promo Show) During the Enema sessions Have we figured out a date for the original video of Josie ? Rare clip from the Warped Tour 1997 with Blink
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  8. Oh shit. Big Bobbo11290ers has gone in hard. No fucking about, only 15 posts. Balls the size of space hoppers. What a man ffs
    1 point
  9. Tom's voice for the vast majority of the reunion period was laughably horrid, I don't know how anyone can deny that. Whether it was a natural change or a forced one is irrelevant, because we're still left with the same end result. Absolute shit. I think his guitar playing was actually better than it ever was post reunion though. It was his tone that was atrocious, but his playing wasn't that bad. If we can have "real"/pre 05 hiatus Tom back, even with all of his live flaws, I'd take it without hesitation. But post reunion Tom was a joke all around. I think all of this semi-revisionist history has to do with some grass is always greener on the other side mentality. Truth is, I never bought that they genuinely wanted the reunion from the get go. I think they wanted to bury the hatchet at some point, but I don't think they ever actually wanted to be creative collaborators together again. They were, more or less, forced to do it because their post breakup projects were going absolutely nowhere commercially. +44 flopped. AVA was about to get dropped from Geffen. By 2008, it was basically reunion, consistently live in mediocrity under the shadow of blink, or retire. Neither side wanted to eat shit, and it just so happened that Travis's horrible near death experience also served as the perfect ice breaker to get on the path that they really had no other choice but to go down. Every show I've seen of them from 09-14 felt like business men getting the job done and that's it. It never once felt genuine or "for the right reasons". At least with Matt it seems like they're genuinely happy and that they actually wanna see where they can take this thing. And live they're better by far. I'm at least waiting till the next album before I make my final call on this lineup in general. Because like I said months ago, they had to make an album like California before they could make any creative leaps with Matt. It would've been career suicide any other way.
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  10. Hate to say it, but #notworththewait. Eight years for such uninspired mediocrity is not what I'd hoped for. On the plus side, it is better than Daisy, but then again, so was the last time I caught my dick in my zipper.
    1 point
  11. Wait until he finds out Feldmann produced the album. The terrible twos will be starting early!
    1 point
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