Esteban AKA Stepen Paul was a promising guitarist who trained with the top European masters in the 70s. Unfortunately a drunk driver in Phoenix Arizona ended his promising career in 1980 leaving him blinded in one eye with extensive Injuries to his back and arm. That he could see at all left him massively over qualified for Gibson quality control.
Hi Gilbert! RDE Lutherie here, different handle (Long story)! I just dropped a long and thorough comment on this video debunking the "Finish Expert" Gibson fanboi, and what he said about Nitrocellulose being "The superior finish". You would like it! I get a little nasty, but as always testable to show correct! Since RUclips stopped Email notifications, I miss all kinds of comments now, so I may never know if you see this and answered, but hope you are doing good, still playing, and staying away from crap gear, musicians with shit personalities, you know: the shit Glenn points out so well! (
Gibson fanboys are going to be Gibson fanboys. I won’t even consider buying a Gibson as I know I’m going to being buying a product that is designed to break at the neck for any or no reason. I’m perfectly happy with my Epiphone/Gibson Custom Shop ‘59 Les Paul Standard that I recently bought. It has all the growl and power at 1/3 the price, and far less worry about a neck break. I’m not paying a premium for a name on a headstock. I’ll leave that to the badge bunnies.
@@Snarkyone1965 You say your not paying for the name on the headstock - fair enough. Yet you can't help saying that you are perfectly happy with your "Epiphone/Gibson Custom Shop". Like most that try and argue that Epiphone's are "just as good" it seems that when you look at your headstock, you don't see "Epiphone", you see Epi - I can't afford a real Gibson - phone. I can assure you the necks don't just break "for no reason". They break because some f*ckwit dropped it/stood on it etc. Blaming any guitar company for a headstock break is like blaming a car manufacturer for the insurance write-off because you wrapped it round a tree.
@@jimherleva4541 agreed. buy whatever the hell you want but anyone comparing an Epiphone to Gibson and saying "they're identical" is delusional. I have a 2019 Gibson LP Standard and want to add an SG. Every few months i make my way to the guitar store and try to will myself into buying an Epiphone SG as the price is right, unfortunately the feel just is not.
@@jimherleva4541 First off Epiphone has always been a great guitar brand. Second, they wouldn't break as much if their necks were made different. The joined is weak. That's physics. It's not a Gibson hater thing it's how reality works. Using your car example it's the difference between a car having safety features built into its construction vs cars from the 50s that would be total death traps in accidents people would walk away from unscathed if it was a modern car. Building techniques have improved over time. There's zero reason for Gibson to keep using old, outdated construction techniques in the name of nostalgia when its to the detriment of the instruments and people paying for them.
@@jimherleva4541Talk to your luthier about Gibson cracking issues, people arent making things up. Its an issue even your grandfather probably experienced.
I walked into a guitar store a few years ago to buy a Gibson Les Paul. Yes, I had the money in my back pocket :-) Of the 6 Les Pauls I looked at there was not one that didn´t have finish issues! Slight cracks around the neck joint, "dust" under the finish, binding not sitting well and the list went on and on.... I picked up a Cort LP style that was perfect and saved a TON of money! Thank you Cort!
Yeah, as a working musician, i bought an X700 and upgraded the hardwares to Gotoh parts, changed the electronics except for the pickups and boy, one hell of a workhorse guitar and i am surprised by how reliable it is!
Same story, but got an ESP eclipse instead. I grew up playing an epi sg special... when it was time to upgrade to an adult-income guitar I was dumbfounded how badly the gibson stuff was finished. The qc just isn't there. Since then I've really stayed with esp's, and kiesel's. Both companies offer incredible attention to detail and immaculate fit and finish.
Sunbursts were a quality control error that Gibson just went with it rather than calling it a mistake. They are called sunbursts because they were solid colored guitars that got sun damage sitting in display windows. The original color is on the back of those guitars.
@@orlock20 : what? No. No, that's not how that works at all. They had bursts from the factory and there are plenty of photos of them when they were new confirming this. In fact, here is verbatim text from a period Gibson catalog: "This beautiful solid body guitar incorporates many unusual Gibson features. Cherry sunburst carved maple top, mahogany body and neck." All sitting in a window does is yellow the lacquer and tone the burst down.
Hey Glenn, I work for Purolator - its sucks to hear there was an issue with your shipments. If you ever have issues, reaching out on social media is an excellent way for a quick resolution - our team is pretty great. I live and breathe on the data side of the company, otherwise I’d offer to handle any of your issues personally. Edit: I’ve forwarded this to see what has been/can be done. Edit 2: did some digging (again, data guy - not cust. service). Seems there was a dispatch issue initially, and that the issue was resolved later that day - glad to see the items were picked up before the long weekend 👍 Again, if there’s ever an issue do not hesitate to reach out to our social media team with timely concerns - they’ll do their best to resolve any issue for you asap.
I honestly just don't get people that get butt hurt over every single little bit of bad you say about their precious brands. For christ sake, it's an opinion people! Stop surrounding yourselves with fucking yes men. Gibson is most definitely full of shit. Thanks Glen for your unbiased reviews. It's truly fucking refreshing 🤘
it's natural for the lizard brain to get a bruised ego when someone shits all over something you like. not giving a fuck what other people think is an acquired state of mind.
@@jamesmarkham7489 Or the realisation that you have spent $5000 on a guitar that will remain a $5000 guitar instead of buying a $500 that will soon be a $150 guitar.
Hey Glenn, total Gibson fanboy here (though I love and own LOTS of other guitar brands). I just want to point out that a lot of us Gibson guys are VERY aware of, and disappointed in the Gibson QC issues in recent years. I've always been fascinated by the group of Gibson owners who very loudly proclaim that there are NO Gibson tuning issues, and that any imperfections in a brand new, $3K + guitar should be ignored, as long as it "plays well." I still love my Gibsons, but I agree with you that those kinds of problems on a brand new guitar at that price are completely unacceptable.
The sad thing is that Gibson will likely never truly address the QC issues they have due to the delusional fanboys who think bad quality is acceptable because these same people will keep buying the guitars and never complain to the company.
All my Gibson’s are flawless and hold tune almost as well as my Floyd locking guitars. I’ll give you my address if you think I’m full of shit. I’m not a Gibson dick rider. I have ESP’s , Schecter, Ibanez, Dean and even one Squier. But I don’t get all the hate for Gibson? If it sucks so bad, why would you pay 3k for a guitar that sucks? I think most people are just full of shit.
I would love to see you start another series where you bring a band in and force them to be as good as they think they are. Think "Kitchen Nightmares" or "Bar Rescue". At the end, the band is much better in the studio and create something really amazing. Call it "Band Rescue"
Being one of the top students got me a job in audio at NEP the Netherlands. Hard work and dedication payed off. If I didn't put in all the effort, my teacher wouldn't have recommended me over there. Stand out and get noticed, that's how you roll into audio jobs.
I've never really understood the whole "if I wanted to hear whiny emotional singing, I'd put on some *insert softer genre or artist*" argument. I've heard this from many metal fans who seemingly don't understand that a lot of people do have mental health issues and that it's not an inherently stupid lyrical topic. I don't think there should be any rules to what you can and cannot do in metal, any artist who appreciates the genre should be able to take and borrow any elements that they wish, and that goes for any other style of music.
Seriously, though. It’s a poor argument. Music is sound that is meant to create an emotional response. If someone is writing about their feelings, they’re trying honest songwriting. All bands, including dart metal bands like Black Sabbath and Judas Priest wrote songs like this. “Sweet Leaf” is one of Sabbath’s biggest songs, as is “Paranoid.” “War Pigs” definitely showed their emotions about needless war. Metallica wrote similar songs with heavy af riffs. All of it is just as valid as Slipknot, Linkin Park, A Day To Remember, etc. IMO, the argument boils down to “honest songwriting = bad” which makes absolutely no sense. Honestly it takes a lot of guts to write about your emotions and not just some fictional story about vikings or whatever people like that think metal is “supposed” to be.
"no whiny emotional singing" daddy is one of my favorite songs and jonathan is literally crying in the recording. and if that songs not metal nothing is.
@@ryanshinermusic Looks like you entirely missed the point of OP. Nobody is complaining about emotional content OR songwriting. People are complaining about singers in metal bands who sound like whiney pussies. I feel like in some bands, it's just out of place. Prime example for me is Jinjer. You have absolutely monstrous metal parts and then all of a sudden she starts singing like some Nicki Minaj poppy bullshit and I just switch off. At the end of the day everyone has their own taste and opinions, and access to the internet to share them :)
Glenn is like that one math teacher when I was a student: extremely loud, cuss galore, straight to the point and is very enthusiastic to point out your mistakes. But I realized midway through school that my math teacher only did it so I can do better next time, and he knows the best. I remember getting butthurt by Glenn's "How to not suck at bass" because I was all of them but then a while later it struck me that, "Oh Glenn only did that so I don't suck." Thanks Glenn. Shout at me more at how much I suck so I can be better next time, unlike how I still failed math.
Lol! Had a biology teacher who was like that. A jovial 350lb bald diabetic who'd spike up his massive gut with insulin during class. Dude always had a drawer full of candy for sale to students as well,so a lesson in irony was there to be had.
Les Paul story time. I’ve had mine since 1999. It looked cool at first. What have I changed on it. First thing was the bridge. I kept breaking strings. Swapped it for roller bridge. Problem solved. Next the pickups. Dark and muffled. Those had to go. Bought some PAF clones. The knobs kept cracking. I’ve replaced those 3 or 4 times. The pots weren’t the greatest. Replaced those a couple times. Next the strap buttons. Changed those to Straplocks. Now I’m thinking upgrading to locking tuners. Hmm. I have a Kiesel and I won’t change anything on it. The thing was built properly from the beginning with high quality parts.
@@Burnt_Gerbil idk what you’re talking about! Everyone knows that Gibson only makes the most high quality instruments, that why they all have hairline cracks at the heel and a patent applied breakable headstock! So that it’s easier to fit in the garbage truck, ya know?
Don't forget live sound as a career choice. There's a lot more jobs mixing shows than mixing records, and the experience you get mixing 4 or 5 bands a night live is very useful in recording. You also meet a lot of bands and have a great chance to get recording clients from the shows you mix.. Just don't wreck your hearing
You’re lucky to be hired full time at 1,000-cap rooms and end up making a few bucks a night at bars because you cut into the band’s door money. Sound editing only pays off if you really hit it big time
After 30 years of live engineering I can tell you corporations, unions, and for profit "tech" schools damaged that career to the point where its almost impossible to make a good living and then covid pretty much put the last knife in it. Honestly whoever decide it was the stage and rigging union that should represent sound engineers was an absolute moron, and personally I got tired of hearing every promoter and dive bar complain about how they can barely pay you money you earned because they didn't get the expected draw, or some other BS excuse that is not your problem. We are the first to show up, usually having to wait in the damn manager to open the door, and usually the last ones out with the managers impatiently waiting on us to pack up and entire PA system and sometimes lighting and backline. In a given night at your local small nightclub that gets a good crowd you can easily expect the bar to make $15,000-$20,000 but then they'll complain about paying you $500 or so for the 12+hrs of work you just put in. Now average that out. 12 hours, $500 comes to what an hour? $42, and thats IF they want to pay you that much for showing up, fixing their problems, getting the band setup which means often managing their BS, and then wrapping everything up at 3am while you're dodging drunks the entire time. Worse is if you are the guy who owns all your stuff, and has to hall it around. Then you're paying for gas and transportation, etc. Yeah don't get me wrong, I had a blast and met some incredible people along the way while working with bands and artists from Slayer to Maxwell and everything in between, but at some point you have to take a hard look at your career and how much money you are making and decide if you can actually live and eventually retire off that. In most cases thats going to be a no and that makes the bullshit side of the job not worth it once you get to a certain age
The guy that owns the studio/rehearsal place in my town usually works the board on small live shows in my area at weekends. His reckoning is that he's a huge music fan so he'd be there as a paying punter anyway. Why not just do the show and get bunged some cash and free drinks/food from the bar all night. Plus it's a good networking opportunity, he's met a bunch of new clients 'n stuff.
I ran live sound for many years, and it brought me a of recording clients. In this town, in 20 cap bars,, 150 a night is the norm for a sound engineer, 4 hour show
@@mr.astrophysics9115 Stupid response to a sound comment. While perfection is technically an illusion, people have their versions of what that is to them for different things. You know this but you choose to be foolish about it. At $2800 for a guitar, having these horrendous flaws is NOT acceptable and saying that it isn't perfect because it's man made doesn't excuse the shit quality.
@@mr.astrophysics9115 Well it should still be in a condition worth 2000$ don't you think? I say the Vai Guitars are quite perfect, not 100% flawless but at least it delivers.
Hey Glenn! Just want to say that you are one of the few people on RUclips that is keeping Metal alive in this generation. Keep up the great work. Your honest opinion on gears really helps.
I literally cannot respect Glenn enough for holding the line and dying on this hill. (regarding the Dave Mustain V) My favorite guitar I own is an 800-dollar Epiphone prophecy, it is better in every way than that V. My 1,100 DBZ is the most expensive guitar I own and it's damn near flawless. it's also evident that someone paid serious attention to detail on that guitar. If someone is seriously, and unironically, defending that Dave V, then they suffer from severe cognitive dissonance. 2,800 bucks for that POS is simply beyond satire. It's both stupid and expensive to play authentic.
you know i went to my local long and mcquade saw the exact same Silver V that you have and it was perfect so you did get a bad one for sure so make them come good for the bad paint job but my adivce never get any guitar shipped to you check it at the store then buy it from the store that has what you want instock this way you cant go wrong. ROCK ON DUDE
@DMo86 seeing as how i've bought a $700 d'angelico that had a perfect setup and 0 visual defects out of the box i would be very disappointed even spending $1000 on that mustaine V
Just to nit pick a bit: If you are using a speaker in a room, there will ALWAYS be standing waves. But they will be less obnoxious if you aren't beaming audio energy straight at the wall, which is what vertical faced cabinets do. Sound gets more omnidirectional the lower you go in frequency, so positioning of bass drivers in the room is even more important than their attitude (vertical, horizontal, angled, etc.). Midrange frequencies (guitar) are subject to beaming from the driver, which leads to reflections off the walls. The angled drivers in a slanted Cab can help reduce the occurrence of hot spots and dead zones in those frequencies, caused by comb filtering (summation and subtraction of certain frequencies as they bounce off the walls). It's actually called the Moiré effect, similar to ripples in a pond. Acoustic treatments can help both of these problems. Non-parallel walls can also provide great benefit.
I love my old Laney 2x12 with V30's, but being someone with a limited budget I can't buy many speakers, but at some point I had a Boogie Mark IV combo (I converted it to a head to reduce space when I moved to my apartment) and kept the Celestion C-90 Black Shadow that came with it and it's a phenomenal option, especially paired with a V30. They complement each other really well.
I literally just bought a Schecter Banshee Mach and I guarantee it is better than anything Fender or Gibson are putting out at almost any price point except for their custom shop stuff. It's freaking awesome, finish is flawless in every aspect and the tone is brutal!
I only have experience using IR when playing guitar through my PC. I've used V30 + T75 a lot in the past. Just recently I try a combination of H75 creamback + DV77, I love it so much. Finally I can get my favorite tone from something other than V30.
*GIBSON FINISHES ARE NOT NITRO, THEY'RE ACRYLIC!* In fact, even when Gibson *was* using nitro, the base coat on metallics was always acrylic. Acrylic is largely compatible with nitro and Gibson blends about 7% nitro into their acrylic finish to maintain the illusion of a real nitro finish (that 7% blend is just enough to get finish checking and other "desirable" side effects, and is far enough over the 5% limit in Federal regulations that Gibson has to pay a fee to do it). What's acrylic lacquer, you ask? A transparent thermoplastic dissolved in acetone. It's derived from acrylic acid. Gibson guitars are literally coated in a thin layer of thermoplastic. Sometimes, people claim that nitro is superior because it's somehow more flexible and "vibrates better." In fact the reason nitro lacquer cracks is because it's a thin, hard shell applied to a flexible object that expands and contracts with the environment. This is why the neck has a finish crack in it. Any joint under a nitro finish, or an acrylic finish cut with a relatively trivial amount of nitro (which, again, is what Gibson uses) will eventually lead to a finish crack. The stuff about it "breathing" is rubbish. One, the wood stopped breathing when the tree died. Two, even assuming a guitar with an actual nitro finish, nitrocellulose lacquers were developed by DuPont in the 1920s for the specific purpose of creating a protective coating that does *not* breathe. I suspect that people get confused because of the off gassing of the finish. This is a chemical process caused by the finish continuously breaking down over time. Nitro will always get thinner as it ages because it is an unstable compound. That's not the "wood breathing," it's the lacquer destroying itself because nitro finishes do not cure. This is why they can be repaired so easily by dissolving them in acetone or coating with an additional layer. Notice how the same people who claim they can hear the difference between finishes are the ones who will claim that the difference is too subtle to hear in a recording (which is a nice way of saying "even if it's there, it's not significant"). Also - anyone claiming nitro is harder to get right than poly has never sprayed nitro. You have to try very, very, very hard to fuck nitro up. Do you have to wait a while (typically a couple weeks) for it to dry? Yeah... and then polishing it is easy. Repairs blend easily together and buff right out. And the "fact" that it will never look as glossy as poly is total crap. I have done nitro finishes that looked every bit as glossy as poly with basic hand polishing. It's not hard. Jesus, people! I have seen nitro finishes on Harmony archtops that look better than that Gibson. Which brings us to another point - Harmony guitars were the bottom of the barrel in the 1950s and they had set necks and nitro finishes. If you don't believe me, spend $100 on an old Monterrey and hit it with some acetone... and they were made in the USA, too! Nitro was just what was available at the time. None of which matters because Gibson finishes haven't been nitro for a very, very long time.
The same guy who did the "Where does tone come from in an electric guitar" video made one for cabs and it yielded really interesting results. Thoughts on the video?
That would be Jim Lill that you are talking about, and he’s been doing some great stuff. It’s been a fun and eye opening journey. A lot of tone wood purists are plenty upset with him. Personally, I go by what Glenn says to people, “It’s the speakers, stupid…” They are the last link in the signal. That’s the part you don’t want to cheap out on. In my humble, and deaf opinion. Yeah, I’m a deaf guitarist, and drummer. Weirdly enough my hearing aid really makes bad tone stick out like a sore di..I mean thumb…
The whole sound of the top cab/bottom cab tone reminds me of a gig I did with an old band. The egomaniac on the 6 string had to put his 4x12 on a table. He started playing and complained "my guitar sounds like shit!" Which was followed by the rest of the band replying "it always sounds like that!" 😂 He was finally hearing the cab from in front of it instead of above it.
Even in 1987, the School of Audio Engineering put a lot of focus on the advertising field. It's good advice, live work usually sucks, especially through an agency, and as Glenn said, thinking you'll be making a living recording bands is pretty optimistic.
I'm a professional finisher.. I don't know what type of finish was used on the Dave Mustane V. All I know is that nitroscellulous lacquer is not a superior finish it's old schoo yes..l it yellows and cracks over time.. Which can be cool... But it's very easy to apply and cheap.
"Made in the USA" hasn't meant "quality" for generations. The Simpsons even did a gag about this way back in the 1990s, when Homer and the clan were under attack in Australia, trying to retreat to the American embassy. The embassy tried to shut them out, but their gate malfunctioned even though it was "Made with pride in the USA".
@@pb12661, I'd say"Made in the USA" had mostly been overshadowed by Japanese products at least by the 1980s, if not the 1970s. That's two generations. YMMV
I do miss the days when people took pride in their work. I don't care if I'm flippin burgers, I'm still gonna do the job to the standard that I agreed to.
Hey Glenn, would love your opinion on this one! To make a long story short: drummer for 13 years, picked up the bass because I wanted to play something melodic as well and eventually turned to the guitar. Since I got my equipment before buying the six string, I'm using a bass amp, the Orange Bass Crush 50, and I gotta say that I absolutely love it. Since you haven't talked about Orange that much on the channel, what's your take? Lots o' love from Italy
I'm a big fan of buying 'Made in USA' stuff. There is a big 'IF' in there though; IF the gear makes it worth spending my hard earned dollar. A couple years ago, I bought a Gibson Les Paul Traditional (US) and a Gretsch Electromatic Jet (Import). One of them needed a new nut and one didn't. Wanna guess which? It's starts with a 'G'..Er, wait...Right, they both do. It was the Gibson. I got a nice deal on the Gibby knowing I'd have to spend a few more dollars, but seriously, I haven't done a thing with the Gretsch and it still play beautifly. The Gretsch is punching well above its weight.
I have a local music store that is a Gibson dealer. The manager of the guitar department checks everything that comes in the store. If there is an issue, it will get sent back. He’s done this with the low end guitars and all the way to the highest of high end PRS and Gibson stuff. Buying from my local store would be the only way I’d buy a Gibson.
Someone I was talking to pointed out the fact that the guitar was shipped from Tennessee to Canada in early spring. New wood with nitro shipped from a warm humid place to a cold dry place is likely to shift and the nitro crack, which would explain the bad setup and some of the bad paint. He also pointed out that Gibson fans want something impossible: vintage specs, nitro finish, and fender prices, so Gibson compromises with lax QC to cut costs and meet demand of big box stores. He suggested that for Gibson to do it right they either need to charge more so they can afford to have a high level of QC, or stop using nitro, and stop shipping direct to customers
@@snap-off5383 something else to consider is whether instruments from the 50s and 60s had that great of finish work back then when they were new. Does anyone know how good they were back then? Maybe a Gibson with a flawless paint job is rare
The good news is Gibson stopped using full nitro finishes ages ago. Their finishes are acrylic cut with just enough nitro to allow the finish to crack and check because it's what fanboys want.
I just built a 1x12 cab out of a harvested G12H-100 from an 80's vintage JCM 800 4x12 cab, for purpose of running my Joyo BanTamP Jackman II xL. I run a metal zone into the front of the distortion channel to either make chainsaw goodness or just beef up the gain, depending on how I have it set, with a stereo Behring graphical EQ in the loop (I also own a Meteor II xL, that I boost with a Precision Drive, and plan to buy another 100 W or higher speaker to build a cab for that and split the EQ between the FX loops for a live stereo rig). I also have a friend who just put a bunch of G12T-75 speakers into an old ampeg cab for an x pattern with the OG speakers, and he has played an H&K Statesman and a 6534+ though it, both sound phenomenal. So yeah bad advice guy is intelligent as a moldy sandwich.
Dude those Esteban guitar infomercials were tucked way back in the recesses of my memory and they've now been brought back out. I completely forgot that was a thing until being reminded.
Hey glen painter here for well over 30 yrs. There is no excuse for the bad paint job. They have multi million dollar paint booths. And they aren’t cleaning their shit before painting it. That’s the long and short of the problem. And yeah the crack is a big deal. I wouldn’t send out a car with a dented fender after paint. Nor would I charge that much for it. Nice job and Gibson quality control sucks. No wonder they’re always teetering on the brink of bankruptcy.
GLEEEEEEEEEENN! I’m going to be straight and honest… I spend 1k+ (thousand plus dollars) on 4” Acoustic Foam panels these last 3 years. I didn’t knew better. I ended up making a vocal booth and they DO work! BUT THE ROOM NOW SOUNDS EXTREMELY DEAD AND BOXY! I’m planning on removing SOME. I would like to invest on ACTUAL acoustic panels and bass traps but I already have all these 100+ 4” acoustic panels and foam bass traps. I don’t know if the problem is that I LITERALLY put acoustic foams ALL AROUND THE ROOM (ceiling and everything)or if it’s because they’re 4” inches thick AND the vocal booth is small at maybe like 9x9 ft. My control/rehearsal room is A LOT bigger being rectangular shaped at 9x24 ft. I’m planning on moving all the 4” thick foam here instead since the room is bigger and I’m thinking that maybe the bigger the room the thicker the foam should be and viceversa and put the 2” acoustic foam I had planned for the control room on the vocal booth instead. Any advice? Any experts I should follow? You can clearly tell I don’t know ANYTHING about acoustics. Thanks in advance!
My only piece of advice if you ever do want to buy a gibson: buy it in person to make sure its good. I got my Les Paul Special with p90s for 800 bucks brand new, but that was cause i bought it in store. Long story short buying in person makes sure you get something good and you can bargain down.
Listen Gibson fans, put down the glue - or gasoline, or toxic paint - whatever your huffing preference is aside. If you pay nearly or over a month's wage for an instrument - and it's not fucking pristine - the company that made the instrument fucked up. Gibson. Fucked. Up.
Look, I absolutely LOVE Gibson.....BUT..... everything I am seeing and hearing does not make me want to go out and buy one. I know it's hard to be honest with yourself but other guitar brands are building better instruments at lower price points than Gibson right now and it honestly breaks my heart but it's true
yeah like glenn said, they don't let you shine, DON'T PUT OUT, LMFAO. I love this community, and Ola's, my two fav's, because no-matter what learn or laugh, win-win.
Honestly guys, opinions are just that… opinions. If you feel inclined to dump a ton of money on a guitar for its brand’s sake, and you have the means…. Go for it. But, the whole point is to take other brands into consideration as you’ll get a whole lot more of guitar for the money. Cheers folks!
The hard part of choosing speakers is majority of us don’t have access to hear them all with our gear, unless your in a major music store city, but good luck doing that with just a bunch of Guitar Centers around. So we order the industry standards.
absolute spot on about cabs, its why live we get guitar combos off the floor, that and you can hear them better when its not pointed at your knees, what people dont realise is frequencies become very directionall when the wavelength gets to a certain length in relation to size of speaker, think for a 12 inch speaker above 1khz . on floor think it sounds great but anyone standing infront on the floor is getting blasted with 2k 2.5k spikes or fizzy 3 to 5khhz. not hearing that hi mid and hi end if its on the floor or not pointed at you
I buy American made guitars. I contact my local luthier and he builds me instruments that are miles above anything I could buy from a store or online. Plus, he will build exactly what I want and throw in suggestions to make it even better. Support local businesses!!
Jen Majura back? Are you kidding, Glenn? We want her back on the show three times over! For the awessome playing, for the fun, quirky humor and for the smoldering good looks. P.s. The Gibson fanboys can whine all they like, if someone is paying enough for a guitar that it would cover the cost of a decent used subcompact, they bloody well should get an object of art, that looks perfect and plays perfect. That's what they payed for.
I picked up some used G12K-100's off of Amazon, those are great for blending. I pair with a modern production G12T-75's and get a great tone, when I EQ each to get the range that both do best at. Nice thing about mic'ing a cab and doing blends, you can slice up each speaker to get the best tonal range out of it and blend them together. Take the low to mid off the G12K-100's, high mid off the V30 (getting rid of all honk and fizz), and high end thrash off the G12T75's. Three different speakers, EQ profile on each, and I get one great tone to put in to the mix, shaped however I want.
Tried that slice & dice technique after watching an interview Warran Huart did with Dave Jerdan, the producer for Alice In Chains man in the box. He used three amps / speaker types and did high/low/bandpass on each to bring out the best of each setup in a blend. I'd never thought about slicing up a speaker before to get only the best for whatever I wanted. But damn, that allows a mixer to shape *any* tone you want for a mix when doing reamp work. Just tweak the EQ profile on each speaker capture until you get the perfect tone that fits in to the mix perfectly. Works every damn time.
The Mustaine logo stamp, if I'm not mistaken, started on the Deans. I also find it funny that they didn't even try hard to reimage it as a Gibson. They did slightly alter the headstock.
@@Guitarnivore thats because he didnt review the guitar in his last video. That was three weeks ago. ruclips.net/user/clipUgkxtUE_A3kcrONOEEIxy92P_TrSEeynZuwS
I used to work for a Gibson dealer, we had the high end stuff. I saw a white Les Paul custom with red compound underneath the clear coat, we had an SG from the factory with a non-functional truss rod, and tons of other problems. I had been hopeful the new management would bring with them some care and passion, but it looks like things have stayed the same. Contrast that with the ESPs and even LTDs that smoked ‘em in terms of consistency and attention to detail. It’s why, when I’ve wanted a Gibson type, I’ve either bought a vintage guitar (an affordable one) or bought a Hamer.
About the Gibson thing: I was just thinking about the British motorcycle industry, and it’s slow painful death. The British motorcycle industry was once the pinnacle of design and innovation, but by the 1960s it was down to a few companies making bigger, faster versions of the same basic product for the same enthusiast market. Those enthusiasts didn’t care that the British bikes still leaked oil and needed constant maintenance to run properly, and the manufacturers were happy selling to that clientele. But the world was changing, as it always does, and those British motorbike makers were ignoring the advances in manufacturing elsewhere, ignoring all the other possible people who might be interested in two wheeled transport, they were stuck looking backwards. It seems to me that that’s where Gibson is at, stuck in old ways, relying on a clientele which doesn’t care that it could be fInished a million times better these days because they want the thing that won the big races (sorry, was played by the big players) when they were kids. If it’s really what you want then nothing else will do. But the British motorcycle industry died on its arse because it didn’t get up to date.
I would love to see Jen on your show again! She's freaking awesome! Shame what happened between her and Evanescence but I have to believe she'll come to something awesome in the end. She's too good not to!
@@raytorvalds3699 Perhaps I am reading too much into it but it sounds like she was ejected, even though the statement that Evenesence put out sounded more amicable than that. Jen posted a clarification afterward stating that "none of this was my idea" in relation to her and Evenesence parting ways.
She is an absolute " hot ticket". Talented musician, extremely likable personality, I think Evanescence is the one at a loss. Just my worthless opinion.
“The neck crack occurs due to the wood expanding and contracting due to temperature/environment/etc” Just because you explain why something happened doesn’t mean it SHOULD have happened. I waited years to be able to get my first Gibson Les Paul Standard and I am not nearly as excited to play it as I am my Japanese Aria Tele or my Kramer Vanguard.
Gibson, where sunburst and checkering are sold as quality. I'm sure you would like to have your new red car turn yellow and brown wherever the sun hits it while the gloss coating flakes off in random areas.
Calling B.S. regarding nitro finishes: 1. Wood doesn't breathe 2. Nitro doesn't let air through. If it did, it would have been useless as an automotive finish, which is what it was for years. 3. Nitro doesn't "let excess moisture evaporate from wood". If you're building guitars with wood that has moisture content that high, it'll be a warped mess in very short order. Wood is hygroscopic (absorbs moisture), which generally means that a '58 Les Paul in New Mexico has lower moisture content than a '58 Les Paul in Louisiana, not because of age or finish, but because higher humidity means higher moisture content, regardless of finish. A new guitar with a poly finish will have a similar response to ambient humidity, because none of said guitars are completely encased in a shell of finish. They have pickups, control cavities, backplate covers, fasteners, pots, switches, strap buttons, bridges, truss rods, etc. that break the seal that the finish would provide. What nitro does is continue to gas off as the solvent continues to evaporate. That isn't because it's nitro, but because it's lacquer. Nitro also has a lower build rate than urethane finishes, so it often takes more coats to develop a thicker finish, which can mean you ultimately wind up with a thinner finish and more defects showing through. The issue isn't really nitrocellulose lacquer. Other manufacturers use it with good results. PRS core series guitars switched to nitro a couple years ago, and the finish quality is great. Gibson has had a finishing problem for at least 20 years. Remember the "Faded Series" of the early 2000s? The whole point was to build guitars to a price point without the overhead of putting a glossy nitro finish on them. The problems on the Mustaine guitar Glen got are as likely the result of bad filling and paint prep as anything else - that would explain the weird divot in the back and possibly the crack. Among whatever other quality problems Gibson has, they certainly have a problem with the finishing schedule on their guitars, and have for years. Metallic silver should be a pretty forgiving color.
I was looking for a Les Paul Standard in 2019 and tried a new one at the Guitar Center by my house and it was horrible! Then I went to another Guitar Center looking for to try old ones from 70's or 89"s but they were too beat up and they needed fret work. The guy that was helping me suggested a new one so I ended up trying it and it was way better than the same Les Paul Standard I tried at the other GC. I was just amazed at the inconsistency from one Les Paul to the other.
The reason to buy an American guitar (If you're American) is #1, you like it, #2 to support the craftspeople of your country, & if you live in SoCal, your local economy. Guitar building is an American legacy. The electric guitar was born in this country & popularized here as well, so it makes sense that some people want to support & keep that tradition alive.
The "Finish Expert" has ZERO clue what he is talking about! Nitro is way easier to work with! It sands way easier than Poly urethane or acrylic, but the "Breathing" is a huge problem, because just as much as it lets the wood dry better (Unfinished pickup and control cavities do the same), it also allows it to absorb moisture! If Gibson wasn't cutting corners and not using wood that isn't dry enough to begin with, you get shrinking and if you keep the necks and bodies on racks after cutting, and they wait for more than a few days before gluing them together, then you get gaps because the pieces fit too loose, and Gibson fills those with glue, which shrinks under heat, and at a different rate than the wood, and that's how you get cracking! Nitrocellulose never cures! It dries, but it out-gasses for decades as it deteriorates, and can crack all over the place under quick temperature changes. Try keeping your precious Les Paul in the case for a year in a place that gets hot, and see if the "Superior finish" turns to goo, and when you peel it out of the case it is a furry, and the case has bald spots! Try storing it somewhere humid and weigh it and you can measure the moisture it has absorbed! The whole freaking reason other finishes based on plastics, and not Cellulose from cotton and other plant matter were developed in the first place is because Nitro is crap, and doesn't cut it to protect jack shit, nor is it durable! And I could write an essay on his "Tone" bullshit! He is not speaking as an expert in finishing, but spewing his religious indoctrination from Gibson! Keep in mind too, that their brand of guitar polish doesn't soak deep into the wood and make the instrument swell, loose it's tone, and ruin it! I'm sure that dildo has the titanium nut, because it's far superior to brass because of it's high strength to weight ratio and corrosion resistance, so 2 grams not a whopping three, and you can bathe it with sulfuric acid for weeks, and the nut can handle it! 360 brass (Stay away from "Musical Bell Brass" as its way soft) is nearly identically tough to wear, and it's self lubricating, and actually aids tuning stability! Science is a bitch, but belief is easy! Be leery of believers of all kind, because they may not have actual evidence, but they are good at "Convincing" people to also believe absurd nonsense!
Ha ha ha. That guy defending Gibson's bad finsish because it was Nitrocellulose, and spraying Nitro is harder. I have sprayed Nitro myself, and yes it's not the easiest to work with, but nobody was paying me $2800. There is no defence for that guitar at that price. There just isn't.
With respect to the "top cab" comment - it's also implied that as it's "on top" of another cab, it's firing straight at your head... which would inherently make it seem louder/brighter/fizzier/whatever.
I actually mixed 2 V30s with 2 neo creambacks, sure it lacks imagination and honesty I didn't think for myself as I heard the neos here lol, but I'm happy with them in an xy pattern. I had a cheap Marshall cab and swapping the speakers got rid of the annoying fizz coming out of the g12c that came stock.
Honestly that newer Orange Vertical 2x12 that's loaded with NeoCreambacks really got my attention a few years back and am a huge fan of the CreamBack sound now
Glenn, every time I watch one of your videos my brain keeps going back to old Killer Dwarfs tunes from the 80's. Couldn't say why, it's probably the luscious locks! Thanks for the content 🤘🎸
I thought Gibsons had the worst tuning stability. I just bought (and returned) a Music Man Majesty. Made in the USA! Just grabbing the tuning key, WHILE TUNING, was enough to sway the neck about a half step. I had to literally let go of the key after each adjustment to get an accurate read. They making necks out of rubber? Fuck that. I guess I’ll stick to this $700 Schecter.
I have a Marshall MG15 for home and don't totally hate it. I could see why someone wouldn't like it. I'd rate it as slightly better than an Orange at the same size. The built in distortion is okay. It's just for bedroom practice. I'm not recording with it or anything. All of my gain pedals sound awful on it though, unlike an orange. Small Oranges have even worse speakers, IMO. There's no footswitch on it so I just leave it on distortion and turn the guitar's volume knob down for clean. The one I'm using has no built in effects, which I don't feel I'm missing out on. I think it would do okay as baby's first guitar amp as opposed to a little Fender or Orange, unless reverb's your thing.
I don't get the argument that angled cab does not suffer from the standing wave in the room... Standing wave is everywhere and if a standing wave on a specific frequency may be corrected by the cab angle, another one may form because of the angle. Acoustic treatement is the only way to get them under control and when it's done properly, angle or not will not change anything. They may suffer less of early reflection from the floor. Which can be treated easily with rigid fiber glass insulation on the floor in front of the speaker.
I think the reason speakers aren't experimented with as much is because it's not like guitars or amps where you can generally go to a guitar store and experiment. Generally speaking you don't really see guitar shops offer different speakers to try. This leaves you normally comparing clips online which may differ to your experience in the room with the speaker. It's something I'd love to mess with more but as a result it's why I did just follow the crowd and went with V30's to go with my VH4 (which still sounds incredible).
Glenn, you're free to enjoy any type of music you want, including what type of lyrics you enjoy, but saying "if I want to listen to someone talk about their feelings I'll listen to Simon and Garfunkel" is an incredibly narrow minded way of thinking about metal. Metal comes in many forms and there is no one way to make it. From someone who just recently said they like The Hu and claimed "you don't have to have heavy distorted guitars to be metal" I find it a little ironic you believe the lyrics have to be about blood, anger and war to be metal. I'd have written it off if all you said is that was your personal preference, but your recent videos about how to be a good metal singer say otherwise. You claim as if it were a fact that in order to be a good vocalist you can't write lyrics about your feelings. I find that absolutely incorrect in so many ways. You're preferences are NOT the rules. In fact if metal bands stopped writing about their feelings, metal would be less interesting and less connecting to the listener. Don't stop listening to what you love, and don't stop having your preferences, those are okay, but I cannot emphasize enough that some of the best metal lyricists write about their feelings. Corey Taylor, Jonathan Davis, Chad Gray, Chester Bennington, Shaun Morgan, the list goes on forever. And yes, I care about what they have to say, because feelings are powerful. Emotions are powerful. Why would I care about someone's anger any more or less than someone's sadness while listening to music?
Gibson fans need to wake up. And I say this as an owner of four SG's. Its QUITE clear that Gibson QC is junk. Proof? My brand new SG Standard '61. 2000 bucks. You know what? the finish on it isn't as good as the finish on my Korean made Apocalypse (Schecter). Not even remotely as good. And you also know what? I spent less time doing set up on the Schecter than I did on the SG. Quite a bit less. Fanbois are just that, fanbois.
Why the fuck do people keep trying to defend the new mustaine v. U paid over 2k for it. You had to set it up because it wasnt playable out the box, there were paint blemishes, and a crack at the neck joint. All major haggling factors on the resale market. Anybody thats bought and sold used guitars knows this. Or should know that shit.
I would be bullshit if i put my name on a big brand guitar and there were reports of products being sent out like that. Id re negotiate the contract at the least
One of my favorite cabs is a 70s Ampeg V4 4x12 with no name square back speakers. They're super cheap, spund great, and are tank-like. 6505+ and a 70s Hiwatt sound fantastic through it. I also like the Celestion UK g12h80 for a 5e3 combo amp I have (helps it's clean tone get over the drummer and resuces flab when driven hard, came with it and don't wanna change it), and Eminence Tonkers in a 2x12 I wired up for the Hiwatt. Each are pretty thick and clean sounding speakers so I guess that's what I like. Either pine or birch construction for each of them, only the combo is open back.
I worked in contracting and home renovations for a bit. When someone paid us to do a paint job, it didn’t matter if the paint we used was difficult to work with, you had to make it look fucking as close to perfect as possible. If you found out the paint was to hard to work with, you got someone who was better at it than you to do it. If it came out bad, you had to redo it. It didn’t matter how much they paid. There is no excuse for a shit paint job on any guitar over $800, let alone a $2,800 guitar. I’m paying you to do your job correctly.
The thing about the Hairline crack on the heel on your V: Probably the guitar left the factory without it. The culprit is the metallic paint. Here goes the shit: Gibson insists on using Nitro. Metal particles and Nitrocelulose DOES NOT GET ALONG the varnish becomes brittle and susceptible to cracks (yes cracks not finish checking) when different woods expand in different rates you got a crack on a neck joint. That is common when you get a metallic finish on any gibson. If they were using Poly the guitar most likely would not have any issues. That's why gold tops have the metallic gold mostly on the top. So here goes my advice of you want a gibson guitar avoid those metallic finishes. I agree that should not happen on a 3k guitar. But EVERY TIME gibson does something modern and cool, buyers cry about. That includes switching Nitro for poly back in the 80's. Or buy another brand instead. It is your money.
Hey Glenn, here's an idea for a video. Take a shitty combo amp, like a Line 6 spider, and swap the stock speaker on it to see if it improves the tone. If that doesn't prove to the non believers how important a speaker is to the sound of an electric guitar, I don't know what will. Keep up the good work, and thanks for all you do.
Second this idea. Maybe line it out to a legit 2x12 or 4x12 cab, that'd be really interesting to see. My buddy and I did this once years back with a little Marshall MG15, and while yes it dramatically improved the tone, it's definitely still a shit amp and worthy of the hammer of truth. Edit: that's not a bag on solid state amps as a whole, there are some truly phenomenal solid states out there, the Marshall Valvestate, Randall RG and RX series, and the entire Orange Crush line coming to mind off the top of my head. For whatever reason, the Marshall MG line, especially the little combo's, were just never very satisfying, which is truly a shame
@@billzade8158 The first gen MG50, and MG100 weren't terrible. The later ones though? Yeesh. I don't know what they did to them, but the later generations were absolute crap. It's a shame, really. I remember shooting them out against all the competitors in that price ranges...it had to be around 2005ish? At the time, the only other options were a Line 6 Spyder, or a Fender digital monstrosity that also sounded like crap. I had the chance to play through some new ones a couple years ago when I worked at a music store. Trash. Utter garbage. Again, I don't know what they did to them, but they ruined that line of amplifiers!
@Ryan O, dude completely agreed. I started playing in the 90's and remember the struggle with finding good practice amps that didn't completely suck. Internet reviews weren't really a thing yet, so all we had to go off of were magazines and the word of the store clerk. Crate was HUGE until Line 6 came on the scene with the Pod and the Spyder! I couldn't afford the big tube Marshall JCM 900 that I just "needed", and that's honestly how I got into Randall's. Definitely worth it, they just sounded so cool, especially when you're just 16 and don't know that you're supposed to hate Solid State.
@@billzade8158 Hey, Dimebag played Randall, so who the hell are we to question it? lol Ok...I'm gonna have a very controversial hot take here...but...a good analog solid state is better than a shitty tube amp... **ducks for cover** **runs and hides**
Brand loyalty is the apex of marketing and makes no sense when it comes to you as a customer. Use what works for you, regardless of whose name is on it, and don’t be afraid to step away from a brand that isn’t fulfilling those needs. So many people are willing to stay loyal to a brand they’re not happy with just because of the name attached to the product.
I've got literally thousands of IRs and I always come back to a V30. There's a reason lots of people use it. It just works. I've always been the contrarian but when shit works it works. I thought for myself, tried a bunch of different things in a mix, and in a blind test I always chose the V30. To each their own though.
I've got a couple of sweet Gibson's that I won't be getting rid of anytime soon. That said, if you want an example of "American quality" when it comes to electric guitars, take a look at EBMM.
Esteban AKA Stepen Paul was a promising guitarist who trained with the top European masters in the 70s. Unfortunately a drunk driver in Phoenix Arizona ended his promising career in 1980 leaving him blinded in one eye with extensive Injuries to his back and arm. That he could see at all left him massively over qualified for Gibson quality control.
lol
Esteban is based. Did you know that you could use his guitar as a floatation device?
Hi Gilbert! RDE Lutherie here, different handle (Long story)! I just dropped a long and thorough comment on this video debunking the "Finish Expert" Gibson fanboi, and what he said about Nitrocellulose being "The superior finish". You would like it! I get a little nasty, but as always testable to show correct!
Since RUclips stopped Email notifications, I miss all kinds of comments now, so I may never know if you see this and answered, but hope you are doing good, still playing, and staying away from crap gear, musicians with shit personalities, you know: the shit Glenn points out so well! (
@@Bob-of-Zoid Glad to hear from you !!!!! Hope you are well. Will be sure to check out your comment we have to keep these kids straight.
But Esteban had that really cool Zorro hat.
"You're charging 2800 bucks for a guitar, you better fuckin' deliver the goods" - Damn right, Glen. I can't believe this is a controversial opinion!
Gibson fanboys are going to be Gibson fanboys. I won’t even consider buying a Gibson as I know I’m going to being buying a product that is designed to break at the neck for any or no reason. I’m perfectly happy with my Epiphone/Gibson Custom Shop ‘59 Les Paul Standard that I recently bought. It has all the growl and power at 1/3 the price, and far less worry about a neck break. I’m not paying a premium for a name on a headstock. I’ll leave that to the badge bunnies.
@@Snarkyone1965 You say your not paying for the name on the headstock - fair enough. Yet you can't help saying that you are perfectly happy with your "Epiphone/Gibson Custom Shop". Like most that try and argue that Epiphone's are "just as good" it seems that when you look at your headstock, you don't see "Epiphone", you see Epi - I can't afford a real Gibson - phone.
I can assure you the necks don't just break "for no reason". They break because some f*ckwit dropped it/stood on it etc. Blaming any guitar company for a headstock break is like blaming a car manufacturer for the insurance write-off because you wrapped it round a tree.
@@jimherleva4541 agreed. buy whatever the hell you want but anyone comparing an Epiphone to Gibson and saying "they're identical" is delusional. I have a 2019 Gibson LP Standard and want to add an SG. Every few months i make my way to the guitar store and try to will myself into buying an Epiphone SG as the price is right, unfortunately the feel just is not.
@@jimherleva4541 First off Epiphone has always been a great guitar brand. Second, they wouldn't break as much if their necks were made different. The joined is weak. That's physics. It's not a Gibson hater thing it's how reality works. Using your car example it's the difference between a car having safety features built into its construction vs cars from the 50s that would be total death traps in accidents people would walk away from unscathed if it was a modern car. Building techniques have improved over time. There's zero reason for Gibson to keep using old, outdated construction techniques in the name of nostalgia when its to the detriment of the instruments and people paying for them.
@@jimherleva4541Talk to your luthier about Gibson cracking issues, people arent making things up. Its an issue even your grandfather probably experienced.
I walked into a guitar store a few years ago to buy a Gibson Les Paul. Yes, I had the money in my back pocket :-) Of the 6 Les Pauls I looked at there was not one that didn´t have finish issues! Slight cracks around the neck joint, "dust" under the finish, binding not sitting well and the list went on and on.... I picked up a Cort LP style that was perfect and saved a TON of money! Thank you Cort!
Yeah, as a working musician, i bought an X700 and upgraded the hardwares to Gotoh parts, changed the electronics except for the pickups and boy, one hell of a workhorse guitar and i am surprised by how reliable it is!
I got an indestructible Cort bass. have had it for over 20 years.
Same story, but got an ESP eclipse instead.
I grew up playing an epi sg special... when it was time to upgrade to an adult-income guitar I was dumbfounded how badly the gibson stuff was finished. The qc just isn't there.
Since then I've really stayed with esp's, and kiesel's. Both companies offer incredible attention to detail and immaculate fit and finish.
"Gibson isn't known for paint jobs."
yes, no one refers to Gibsons by their paintjob. ive never heard of Goldtops and Sunbursts and Black Beauties.
Sunbursts were a quality control error that Gibson just went with it rather than calling it a mistake. They are called sunbursts because they were solid colored guitars that got sun damage sitting in display windows. The original color is on the back of those guitars.
@@orlock20 : what? No. No, that's not how that works at all. They had bursts from the factory and there are plenty of photos of them when they were new confirming this. In fact, here is verbatim text from a period Gibson catalog:
"This beautiful solid body guitar incorporates many unusual Gibson features. Cherry sunburst carved maple top, mahogany body and neck."
All sitting in a window does is yellow the lacquer and tone the burst down.
@@orlock20 Nope, they are called bursts from the factory because of the fade in paint jobs.... I'm a painter by trade...
Hey Glenn, I work for Purolator - its sucks to hear there was an issue with your shipments. If you ever have issues, reaching out on social media is an excellent way for a quick resolution - our team is pretty great.
I live and breathe on the data side of the company, otherwise I’d offer to handle any of your issues personally.
Edit: I’ve forwarded this to see what has been/can be done.
Edit 2: did some digging (again, data guy - not cust. service). Seems there was a dispatch issue initially, and that the issue was resolved later that day - glad to see the items were picked up before the long weekend 👍
Again, if there’s ever an issue do not hesitate to reach out to our social media team with timely concerns - they’ll do their best to resolve any issue for you asap.
Good man, Scott!
This is how you represent a company.
Purolator>ups
anytime I want resolution with a company, I reach out to them on social media.
Absolutely get Jen back on the show. She’s awesome. Great VC episode. Thanx!
Facts
I concur.
I honestly just don't get people that get butt hurt over every single little bit of bad you say about their precious brands. For christ sake, it's an opinion people! Stop surrounding yourselves with fucking yes men. Gibson is most definitely full of shit. Thanks Glen for your unbiased reviews. It's truly fucking refreshing 🤘
it's natural for the lizard brain to get a bruised ego when someone shits all over something you like. not giving a fuck what other people think is an acquired state of mind.
@@sqlb3rn I actually feel bad for the plebs 🤣
It’s likely the embarrassment of realizing you spent 5,000 on a guitar with comparable specs to a $500 guitar.
@@jamesmarkham7489 Or the realisation that you have spent $5000 on a guitar that will remain a $5000 guitar instead of buying a $500 that will soon be a $150 guitar.
@Chris Emerick
Maybe take a leaf out of your own book there. There is no such thing as an "unbiased" opinion - as you just proved.
Hey Glenn, total Gibson fanboy here (though I love and own LOTS of other guitar brands). I just want to point out that a lot of us Gibson guys are VERY aware of, and disappointed in the Gibson QC issues in recent years. I've always been fascinated by the group of Gibson owners who very loudly proclaim that there are NO Gibson tuning issues, and that any imperfections in a brand new, $3K + guitar should be ignored, as long as it "plays well." I still love my Gibsons, but I agree with you that those kinds of problems on a brand new guitar at that price are completely unacceptable.
One of my brand new Gibsons came without strap pins.
Let 'em fork out all that money for a shiny turd with the Gibson logo on it. Have at it boys LOL!!! 😄
@@warpath6666 I wouldn't consider $699 "all that money."
The sad thing is that Gibson will likely never truly address the QC issues they have due to the delusional fanboys who think bad quality is acceptable because these same people will keep buying the guitars and never complain to the company.
All my Gibson’s are flawless and hold tune almost as well as my Floyd locking guitars. I’ll give you my address if you think I’m full of shit. I’m not a Gibson dick rider. I have ESP’s , Schecter, Ibanez, Dean and even one Squier. But I don’t get all the hate for Gibson? If it sucks so bad, why would you pay 3k for a guitar that sucks? I think most people are just full of shit.
I would love to see you start another series where you bring a band in and force them to be as good as they think they are. Think "Kitchen Nightmares" or "Bar Rescue". At the end, the band is much better in the studio and create something really amazing. Call it "Band Rescue"
I'm up for being a contestant
yelling at band members to perfect their craft sounds easier said than done. Most ppl won’t take it too kindly and it’ll just be a huge mess
Being one of the top students got me a job in audio at NEP the Netherlands. Hard work and dedication payed off. If I didn't put in all the effort, my teacher wouldn't have recommended me over there. Stand out and get noticed, that's how you roll into audio jobs.
"Hard work and dedication,young people!" Mr.Cochran,9th grade American History teacher.
I've never really understood the whole "if I wanted to hear whiny emotional singing, I'd put on some *insert softer genre or artist*" argument. I've heard this from many metal fans who seemingly don't understand that a lot of people do have mental health issues and that it's not an inherently stupid lyrical topic. I don't think there should be any rules to what you can and cannot do in metal, any artist who appreciates the genre should be able to take and borrow any elements that they wish, and that goes for any other style of music.
Seriously, though. It’s a poor argument. Music is sound that is meant to create an emotional response.
If someone is writing about their feelings, they’re trying honest songwriting. All bands, including dart metal bands like Black Sabbath and Judas Priest wrote songs like this. “Sweet Leaf” is one of Sabbath’s biggest songs, as is “Paranoid.” “War Pigs” definitely showed their emotions about needless war.
Metallica wrote similar songs with heavy af riffs.
All of it is just as valid as Slipknot, Linkin Park, A Day To Remember, etc.
IMO, the argument boils down to “honest songwriting = bad” which makes absolutely no sense. Honestly it takes a lot of guts to write about your emotions and not just some fictional story about vikings or whatever people like that think metal is “supposed” to be.
"no whiny emotional singing"
daddy is one of my favorite songs and jonathan is literally crying in the recording. and if that songs not metal nothing is.
Of course they can, the only error would be giving any shits about what anybody else thinks about your art. Follow your instincts.
@@ryanshinermusic Looks like you entirely missed the point of OP. Nobody is complaining about emotional content OR songwriting. People are complaining about singers in metal bands who sound like whiney pussies. I feel like in some bands, it's just out of place. Prime example for me is Jinjer. You have absolutely monstrous metal parts and then all of a sudden she starts singing like some Nicki Minaj poppy bullshit and I just switch off. At the end of the day everyone has their own taste and opinions, and access to the internet to share them :)
@@MetalLizardJesus Go back and listen to what he’s saying and come back.
Glenn is like that one math teacher when I was a student: extremely loud, cuss galore, straight to the point and is very enthusiastic to point out your mistakes.
But I realized midway through school that my math teacher only did it so I can do better next time, and he knows the best.
I remember getting butthurt by Glenn's "How to not suck at bass" because I was all of them but then a while later it struck me that, "Oh Glenn only did that so I don't suck."
Thanks Glenn. Shout at me more at how much I suck so I can be better next time, unlike how I still failed math.
Lol! Had a biology teacher who was like that. A jovial 350lb bald diabetic who'd spike up his massive gut with insulin during class. Dude always had a drawer full of candy for sale to students as well,so a lesson in irony was there to be had.
Imagine thinking the cost to apply nitro alone justifies a $2800 price tag.
It's crazy that people pay for nostalgia. Nitro is actually pretty shitty paint
Les Paul story time. I’ve had mine since 1999. It looked cool at first. What have I changed on it. First thing was the bridge. I kept breaking strings. Swapped it for roller bridge. Problem solved. Next the pickups. Dark and muffled. Those had to go. Bought some PAF clones. The knobs kept cracking. I’ve replaced those 3 or 4 times. The pots weren’t the greatest. Replaced those a couple times. Next the strap buttons. Changed those to Straplocks. Now I’m thinking upgrading to locking tuners. Hmm. I have a Kiesel and I won’t change anything on it. The thing was built properly from the beginning with high quality parts.
But that one guy said only nitro is a high quality finish. Better throw that Kissel away 🤷🏻
@@reducedtoatoms3973 - Nitro is low quality. It was meant for cars. 🤦♂️
@@Burnt_Gerbil idk what you’re talking about! Everyone knows that Gibson only makes the most high quality instruments, that why they all have hairline cracks at the heel and a patent applied breakable headstock! So that it’s easier to fit in the garbage truck, ya know?
YES! The people demand Jen Majura back on the show!
Yes, please bring on Jen Majura, she's a freaking gem!!
So glad I found your channel. Your energy is great, you're super knowledgeable AND you're funny.
Thanks for the easiest sub I've made in years.
No more tears is still one of the most perfectly produced albums I've ever heard.
It still holds up.
So do Blizzard & Diary!
@@imarriedabrkfsttaco3737 not as much imo.
Don't forget live sound as a career choice. There's a lot more jobs mixing shows than mixing records, and the experience you get mixing 4 or 5 bands a night live is very useful in recording. You also meet a lot of bands and have a great chance to get recording clients from the shows you mix.. Just don't wreck your hearing
You’re lucky to be hired full time at 1,000-cap rooms and end up making a few bucks a night at bars because you cut into the band’s door money.
Sound editing only pays off if you really hit it big time
After 30 years of live engineering I can tell you corporations, unions, and for profit "tech" schools damaged that career to the point where its almost impossible to make a good living and then covid pretty much put the last knife in it. Honestly whoever decide it was the stage and rigging union that should represent sound engineers was an absolute moron, and personally I got tired of hearing every promoter and dive bar complain about how they can barely pay you money you earned because they didn't get the expected draw, or some other BS excuse that is not your problem. We are the first to show up, usually having to wait in the damn manager to open the door, and usually the last ones out with the managers impatiently waiting on us to pack up and entire PA system and sometimes lighting and backline. In a given night at your local small nightclub that gets a good crowd you can easily expect the bar to make $15,000-$20,000 but then they'll complain about paying you $500 or so for the 12+hrs of work you just put in.
Now average that out. 12 hours, $500 comes to what an hour? $42, and thats IF they want to pay you that much for showing up, fixing their problems, getting the band setup which means often managing their BS, and then wrapping everything up at 3am while you're dodging drunks the entire time. Worse is if you are the guy who owns all your stuff, and has to hall it around. Then you're paying for gas and transportation, etc.
Yeah don't get me wrong, I had a blast and met some incredible people along the way while working with bands and artists from Slayer to Maxwell and everything in between, but at some point you have to take a hard look at your career and how much money you are making and decide if you can actually live and eventually retire off that. In most cases thats going to be a no and that makes the bullshit side of the job not worth it once you get to a certain age
The guy that owns the studio/rehearsal place in my town usually works the board on small live shows in my area at weekends. His reckoning is that he's a huge music fan so he'd be there as a paying punter anyway. Why not just do the show and get bunged some cash and free drinks/food from the bar all night. Plus it's a good networking opportunity, he's met a bunch of new clients 'n stuff.
I ran live sound for many years, and it brought me a of recording clients. In this town, in 20 cap bars,, 150 a night is the norm for a sound engineer, 4 hour show
Hey Glenn!
Love the videos and I'd love to see not only Jen but any musicians on your show!
Gibson fan, but agree, if I spent that much on a guitar, it better be perfect.
There's no such thing as perfect especially when something is man made
@@mr.astrophysics9115 Stupid response to a sound comment. While perfection is technically an illusion, people have their versions of what that is to them for different things. You know this but you choose to be foolish about it. At $2800 for a guitar, having these horrendous flaws is NOT acceptable and saying that it isn't perfect because it's man made doesn't excuse the shit quality.
@@mr.astrophysics9115 Well it should still be in a condition worth 2000$ don't you think? I say the Vai Guitars are quite perfect, not 100% flawless but at least it delivers.
Hey Glenn! Just want to say that you are one of the few people on RUclips that is keeping Metal alive in this generation. Keep up the great work. Your honest opinion on gears really helps.
I literally cannot respect Glenn enough for holding the line and dying on this hill. (regarding the Dave Mustain V) My favorite guitar I own is an 800-dollar Epiphone prophecy, it is better in every way than that V. My 1,100 DBZ is the most expensive guitar I own and it's damn near flawless. it's also evident that someone paid serious attention to detail on that guitar. If someone is seriously, and unironically, defending that Dave V, then they suffer from severe cognitive dissonance. 2,800 bucks for that POS is simply beyond satire. It's both stupid and expensive to play authentic.
you know i went to my local long and mcquade saw the exact same Silver V that you have and it was perfect so you did get a bad one for sure so make them come good for the bad paint job but my adivce never get any guitar shipped to you check it at the store then buy it from the store that has what you want instock this way you cant go wrong. ROCK ON DUDE
Alternatively, Gibson could QC their stuff and maintain a consistent standard of quality... You know, the thing their whole brand used to be based on.
@@michellelehky2374 I think both are valid. Gibson make quality and consumer purchases only after inspection
@DMo86 seeing as how i've bought a $700 d'angelico that had a perfect setup and 0 visual defects out of the box i would be very disappointed even spending $1000 on that mustaine V
Grandma asked me if I wanted this new guitar from the JC Penney catalog, and said she'd put it on her store card. It was the Mustaine V!
Some assembly may be required
Can I get your Grandma's email address please?
Asking for a friend. 😁
Just to nit pick a bit: If you are using a speaker in a room, there will ALWAYS be standing waves. But they will be less obnoxious if you aren't beaming audio energy straight at the wall, which is what vertical faced cabinets do. Sound gets more omnidirectional the lower you go in frequency, so positioning of bass drivers in the room is even more important than their attitude (vertical, horizontal, angled, etc.). Midrange frequencies (guitar) are subject to beaming from the driver, which leads to reflections off the walls. The angled drivers in a slanted Cab can help reduce the occurrence of hot spots and dead zones in those frequencies, caused by comb filtering (summation and subtraction of certain frequencies as they bounce off the walls). It's actually called the Moiré effect, similar to ripples in a pond. Acoustic treatments can help both of these problems. Non-parallel walls can also provide great benefit.
I love my old Laney 2x12 with V30's, but being someone with a limited budget I can't buy many speakers, but at some point I had a Boogie Mark IV combo (I converted it to a head to reduce space when I moved to my apartment) and kept the Celestion C-90 Black Shadow that came with it and it's a phenomenal option, especially paired with a V30. They complement each other really well.
I actually like both the T75 and the V30. I've yet to put them both in the same cab, but both speakers sound great IMO.
Can't wait for VC 420
Love to see what Glenn comes up with.
I literally just bought a Schecter Banshee Mach and I guarantee it is better than anything Fender or Gibson are putting out at almost any price point except for their custom shop stuff. It's freaking awesome, finish is flawless in every aspect and the tone is brutal!
I only have experience using IR when playing guitar through my PC. I've used V30 + T75 a lot in the past. Just recently I try a combination of H75 creamback + DV77, I love it so much. Finally I can get my favorite tone from something other than V30.
DV77 Is a great speaker
Hey Glenn. Has Gibson contacted you, or have you asked them to respond to the issues you've had with the Mustaine V?
*GIBSON FINISHES ARE NOT NITRO, THEY'RE ACRYLIC!* In fact, even when Gibson *was* using nitro, the base coat on metallics was always acrylic. Acrylic is largely compatible with nitro and Gibson blends about 7% nitro into their acrylic finish to maintain the illusion of a real nitro finish (that 7% blend is just enough to get finish checking and other "desirable" side effects, and is far enough over the 5% limit in Federal regulations that Gibson has to pay a fee to do it).
What's acrylic lacquer, you ask? A transparent thermoplastic dissolved in acetone. It's derived from acrylic acid. Gibson guitars are literally coated in a thin layer of thermoplastic.
Sometimes, people claim that nitro is superior because it's somehow more flexible and "vibrates better." In fact the reason nitro lacquer cracks is because it's a thin, hard shell applied to a flexible object that expands and contracts with the environment. This is why the neck has a finish crack in it. Any joint under a nitro finish, or an acrylic finish cut with a relatively trivial amount of nitro (which, again, is what Gibson uses) will eventually lead to a finish crack.
The stuff about it "breathing" is rubbish. One, the wood stopped breathing when the tree died. Two, even assuming a guitar with an actual nitro finish, nitrocellulose lacquers were developed by DuPont in the 1920s for the specific purpose of creating a protective coating that does *not* breathe. I suspect that people get confused because of the off gassing of the finish. This is a chemical process caused by the finish continuously breaking down over time. Nitro will always get thinner as it ages because it is an unstable compound. That's not the "wood breathing," it's the lacquer destroying itself because nitro finishes do not cure. This is why they can be repaired so easily by dissolving them in acetone or coating with an additional layer.
Notice how the same people who claim they can hear the difference between finishes are the ones who will claim that the difference is too subtle to hear in a recording (which is a nice way of saying "even if it's there, it's not significant").
Also - anyone claiming nitro is harder to get right than poly has never sprayed nitro. You have to try very, very, very hard to fuck nitro up. Do you have to wait a while (typically a couple weeks) for it to dry? Yeah... and then polishing it is easy. Repairs blend easily together and buff right out. And the "fact" that it will never look as glossy as poly is total crap. I have done nitro finishes that looked every bit as glossy as poly with basic hand polishing. It's not hard. Jesus, people!
I have seen nitro finishes on Harmony archtops that look better than that Gibson. Which brings us to another point - Harmony guitars were the bottom of the barrel in the 1950s and they had set necks and nitro finishes. If you don't believe me, spend $100 on an old Monterrey and hit it with some acetone... and they were made in the USA, too! Nitro was just what was available at the time. None of which matters because Gibson finishes haven't been nitro for a very, very long time.
Ah, thermoplastic! No wonder why literally every modern Gibson acoustic I've ever picked up not only felt like plastic, but sounded like it too! lol
The same guy who did the "Where does tone come from in an electric guitar" video made one for cabs and it yielded really interesting results. Thoughts on the video?
That would be Jim Lill that you are talking about, and he’s been doing some great stuff. It’s been a fun and eye opening journey. A lot of tone wood purists are plenty upset with him. Personally, I go by what Glenn says to people, “It’s the speakers, stupid…”
They are the last link in the signal. That’s the part you don’t want to cheap out on. In my humble, and deaf opinion. Yeah, I’m a deaf guitarist, and drummer. Weirdly enough my hearing aid really makes bad tone stick out like a sore di..I mean thumb…
The whole sound of the top cab/bottom cab tone reminds me of a gig I did with an old band. The egomaniac on the 6 string had to put his 4x12 on a table. He started playing and complained "my guitar sounds like shit!"
Which was followed by the rest of the band replying "it always sounds like that!" 😂
He was finally hearing the cab from in front of it instead of above it.
That's priceless!!! Laughed out loud for real!
I've had a Marshall MG50dfx and I've had a Marshall DSL40c, Both of them pretty much required a speaker upgrade to sound good.
Even in 1987, the School of Audio Engineering put a lot of focus on the advertising field. It's good advice, live work usually sucks, especially through an agency, and as Glenn said, thinking you'll be making a living recording bands is pretty optimistic.
I'm a professional finisher.. I don't know what type of finish was used on the Dave Mustane V.
All I know is that nitroscellulous lacquer is not a superior finish it's old schoo yes..l it yellows and cracks over time.. Which can be cool... But it's very easy to apply and cheap.
"Made in the USA" hasn't meant "quality" for generations. The Simpsons even did a gag about this way back in the 1990s, when Homer and the clan were under attack in Australia, trying to retreat to the American embassy. The embassy tried to shut them out, but their gate malfunctioned even though it was "Made with pride in the USA".
I wouldn't say "generations." But when, for example, an EBMM says "made in California (i.e., USA), it still means something.
@@pb12661, I'd say"Made in the USA" had mostly been overshadowed by Japanese products at least by the 1980s, if not the 1970s. That's two generations. YMMV
I do miss the days when people took pride in their work. I don't care if I'm flippin burgers, I'm still gonna do the job to the standard that I agreed to.
Hey Glenn, would love your opinion on this one! To make a long story short: drummer for 13 years, picked up the bass because I wanted to play something melodic as well and eventually turned to the guitar. Since I got my equipment before buying the six string, I'm using a bass amp, the Orange Bass Crush 50, and I gotta say that I absolutely love it. Since you haven't talked about Orange that much on the channel, what's your take? Lots o' love from Italy
Shoutout Lewitt crew! Not trying to sound like a fangirl here but fuck it who cares. 440 pure is the tits for home recording- it just does it all!
Nitrocellulose: Good enough to burn down a cinema, good enough for Gibson. And some other shops if the internet is to be believed.
LEts See Jen back on the show! ♫♫♫♫♫♫♫
It's Amazing how Gibson fan boys continue to put their foot in their mouths everytime they open it...
Who wouldn't want to see more of Jen! (For the bass players: yes.)
I'm a big fan of buying 'Made in USA' stuff. There is a big 'IF' in there though; IF the gear makes it worth spending my hard earned dollar. A couple years ago, I bought a Gibson Les Paul Traditional (US) and a Gretsch Electromatic Jet (Import). One of them needed a new nut and one didn't. Wanna guess which? It's starts with a 'G'..Er, wait...Right, they both do. It was the Gibson. I got a nice deal on the Gibby knowing I'd have to spend a few more dollars, but seriously, I haven't done a thing with the Gretsch and it still play beautifly. The Gretsch is punching well above its weight.
I have a local music store that is a Gibson dealer. The manager of the guitar department checks everything that comes in the store. If there is an issue, it will get sent back. He’s done this with the low end guitars and all the way to the highest of high end PRS and Gibson stuff. Buying from my local store would be the only way I’d buy a Gibson.
Someone I was talking to pointed out the fact that the guitar was shipped from Tennessee to Canada in early spring. New wood with nitro shipped from a warm humid place to a cold dry place is likely to shift and the nitro crack, which would explain the bad setup and some of the bad paint. He also pointed out that Gibson fans want something impossible: vintage specs, nitro finish, and fender prices, so Gibson compromises with lax QC to cut costs and meet demand of big box stores.
He suggested that for Gibson to do it right they either need to charge more so they can afford to have a high level of QC, or stop using nitro, and stop shipping direct to customers
They should stop using nitro immediatley its a FAR inferior finish. Letting their fanboys go all "tonewood" with nitro was a dumb marketing move.
@@snap-off5383 something else to consider is whether instruments from the 50s and 60s had that great of finish work back then when they were new. Does anyone know how good they were back then? Maybe a Gibson with a flawless paint job is rare
The good news is Gibson stopped using full nitro finishes ages ago. Their finishes are acrylic cut with just enough nitro to allow the finish to crack and check because it's what fanboys want.
I just built a 1x12 cab out of a harvested G12H-100 from an 80's vintage JCM 800 4x12 cab, for purpose of running my Joyo BanTamP Jackman II xL. I run a metal zone into the front of the distortion channel to either make chainsaw goodness or just beef up the gain, depending on how I have it set, with a stereo Behring graphical EQ in the loop (I also own a Meteor II xL, that I boost with a Precision Drive, and plan to buy another 100 W or higher speaker to build a cab for that and split the EQ between the FX loops for a live stereo rig). I also have a friend who just put a bunch of G12T-75 speakers into an old ampeg cab for an x pattern with the OG speakers, and he has played an H&K Statesman and a 6534+ though it, both sound phenomenal. So yeah bad advice guy is intelligent as a moldy sandwich.
Dude those Esteban guitar infomercials were tucked way back in the recesses of my memory and they've now been brought back out. I completely forgot that was a thing until being reminded.
Hey glen painter here for well over 30 yrs. There is no excuse for the bad paint job. They have multi million dollar paint booths. And they aren’t cleaning their shit before painting it. That’s the long and short of the problem. And yeah the crack is a big deal. I wouldn’t send out a car with a dented fender after paint. Nor would I charge that much for it. Nice job and Gibson quality control sucks. No wonder they’re always teetering on the brink of bankruptcy.
Darren Charles is a highly underrated guitarist. Plays with extreme precision.
GLEEEEEEEEEENN!
I’m going to be straight and honest… I spend 1k+ (thousand plus dollars) on 4” Acoustic Foam panels these last 3 years. I didn’t knew better. I ended up making a vocal booth and they DO work! BUT THE ROOM NOW SOUNDS EXTREMELY DEAD AND BOXY! I’m planning on removing SOME. I would like to invest on ACTUAL acoustic panels and bass traps but I already have all these 100+ 4” acoustic panels and foam bass traps. I don’t know if the problem is that I LITERALLY put acoustic foams ALL AROUND THE ROOM (ceiling and everything)or if it’s because they’re 4” inches thick AND the vocal booth is small at maybe like 9x9 ft. My control/rehearsal room is A LOT bigger being rectangular shaped at 9x24 ft. I’m planning on moving all the 4” thick foam here instead since the room is bigger and I’m thinking that maybe the bigger the room the thicker the foam should be and viceversa and put the 2” acoustic foam I had planned for the control room on the vocal booth instead. Any advice? Any experts I should follow? You can clearly tell I don’t know ANYTHING about acoustics. Thanks in advance!
My only piece of advice if you ever do want to buy a gibson: buy it in person to make sure its good. I got my Les Paul Special with p90s for 800 bucks brand new, but that was cause i bought it in store. Long story short buying in person makes sure you get something good and you can bargain down.
Listen Gibson fans, put down the glue - or gasoline, or toxic paint - whatever your huffing preference is aside.
If you pay nearly or over a month's wage for an instrument - and it's not fucking pristine - the company that made the instrument fucked up. Gibson. Fucked. Up.
Look, I absolutely LOVE Gibson.....BUT..... everything I am seeing and hearing does not make me want to go out and buy one. I know it's hard to be honest with yourself but other guitar brands are building better instruments at lower price points than Gibson right now and it honestly breaks my heart but it's true
I guess some people rather buy expensive American made crap instead of cheap decent imports
USA! USA!
The same people that buy “American made”vehicles
Nothing wrong with wanting to buy American, but be a smart consumer and don't buy crap.
yeah like glenn said, they don't let you shine, DON'T PUT OUT, LMFAO. I love this community, and Ola's, my two fav's, because no-matter what learn or laugh, win-win.
I like getting little combo amps second hand. Its a cool, cheap way to collect and try out odd stuff
Honestly guys, opinions are just that… opinions. If you feel inclined to dump a ton of money on a guitar for its brand’s sake, and you have the means…. Go for it. But, the whole point is to take other brands into consideration as you’ll get a whole lot more of guitar for the money. Cheers folks!
The hard part of choosing speakers is majority of us don’t have access to hear them all with our gear, unless your in a major music store city, but good luck doing that with just a bunch of Guitar Centers around. So we order the industry standards.
Yeah let's get Jen Majura back in - love to hear what she's going to work on next, as well as hear some riffage.
absolute spot on about cabs, its why live we get guitar combos off the floor, that and you can hear them better when its not pointed at your knees, what people dont realise is frequencies become very directionall when the wavelength gets to a certain length in relation to size of speaker, think for a 12 inch speaker above 1khz .
on floor think it sounds great but anyone standing infront on the floor is getting blasted with 2k 2.5k spikes or fizzy 3 to 5khhz.
not hearing that hi mid and hi end if its on the floor or not pointed at you
I buy American made guitars. I contact my local luthier and he builds me instruments that are miles above anything I could buy from a store or online. Plus, he will build exactly what I want and throw in suggestions to make it even better. Support local businesses!!
Jen Majura back? Are you kidding, Glenn?
We want her back on the show three times over! For the awessome playing, for the fun, quirky humor and for the smoldering good looks.
P.s. The Gibson fanboys can whine all they like, if someone is paying enough for a guitar that it would cover the cost of a decent used subcompact, they bloody well should get an object of art, that looks perfect and plays perfect. That's what they payed for.
I picked up some used G12K-100's off of Amazon, those are great for blending. I pair with a modern production G12T-75's and get a great tone, when I EQ each to get the range that both do best at. Nice thing about mic'ing a cab and doing blends, you can slice up each speaker to get the best tonal range out of it and blend them together. Take the low to mid off the G12K-100's, high mid off the V30 (getting rid of all honk and fizz), and high end thrash off the G12T75's. Three different speakers, EQ profile on each, and I get one great tone to put in to the mix, shaped however I want.
Tried that slice & dice technique after watching an interview Warran Huart did with Dave Jerdan, the producer for Alice In Chains man in the box. He used three amps / speaker types and did high/low/bandpass on each to bring out the best of each setup in a blend. I'd never thought about slicing up a speaker before to get only the best for whatever I wanted. But damn, that allows a mixer to shape *any* tone you want for a mix when doing reamp work. Just tweak the EQ profile on each speaker capture until you get the perfect tone that fits in to the mix perfectly. Works every damn time.
The Mustaine logo stamp, if I'm not mistaken, started on the Deans. I also find it funny that they didn't even try hard to reimage it as a Gibson. They did slightly alter the headstock.
thats what he said in the review video. The logo looks like a dean guitar lol
@@JoeKyser I watched the last video, but I don't remember that, but he mentioned Jackson in this video. Hell...it could be an Ltd next. 😁
@@Guitarnivore thats because he didnt review the guitar in his last video. That was three weeks ago.
ruclips.net/user/clipUgkxtUE_A3kcrONOEEIxy92P_TrSEeynZuwS
I used to work for a Gibson dealer, we had the high end stuff. I saw a white Les Paul custom with red compound underneath the clear coat, we had an SG from the factory with a non-functional truss rod, and tons of other problems. I had been hopeful the new management would bring with them some care and passion, but it looks like things have stayed the same. Contrast that with the ESPs and even LTDs that smoked ‘em in terms of consistency and attention to detail. It’s why, when I’ve wanted a Gibson type, I’ve either bought a vintage guitar (an affordable one) or bought a Hamer.
About the Gibson thing: I was just thinking about the British motorcycle industry, and it’s slow painful death. The British motorcycle industry was once the pinnacle of design and innovation, but by the 1960s it was down to a few companies making bigger, faster versions of the same basic product for the same enthusiast market. Those enthusiasts didn’t care that the British bikes still leaked oil and needed constant maintenance to run properly, and the manufacturers were happy selling to that clientele. But the world was changing, as it always does, and those British motorbike makers were ignoring the advances in manufacturing elsewhere, ignoring all the other possible people who might be interested in two wheeled transport, they were stuck looking backwards. It seems to me that that’s where Gibson is at, stuck in old ways, relying on a clientele which doesn’t care that it could be fInished a million times better these days because they want the thing that won the big races (sorry, was played by the big players) when they were kids. If it’s really what you want then nothing else will do. But the British motorcycle industry died on its arse because it didn’t get up to date.
I would love to see Jen on your show again! She's freaking awesome! Shame what happened between her and Evanescence but I have to believe she'll come to something awesome in the end. She's too good not to!
What happened between Jen and Evanescence ?
@@raytorvalds3699 Perhaps I am reading too much into it but it sounds like she was ejected, even though the statement that Evenesence put out sounded more amicable than that.
Jen posted a clarification afterward stating that "none of this was my idea" in relation to her and Evenesence parting ways.
@@aarondoering4613 Oh no, that sucks !
She is an absolute " hot ticket".
Talented musician, extremely likable personality, I think Evanescence is the one at a loss.
Just my worthless opinion.
“The neck crack occurs due to the wood expanding and contracting due to temperature/environment/etc” Just because you explain why something happened doesn’t mean it SHOULD have happened. I waited years to be able to get my first Gibson Les Paul Standard and I am not nearly as excited to play it as I am my Japanese Aria Tele or my Kramer Vanguard.
Gibson, where sunburst and checkering are sold as quality. I'm sure you would like to have your new red car turn yellow and brown wherever the sun hits it while the gloss coating flakes off in random areas.
Calling B.S. regarding nitro finishes:
1. Wood doesn't breathe
2. Nitro doesn't let air through. If it did, it would have been useless as an automotive finish, which is what it was for years.
3. Nitro doesn't "let excess moisture evaporate from wood". If you're building guitars with wood that has moisture content that high, it'll be a warped mess in very short order. Wood is hygroscopic (absorbs moisture), which generally means that a '58 Les Paul in New Mexico has lower moisture content than a '58 Les Paul in Louisiana, not because of age or finish, but because higher humidity means higher moisture content, regardless of finish. A new guitar with a poly finish will have a similar response to ambient humidity, because none of said guitars are completely encased in a shell of finish. They have pickups, control cavities, backplate covers, fasteners, pots, switches, strap buttons, bridges, truss rods, etc. that break the seal that the finish would provide.
What nitro does is continue to gas off as the solvent continues to evaporate. That isn't because it's nitro, but because it's lacquer. Nitro also has a lower build rate than urethane finishes, so it often takes more coats to develop a thicker finish, which can mean you ultimately wind up with a thinner finish and more defects showing through.
The issue isn't really nitrocellulose lacquer. Other manufacturers use it with good results. PRS core series guitars switched to nitro a couple years ago, and the finish quality is great. Gibson has had a finishing problem for at least 20 years. Remember the "Faded Series" of the early 2000s? The whole point was to build guitars to a price point without the overhead of putting a glossy nitro finish on them. The problems on the Mustaine guitar Glen got are as likely the result of bad filling and paint prep as anything else - that would explain the weird divot in the back and possibly the crack. Among whatever other quality problems Gibson has, they certainly have a problem with the finishing schedule on their guitars, and have for years. Metallic silver should be a pretty forgiving color.
I was looking for a Les Paul Standard in 2019 and tried a new one at the Guitar Center by my house and it was horrible! Then I went to another Guitar Center looking for to try old ones from 70's or 89"s but they were too beat up and they needed fret work. The guy that was helping me suggested a new one so I ended up trying it and it was way better than the same Les Paul Standard I tried at the other GC. I was just amazed at the inconsistency from one Les Paul to the other.
The reason to buy an American guitar (If you're American) is #1, you like it, #2 to support the craftspeople of your country, & if you live in SoCal, your local economy. Guitar building is an American legacy. The electric guitar was born in this country & popularized here as well, so it makes sense that some people want to support & keep that tradition alive.
You're advice is always genuine stuff man. Kudos
If I had a cracked heel in a new guitar I would return it. That's not acceptable even for an entry level guitar.
The "Finish Expert" has ZERO clue what he is talking about! Nitro is way easier to work with! It sands way easier than Poly urethane or acrylic, but the "Breathing" is a huge problem, because just as much as it lets the wood dry better (Unfinished pickup and control cavities do the same), it also allows it to absorb moisture! If Gibson wasn't cutting corners and not using wood that isn't dry enough to begin with, you get shrinking and if you keep the necks and bodies on racks after cutting, and they wait for more than a few days before gluing them together, then you get gaps because the pieces fit too loose, and Gibson fills those with glue, which shrinks under heat, and at a different rate than the wood, and that's how you get cracking!
Nitrocellulose never cures! It dries, but it out-gasses for decades as it deteriorates, and can crack all over the place under quick temperature changes. Try keeping your precious Les Paul in the case for a year in a place that gets hot, and see if the "Superior finish" turns to goo, and when you peel it out of the case it is a furry, and the case has bald spots! Try storing it somewhere humid and weigh it and you can measure the moisture it has absorbed!
The whole freaking reason other finishes based on plastics, and not Cellulose from cotton and other plant matter were developed in the first place is because Nitro is crap, and doesn't cut it to protect jack shit, nor is it durable!
And I could write an essay on his "Tone" bullshit! He is not speaking as an expert in finishing, but spewing his religious indoctrination from Gibson! Keep in mind too, that their brand of guitar polish doesn't soak deep into the wood and make the instrument swell, loose it's tone, and ruin it! I'm sure that dildo has the titanium nut, because it's far superior to brass because of it's high strength to weight ratio and corrosion resistance, so 2 grams not a whopping three, and you can bathe it with sulfuric acid for weeks, and the nut can handle it! 360 brass (Stay away from "Musical Bell Brass" as its way soft) is nearly identically tough to wear, and it's self lubricating, and actually aids tuning stability!
Science is a bitch, but belief is easy! Be leery of believers of all kind, because they may not have actual evidence, but they are good at "Convincing" people to also believe absurd nonsense!
WOW hit em hard !!!!!
Ha ha ha. That guy defending Gibson's bad finsish because it was Nitrocellulose, and spraying Nitro is harder. I have sprayed Nitro myself, and yes it's not the easiest to work with, but nobody was paying me $2800. There is no defence for that guitar at that price. There just isn't.
With respect to the "top cab" comment - it's also implied that as it's "on top" of another cab, it's firing straight at your head... which would inherently make it seem louder/brighter/fizzier/whatever.
I actually mixed 2 V30s with 2 neo creambacks, sure it lacks imagination and honesty I didn't think for myself as I heard the neos here lol, but I'm happy with them in an xy pattern. I had a cheap Marshall cab and swapping the speakers got rid of the annoying fizz coming out of the g12c that came stock.
Honestly that newer Orange Vertical 2x12 that's loaded with NeoCreambacks really got my attention a few years back and am a huge fan of the CreamBack sound now
Glenn, every time I watch one of your videos my brain keeps going back to old Killer Dwarfs tunes from the 80's. Couldn't say why, it's probably the luscious locks! Thanks for the content 🤘🎸
I thought Gibsons had the worst tuning stability. I just bought (and returned) a Music Man Majesty. Made in the USA! Just grabbing the tuning key, WHILE TUNING, was enough to sway the neck about a half step. I had to literally let go of the key after each adjustment to get an accurate read. They making necks out of rubber? Fuck that. I guess I’ll stick to this $700 Schecter.
I have a Marshall MG15 for home and don't totally hate it. I could see why someone wouldn't like it. I'd rate it as slightly better than an Orange at the same size. The built in distortion is okay. It's just for bedroom practice. I'm not recording with it or anything. All of my gain pedals sound awful on it though, unlike an orange. Small Oranges have even worse speakers, IMO. There's no footswitch on it so I just leave it on distortion and turn the guitar's volume knob down for clean. The one I'm using has no built in effects, which I don't feel I'm missing out on. I think it would do okay as baby's first guitar amp as opposed to a little Fender or Orange, unless reverb's your thing.
I don't get the argument that angled cab does not suffer from the standing wave in the room... Standing wave is everywhere and if a standing wave on a specific frequency may be corrected by the cab angle, another one may form because of the angle. Acoustic treatement is the only way to get them under control and when it's done properly, angle or not will not change anything. They may suffer less of early reflection from the floor. Which can be treated easily with rigid fiber glass insulation on the floor in front of the speaker.
I think the reason speakers aren't experimented with as much is because it's not like guitars or amps where you can generally go to a guitar store and experiment. Generally speaking you don't really see guitar shops offer different speakers to try. This leaves you normally comparing clips online which may differ to your experience in the room with the speaker. It's something I'd love to mess with more but as a result it's why I did just follow the crowd and went with V30's to go with my VH4 (which still sounds incredible).
Glenn, you're free to enjoy any type of music you want, including what type of lyrics you enjoy, but saying "if I want to listen to someone talk about their feelings I'll listen to Simon and Garfunkel" is an incredibly narrow minded way of thinking about metal. Metal comes in many forms and there is no one way to make it. From someone who just recently said they like The Hu and claimed "you don't have to have heavy distorted guitars to be metal" I find it a little ironic you believe the lyrics have to be about blood, anger and war to be metal.
I'd have written it off if all you said is that was your personal preference, but your recent videos about how to be a good metal singer say otherwise. You claim as if it were a fact that in order to be a good vocalist you can't write lyrics about your feelings. I find that absolutely incorrect in so many ways. You're preferences are NOT the rules. In fact if metal bands stopped writing about their feelings, metal would be less interesting and less connecting to the listener.
Don't stop listening to what you love, and don't stop having your preferences, those are okay, but I cannot emphasize enough that some of the best metal lyricists write about their feelings. Corey Taylor, Jonathan Davis, Chad Gray, Chester Bennington, Shaun Morgan, the list goes on forever.
And yes, I care about what they have to say, because feelings are powerful. Emotions are powerful. Why would I care about someone's anger any more or less than someone's sadness while listening to music?
Well said
Gibson fans need to wake up. And I say this as an owner of four SG's. Its QUITE clear that Gibson QC is junk. Proof? My brand new SG Standard '61. 2000 bucks. You know what? the finish on it isn't as good as the finish on my Korean made Apocalypse (Schecter). Not even remotely as good. And you also know what? I spent less time doing set up on the Schecter than I did on the SG. Quite a bit less. Fanbois are just that, fanbois.
that video is the gift that keeps on giving
Why the fuck do people keep trying to defend the new mustaine v. U paid over 2k for it. You had to set it up because it wasnt playable out the box, there were paint blemishes, and a crack at the neck joint. All major haggling factors on the resale market. Anybody thats bought and sold used guitars knows this. Or should know that shit.
Mustaine's views on gays is the only thing uglier than the guitar's existence lol
@@WIMPY86 I like to call Mustaine a christian gospel guitarist pretending to be metal.
I would be bullshit if i put my name on a big brand guitar and there were reports of products being sent out like that. Id re negotiate the contract at the least
One of my favorite cabs is a 70s Ampeg V4 4x12 with no name square back speakers. They're super cheap, spund great, and are tank-like. 6505+ and a 70s Hiwatt sound fantastic through it. I also like the Celestion UK g12h80 for a 5e3 combo amp I have (helps it's clean tone get over the drummer and resuces flab when driven hard, came with it and don't wanna change it), and Eminence Tonkers in a 2x12 I wired up for the Hiwatt. Each are pretty thick and clean sounding speakers so I guess that's what I like. Either pine or birch construction for each of them, only the combo is open back.
I put four DV-77s in an old Peavey 412s. Couldn't be happier. It sounds insane.
I worked in contracting and home renovations for a bit. When someone paid us to do a paint job, it didn’t matter if the paint we used was difficult to work with, you had to make it look fucking as close to perfect as possible. If you found out the paint was to hard to work with, you got someone who was better at it than you to do it. If it came out bad, you had to redo it. It didn’t matter how much they paid. There is no excuse for a shit paint job on any guitar over $800, let alone a $2,800 guitar. I’m paying you to do your job correctly.
For as much as people complain about Norlin era Gibsons, my 1971 ES-335 and my 1972 ES-335 both had great nitro finishes right out of the box.
The thing about the Hairline crack on the heel on your V: Probably the guitar left the factory without it. The culprit is the metallic paint. Here goes the shit: Gibson insists on using Nitro. Metal particles and Nitrocelulose DOES NOT GET ALONG the varnish becomes brittle and susceptible to cracks (yes cracks not finish checking) when different woods expand in different rates you got a crack on a neck joint. That is common when you get a metallic finish on any gibson. If they were using Poly the guitar most likely would not have any issues. That's why gold tops have the metallic gold mostly on the top. So here goes my advice of you want a gibson guitar avoid those metallic finishes.
I agree that should not happen on a 3k guitar. But EVERY TIME gibson does something modern and cool, buyers cry about. That includes switching Nitro for poly back in the 80's.
Or buy another brand instead. It is your money.
Lemme :facepalm: myself...Ouch.
@@WhatGrenadeWhere why?
Glenn is right. Gibson is done and their products suck
Hey Glenn, here's an idea for a video. Take a shitty combo amp, like a Line 6 spider, and swap the stock speaker on it to see if it improves the tone. If that doesn't prove to the non believers how important a speaker is to the sound of an electric guitar, I don't know what will. Keep up the good work, and thanks for all you do.
Second this idea. Maybe line it out to a legit 2x12 or 4x12 cab, that'd be really interesting to see. My buddy and I did this once years back with a little Marshall MG15, and while yes it dramatically improved the tone, it's definitely still a shit amp and worthy of the hammer of truth.
Edit: that's not a bag on solid state amps as a whole, there are some truly phenomenal solid states out there, the Marshall Valvestate, Randall RG and RX series, and the entire Orange Crush line coming to mind off the top of my head. For whatever reason, the Marshall MG line, especially the little combo's, were just never very satisfying, which is truly a shame
@@billzade8158 The first gen MG50, and MG100 weren't terrible. The later ones though? Yeesh. I don't know what they did to them, but the later generations were absolute crap. It's a shame, really. I remember shooting them out against all the competitors in that price ranges...it had to be around 2005ish? At the time, the only other options were a Line 6 Spyder, or a Fender digital monstrosity that also sounded like crap. I had the chance to play through some new ones a couple years ago when I worked at a music store. Trash. Utter garbage. Again, I don't know what they did to them, but they ruined that line of amplifiers!
@Ryan O, dude completely agreed. I started playing in the 90's and remember the struggle with finding good practice amps that didn't completely suck. Internet reviews weren't really a thing yet, so all we had to go off of were magazines and the word of the store clerk. Crate was HUGE until Line 6 came on the scene with the Pod and the Spyder! I couldn't afford the big tube Marshall JCM 900 that I just "needed", and that's honestly how I got into Randall's. Definitely worth it, they just sounded so cool, especially when you're just 16 and don't know that you're supposed to hate Solid State.
@@billzade8158 Hey, Dimebag played Randall, so who the hell are we to question it? lol Ok...I'm gonna have a very controversial hot take here...but...a good analog solid state is better than a shitty tube amp... **ducks for cover** **runs and hides**
Completely agreed man.
Brand loyalty is the apex of marketing and makes no sense when it comes to you as a customer. Use what works for you, regardless of whose name is on it, and don’t be afraid to step away from a brand that isn’t fulfilling those needs. So many people are willing to stay loyal to a brand they’re not happy with just because of the name attached to the product.
"My video was banned from music television, cause you could see my junk... through my jumpsuit" - Dr. Rockso
I've got literally thousands of IRs and I always come back to a V30. There's a reason lots of people use it. It just works. I've always been the contrarian but when shit works it works. I thought for myself, tried a bunch of different things in a mix, and in a blind test I always chose the V30. To each their own though.
That's the beauty of guitar gear these days. There's a sht ton of high quality choices to be had. Cool AF you found what works for you.
I've got a couple of sweet Gibson's that I won't be getting rid of anytime soon. That said, if you want an example of "American quality" when it comes to electric guitars, take a look at EBMM.