I've got a FATSO I'd sell for $1500 plus shipping.

Yeah numberthirty is right, other than recording and very basic editing I would just rather not use a particular effect if it meant spending more time on the computer than I had to. It’s just a personal preference and it totally makes more sense to use plug-ins and stuff (and anything I ever release will eventually have them anyways), but music is supposed to be my time away from the computer.

MoreSpaceEcho wrote: Sat Aug 10, 2024 11:54 am I've got a FATSO I'd sell for $1500 plus shipping.

Oh, no shit? I’ve got finals this week and have yet to start listing things to sell, but yeah if you’re not in a hurry I’m interested. Please don’t wait on me if you’ve got other offers though!

The one good thing about going "Hardware..." in this instance?

No matter how much you want to plug "Resale Value..." into the equation?

You might as well take a minute, and think over if anyone except for you is actually in the market for the "Hardware..." version of this versus all of the incredibly solid "Software..." options out there.

Making an exception for the Anamod unit(which is North of three grand...), any decent resale value is probably very unlikely.

Dunno about that, I think good quality stuff still tends to hold value pretty well.

Anyway, llllllllllllllllllll I'm not in a hurry, just let me know.

Pro audio stuff can be kind of crazy. It depends on what it is of course, but some things have such a good resale value that the margins narrow enough to where there’s no point to buying used. Look up what used Audioscape goes sells for vs new for an example. Some pedals are like that too.

There are also plenty of examples of low-volume / boutique manufacturers with long lead times whose stuff sells over retail on the secondary market. Certainly true in the guitar pedal world, but also true for some niche pro audio stuff - overstayer, to name but one.

mdc wrote: Sun Aug 11, 2024 7:13 am There are also plenty of examples of low-volume / boutique manufacturers with long lead times whose stuff sells over retail on the secondary market. Certainly true in the guitar pedal world, but also true for some niche pro audio stuff - overstayer, to name but one.

I get a chuckle when I see people trying to sell my stuff for well over what they paid for it. I dont think i'm a cachet builder like that, but maybe some folks do. I dont know what price this actually sold for, but a year prior I made it for $100 less.

The D*A*M fuzz stuff IS like that though.....super boutique and the resale value is almost always much more than it originally cost (which wasnt cheap).

Dr Tony Balls wrote: Mon Aug 12, 2024 8:47 am
The D*A*M fuzz stuff IS like that though.....super boutique and the resale value is almost always much more than it originally cost (which wasnt cheap).

I've built so many DAM Meatheads, they are like 12 components and the board is so small I used to throw them in the same box with a Tube Sound Fuzz with a switch to choose which was first in order. I should build one again cause I really liked it.

My current amp rig involves two Quilters (Aviator Cub and BlockDock12HD/Pro Block). They sound pretty good and can get loud and I’ve used some variation of the two live for the last couple of years.

Yesterday, FKCN was in the studio where I played through a Twin Reverb and a custom Friedman head and it has induced a worse GAS attack than you’d get from wilding out at Taco Bell, and I feel incepted to turn in my Solid State Amp Loyalist card, sell the Quilters and go tube.

Am I insane for this? Is trading out weight savings and decent tone for a possibly heavier load but incredible tone a wise choice?

(If I were to go down this rabbit hole, I’m thinking getting a vertical 2x12 cab and something single-channel like a Traynor YBA head, then using something like this Morley Volume Commander to get my cleaner tones.)

There’s a lot to contend with in regard to tube amps: portability, power, the size of the rooms you play, how much it matters with whatever fucked up effects pedal situation is going on, what the drummer is doing, all that. PA situation. Repairs too, but unless you end up with a total fucking dog I think that part is kind of overstated. At least you can have them fixed.

That being said, I have never plugged into a Quilter and thought that it was beautiful. You never hear about them being beautiful, they’re always fine or good enough. I get that not everybody is an amp guy but a good tube amp is beautiful. Traynors are for sure. A good solid state amp is beautiful. I just wouldn’t expect any Quilter to do anything but sound like it does until it breaks.

There are a million old men who traded in their vintage Fenders for Peaveys, then they traded in their Peaveys for whatever, then there were Crate Powerblocks, their Crate Powerblocks for Tiny Terrors, plus dalliances with Roland and Line 6 modelers, whatever. Quilter is having its day like everything else; but where does that stuff ultimately end up but the garbage? I have Gibson amps from the 50s that I can probably pass on to my kid if she’s so inclined, but can you do that with a Quilter or any of that stuff? All that stuff matters to me, but if it doesn’t to you I wouldn’t worry about the Traynor.

I wouldn’t recommend anybody run out and grab a $3000 vintage amp but I still think it’s crazy that two new Quilter can run close to $1000 without a cab though.