Quotes About Amplifier

When I got my first Marshall amp, it was so empowering. No one ever forgets their first Marshall amp if you're a guitar player pursuing a big powerful sound. I mean, no one ever forgets their first Marshall amp.

About the only thing that I'll probably end up doing is I made this amplifier with Peavey. It's in the manufacturing stages right now, and there are a lot of orders that we just got for it.

Even more alarming were persistent rumors that someone had smuggled an Emotion Amplifier on board 'Mentor'. The so-called joy machines were banned on all planets, except under strict medical control; but there would always be people to whom reality was not good enough, and who would want to try something better.

The song 'Hello There' was written because we never got a soundcheck. 'Hello There' was our soundcheck.

I went to my friend's house one day, and he had an electric guitar he had just bought with a tiny little amp. I turned the volume up to 10 and I hit one chord, and I said, I'm in love.

It all begins with the initial tone coming from the cabinet, but EQ at the board is very important.

The only way you can get Scotty Moore's tone is with a big hollowbody guitar.

What I noticed, in the short time I've been in Chickenfoot, we wound up doing a tour and a live DVD with basically that scoop sound. I was using OD2 for that entire tour. When we went out on this new tour and made the new record, I used the amp in an entirely different way. It was already modified.

When I'm at home or in the studio, I have a 1963 Martin. It's a D-28, and I love that guitar. I write on that guitar, and it's the first guitar that I put a pickup in and ran through an amplifier, splitting the signal to the amplifier and a DI or in the studio mic'ing it traditionally and putting an amp in the other room.

I had redesigned my entire amplifier system for this tour because airlines are very strict now.

I started many years ago using the Boss DS-1 and then graduated to the Satchurator and putting that right into that clean channel, and that sounds great. I've done many tours with that setup. Then we took the next two channels that were part of the JVM sound in channel 1 and made them a little more subtle.

I keep changing my stuff. I used to play through a Marshall JCM800, and then I also had a Randy Rhoads signature amp. So before I was playing EVH, I was playing an ODB pedal. I still have my Dunlop Jerry Cantrell wah pedal because I love that.

In the past, I have not been able to hear myself. I play with feeling so I need to hear what is coming out of the amplifier to inspire me; I don't just play mechanically.

Money is an amplifier. It makes good people better and bad people worse by creating opportunities they wouldn't have had without it.

I've got a Fender Concert amp from the '60s, the one Joe Osborn used. He played his bass through it.

My first rock band was called Mike and the Majestics. I was about twelve, and my older sister Kathy was the manager. There were three of us: me and a friend on guitars and a drummer. We were young, but we played for a lot of fraternity parties, plugging both guitars and a microphone into one little amplifier.

My first killer amp was a Sunn Beta Lead. It was solid-state, but that Sunn was incredibly loud. I used to say to my friends, 'Hey, check it out. It's only on two.'

I like to load up on mescaline and turn my amplifier up to 110 decibels for a taste of White Rabbit while the sun comes up on the snow-peaks along the Continental Divide. Which is not entirely the point. The world is full of places where a man can run wild on drugs and loud music and firepower -- but not for long.

It takes only one bad amp to turn your ears to oatmeal: That's how old hippies became Yanni fans.

The Marshall guitar amplifier doesn't just get louder when you turn it up. It distorts the sound to produce a whole range of new harmonics, effectively turning a plucked string instrument into a bowed one.

He had a great sound system - but he didn't know much about fidelity.

You can't get a degree at Tisch College. It serves as an amplifier for what your focus is. If you're an engineer, you can take courses on understanding how to move a river in Africa to bring hydroelectric power to a community.

Everything Paul Kossoff did came from his fingers and went right into the amp. He was his own effects unit.

I play with feeling so I need to hear what is coming out of the amplifier to inspire me; I don't just play mechanically. I need to hear what I am doing in order to create the next note. If I don't hear it then I can't feed myself.