@Trent Cohle Shawn used them as power amps only, now the Gjika, Bob Gjika talks about the specs on YouTube. Shawn got most of his sound from his 2 Peavy Profex II and even distortion pedals his main thing was it had to have a tone knob. Very cool field to get into. I can tell you this, 70% of sound shaping comes from EQ itself, even a wah is just changing EQ parameters. Someone else that I grew up with from memphis that was also very close to Shawn that just has a killer tone is Eric Gales! He actually likes the solid state power amp which was Shawns preference to because you can get it very loud and stay clean without it breaking. So most guitar players use gain staging, but Shawn would do it through compression and he delays/ reverbs. Keep in mind Reverb is a Delay ;)

@Trent Cohle I use to teach at and manage a very small store called Xanadu and it was also a book store and he was in hog heaven in there as they specialized older out of print literature.

About the Artwork... Symphony of the Damned: Inside Hieronymus Bosch’s "Musical Hell" Few works of art capture the macabre, wildly imaginative depths of the human psyche quite like The Garden of Earthly Delights by Early Netherlandish master Hieronymus Bosch (painted c. 1490–1500). While the triptych's central panel is famous for its surreal landscapes and utopian hedonism, its right-hand panel—universally known as "Hell" or "Musical Hell"—veers into pure, bizarre nightmare fuel. The specific detail featured in your print is one of Bosch’s most brilliant, biting visual satires: the punishment of the musicians. Key Highlights of the Scene - Instruments as Torture Devices: Bosch transforms ordinary medieval instruments into colossal, lethal machinery. A towering harp and a massive lute no longer make sweet melodies; instead, they serve as instruments of agonizing physical torment. - The Fate of the Virtuoso: In the center of your image, a human soul is brutally stretched across the strings of the giant harp, physically trapped by the very instrument of their earthly sins. - The "Music of the Flesh": During the Northern Renaissance, secular music, dance, and tavern songs were frequently viewed by moralists as a gateway to lust and sin. Bosch takes this theological warning literally, condemning musicians and listeners to an eternity where their beloved craft becomes their executioner. - A Surreal Supporting Cast: Look closely at the margins of the panel, and you will find grotesque, hybrid demons tormenting the damned. Figures are forced to read musical notes tattooed across a sinner's rear end, while other bizarre creatures—such as a knight trapped inside a giant ear or bizarre animal-human hybrids—preside over the chaos. Legacy and Impact Long before surrealism became an official art movement in the 20th century, Bosch was painting psychological horror and dark fantasy that still feels shocking today. His ability to blend razor-sharp moral commentary with haunting, surreal imagery has inspired centuries of artists, writers, and musicians.

@Bryan R yes and the one with Eric Johnson! I really liked that project I believe it was Scoffield and Buckethead and Les Claypool or maybe Scoffield was playing the same festival as Buckethead and Claypool? It was Bucket of Bernie Brains

@Chris Alexander I still want to see Steve Vai face Danielson at the Valley karate tournament