Having played electric guitar for 30 years and recorded about ten albums, I've learned a thing or two on the subject... First, when you're playing, you can hea

Having played electric guitar for 30 years and recorded about ten albums, I've learned a thing or two on the subject... First, when you're playing, you can hear incredibly tiny details that no one else can hear. The other day, I spent a half hour choosing which of four different variants of Dunlop Jazz III picks I liked best. (I'm a pick nerd and I'm always fussing over them. My drummer can hear when I change picks, but no one else can.) Second, those differences are lost in the big picture. I have recordings of my own playing I love, where I couldn't tell you what guitar or amp I was using without looking at my notes. Third, playing in a full band is a fundamentally different tonal experience than playing by yourself. Again with the subtleties. A lot of the subtleties that make gear nerding fun actually make for poor tone in a band context. More importantly, gear that sounds bad by itself can be magical in a band context. Fourth, guitar playing is an incredibly physical and sensual experience. You feel it in your bones. Part of the fun of big tube amps is "getting your hair blown back", feeling the vibration literally shaking your body. It's a blast (motorcycles have the same physical presence). For me at least, it means I don't like guitars that are too easy to play - I want it to fight back and make me work for my tone. On the subject of tube amps versus solid state modeling (Sansamp, etc) versus digital modeling... remember, not only is the guitar a physical thing, it's a very sensitive and responsive thing. The real problem with digital modeling imho is getting the response right, that precious moment when the pick leaves the string. This gets worse when the subtleties of harmonic distortion come into play - clean and mildly overdriven sounds (there's no such thing as really "clean" electric guitar). What's worked for me in recording situations is to rely on analog pedals for the attack, and track into really neutral digital models. It's less hassle than miking amps, for sure, and the results can be very good. Tubes are great for power more than drive. Transistors and op-amps have been part of the overdriven sound for almost as long as electric guitars have been around - starting with 1960s fuzz. Solid state amps tend to fall down delivering live power in a band context, although modern Class H switching amp technology (basically digital amps heterodyning the signal several octaves outside the range of hearing, so digital distortion artifacts are inaudible) is getting brilliant. Me, I've more or less quit using tube amps, due to reliability issues. My beautiful Mesa Mark I and my monstrous VHT Pittbull 45 are both sitting with blown power transformers. I use a vintage Yamaha solid-state jazz amp and pedals, and I'm happy. Oh, and studio recording? Anyone who demands "realism" from their hi-fi gear has no idea how recording is done!