I had a studio date yesterday. 70's rock. The project leader had a mid 70's 50-watt red Plexi with a 1959 cab for me. I did the parts, but it sounded "not gritty enough", I was told. "You don't sound like YOU MEAN IT" To make a very long story short, after he made me remake the parts while HE was turning the knobs in the amp, he couldn't get "it". Then I asked him if I could try with a modeler. "No way in Hell it'll work if the plexi didn't do it". What do you have to lose, man? He reluctantly said "Go ahead, but don't make waste my time or I won't pay you". And he went to grab a bite with the rest of the band. At this point, the sound engineer looked funny at me when I took out a Behringer V-Amp. "Are you sure, man?". "Let's try", I've said. I had a plexi sound programmed in 2006 or so, so I tweaked it a little bit through their wonderful Genelec system and started playing the parts. "They sound a lot better, but a bit "artificial", man; are you SURE that's what you wanna do?" "Yeah, just run the track through a parametric EQ, shaving 'bout 2db at 2.4K with a pretty narrow Q to warm'em up", I said. While he was doing just that, the crew came back from the restaurant and the project leader heard the new tracks. "Yeah! That's what I was talking about!" "NOW things are REALLY happening". "You (the sound engineer) are a bloody GENIUS!" "You (me) can go eat now, I'll take it from here". I got paid, the sound engineer will get more work from this project leader, and I'll get called again, as I could "nail it like it should be". Not the sound engineer or me told him what was actually used to make the tracks happen... but I'll deal with this little detail NEXT TIME... As I always say: it's NOT the hammer, it's how you use it. And of course, letting the project leader getting all the credit! That's showbiz 101 for ya, folks!