Check out the recent GEARCAST show on Kyle Bull’s YouTube channel where I had a great discussion about all things related to guitar tone and music.
In the world of boutique fuzz pedal effects, Analog Man Mike Piera’s creations are among the most well-known and respected due to his attention to detail. His Sun Face fuzz is his most popular and based on the original Arbiter England Fuzz Face which was first introduced in 1966, but unlike the original which was built with a range of poorly matched components and haphazard quality control, Piera’s are built like finely tuned machines with every component being carefully measured and tested. Fuzz connoisseurs like Eric Johnson have reportedly gone through hundreds of Face Faces until finding just the right one. In any fuzz based around germanium transistors, proper matching, leakage testing, and biasing are all critical in order to get the most musical and harmonically rich fuzz.
Jimi Hendrix reaches the end of an already incendiary set at the 1967 Monterey International Pop Festival, when he takes off his black Stratocaster, and straps on another Strat. This formerly red Strat now features a hand-painted white base and personal designs applied with nail polish by the young guitarist earlier in the day. As he plugs in, strumming it to get in tune, he laughs and makes a seemingly offhand remark to the euphoric crowd about sacrificing “something I love,” before summoning a wall of feedback to start the set-closing “Wild Thing.” Unknown to everyone but Jimi, the Strat is now an offering to the audience and his destiny, the guitar a legendary piece, and then pieces, of modern history.
HIRED GUN opens for one night only in theaters nationwide TODAY, Thursday June 29, 2017. It is positioned as the quintessential summer film, a rock documentary feature about the stars behind the stars. The film features session and touring musicians that are hired by well-established and famous bands and artists from Billy Joel to Pink to Metallica, and KISS, among many others.
These hired guns — some household names, some not — are undeniable masters of their craft who talk about the art of creating historic rock ‘n roll music of our time. “Hired Gun” is a unique motion picture with the pedigree of winning numerous festivals and making an impact with print editors and the rock community in advance of its June 29th US premiere.
At LegendaryTones we certainly love discussing gear, but make no mistake, the gear is only part of the equation when it comes to tone and being a better player. A great player, with excellent technique and one who has the knowledge to apply musical principles, will not only be more enjoyable to listen to, but also have better overall tone. There certainly is truth to the adage, at least to some degree that “tone is in the fingers.”
One such musician who has spent years honing his craft is Dave Weiner (www.daveweiner.com). Dave runs GUITOPIA, on online guitar education website that is packed full of resources designed to make you a better player. Dave’s philosophy is to to teach in ways that focus on effectiveness and efficiency to maximize results. He focuses on creativity and opening up ways for players to develop their own styles. He does not, however, rely on tricks or gimmicks stating that players will become experienced, pro-level guitarists in a short period of time. At the end of the day, it still takes work and practice and what you get out of it is what you put into it.
Richard Coibion was hit by the effects building bug back in 2001. With a background and education in electronics engineering and having a steady career in IT, Coibion dabbled in modifying fuzz circuits and tuned them to his liking. He hadn’t ever considered making a career out of building effects however.
We’re thankful for YOU, our readers! And to show our gratitude, we’re giving away one of Robert Keeley’s most in-demand new releases, the Keeley Oxblood overdrive pedal. All you need to do to enter is insert a comment below with a topic you’d like us to research and write about next year! It could be anything from a review request for a specific product, a tone tip or question, a profile of a favorite artist or an interview, etc. We’ll select a winner randomly on DECEMBER 18, 2015! Good luck and wish you all a wonderful holiday season!
David Gilmour holds a special place in the heart of many guitarists, let alone among the fans of Pink Floyd’s music. By sheer virtue of his expressive playing and songwriting, he should be mentioned in the same breath as Clapton, Page, Townshend or Beck. While he may not be the technical virtuoso, he has clearly defined his own sound and style, one that is unique and beautiful. From his early forays into psychedelia to his solo albums, numerous guest appearances and the entire Pink Floyd canon, his ability to bring his own voice to the music stands as a remarkable achievement. With the recent release of a live solo DVD and continuing interest in the Floyd catalog, the Gilmour phenomenon continues to delight guitarists and music fans alike.
Far from being a complete dissertation of Gilmour’s sound and style, this article strives to paint a broad picture of the tolls used and offer some insight into the David Gilmour phenomenon. As noted by The Wall producer/collaborator Bob Ezrin, “…with Gilmour, equipment is secondary to touch. You can give him a ukulele and he’ll make it sound like a Stradivarius. He’s truly got the best set of hands with which I have ever worked.”
If Eric Clapton had decided to lie down his guitar and never play another note, his legendary stature in the history of popular music would still be secure. At the ripe old age of 23, he had lit the pop music world on fire with the Bluesbreakers and had finished playing with the first supergroup, Cream. He topped critic’s polls, had platinum albums and a huge house in the English countryside and everyone wanting to work with him. But at this point, he was trying to elude the spotlight and continue his musical journey out from under the microscope. The grueling pace of the Cream touring and recording had left him burnt out, and by the end of 1968, Eric Clapton was ready for a change.
- MXR e.q. set up as midboost (* only occasionally used depending on the guitar)
- Marshall plexi Super Lead, unmodified, although simple modifications such as a cascaded input stage or added gain through capacitor/resistor exchanges may have been made.
- Ohmite VARIAC set to approximately 90 Volts A/C
- Dummy Load
- MXR Flanger
- MXR Phase 90 (** This was sometimes put in front of the amp instead of after the dummy load)
- Echoplex EP3
- (***Equalization sometimes added prior to power amp)
- H & H power amp
- Various Marshall cabinets (sometimes two, sometimes four) used with various Celestion and JBL speakers