Guitarists talking about their gear (1 Viewer)

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Anthony

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always interesting...

Here's Steve Rothery from Marillion giving a rare insight into his sound.

To get the sounds of the albums up to TSE buy a maple necked strat (changing the pick ups to EMG SA's). The tremelo unit I use is a kahler. It's a lot more important to find a guitar that's been made with a good piece of wood than one with any specific name on the headstock. Try as many guitars as possible until you find one that feels right and resonates well. The early vintage Japanese Squiers are unusually consistent in terms of build quality. On the more recent albums I use Blade guitars (changing the pick ups to Lindsey Fralin vintage)these have a more natural sound which compliment the Groove tubes Trio pre ampand Dual 75 power amp that I use most of the time these days.

Hope that helps.

Steve
 

therealjohnny

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Facinating analysis*of Paul Burlisons, guitarist with Johnny Burnettes Rock And Roll Trio, playing. This guy goes to great lengths to prove his theory that it is actually Grady Martin playing on the recordings.



warning: your opinions on what is facinating may differ to mine
 
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Anthony

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Anthony

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therealjohnny

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Dave Davies lists and discusses all the guitars he has used over his career

http://www.davedavies.com/guitars/guitars2.htm

Gibson Flying V Used on the TV appearance on 'Shindig' in the mid-60's. It's a slightly different shape from the Flying V because it was in fact a prototype V. The story behind it was, I used to play a Guild custom built guitar and the airline lost it on our first American tour in '64 or '65. In those days I used to only carry one guitar around and I had to get a replacement quick. I went into a store and they didn't have anything I liked. I saw this dusty old guitar case and I said 'What have you got in there?' he said 'Oh, that's just some silly old guitar.' He got it out and I bought it for about $60.


Elpico Amp (The 'Green Amp') - 1962 I bought this in a radio spares shop in Muswell Hill in 1962. I couldn't afford a Watkins Dominator or a bigger posher amp! I went home and plugged the Elpico loudspeaker's output leads into the input of the AC 30, in effect using the smaller amp as kind of a pre-amp. It sounded great, but I wasn't satisfied. The crowning glory of my simple yet effective experiment was to slash the speaker cone of the Elpico with a razor blade so that the material, although now shredded, still remained intact with the outer side of the cone. As it vibrated it produced a distorted and jagged roar. In fact, the original set-up was so crude that the main amp's hum was almost as loud as the sound I had created. A sound was born, but I didn't know it at the time. Immediately I started using my set-up in live shows that I performed with Ray and our band, in the time leading up to the creation of the Kinks. Ironically, it was that sound, which we used on 'You Really Got Me,' that got the Kinks our first hit
 

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