A Quote by Kirk Hammett
When I got my first Marshall amp, it was so empowering. No one ever forgets their first Marshall amp if you're a guitar player pursuing a big powerful sound. I mean, no one ever forgets their first Marshall amp.
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It's fun, but the fun is where it always was. I mean, it's still fun to strap on my Les Paul in the basement and turn up the Marshall amp. I'm still 15. I still enjoy that as much as I ever did.
I like the sound of a Silvertone amp for myself. It's kind of cleaner guitar sounds when necessary, maybe a little less metal-sounding. But it really doesn't matter what amp I play through; it's really the way I voice chords and play guitar, how I strike the strings.
My stepfather had an electric guitar. He went to his pawn store one day to get a guitar and an amp, and I couldn't understand what I was hearing. All afternoon, I just sat against the amp and let it reverberate through me. Something must have stuck.
The Marshall guitar amplifier doesn't just get louder when you turn it up. It distorts the sound to produce a whole range of new harmonics, effectively turning a plucked string instrument into a bowed one. A responsible designer might try to overcome this limitation - probably the engineers at Marshall tried, too. But that sound became the sound of, among others, Jimi Hendrix. That sound is called electric guitar.
Yeah. I started using them [SDD-3000s] shortly after first working with Edge on The Unforgettable Fire. Basically, I stole his sound. It wasn't a complicated rig: just a guitar he liked through a Korg SDD-3000 digital delay into a Vox. Three components, mono - that's it. The great thing about the Korgs is its three-position level switch, which lets you hit the amp with about 10 extra dB. It's more overdriven than if you just plugged the guitar straight into the amp, even when it's on bypass. But a lot of the guitar sounds on Achtung Baby were recorded through a Korg A3 effects processor.
When I was 14 years old, I had the opportunity to meet Buddy Holly. I asked him how he got that big, powerful sound out of his guitar amp. He said, 'I blew a speaker and decided not to get it fixed.'
I keep changing my stuff. I used to play through a Marshall JCM800, and then I also had a Randy Rhoads signature amp. So before I was playing EVH, I was playing an ODB pedal. I still have my Dunlop Jerry Cantrell wah pedal because I love that.
George Alessandro in New Jersey builds these great amplifiers. He was working on my Super Reverbs for years and he's kind of a vintage Marshall specialist. He built this amp and it's kind of a cross between a Dumble and a Super Reverb but a little juiced up with a little more power.
I remember my first moment onstage was at a 4-H contest at the Pratville Junior High School cafeteria auditorium around 1965. I had my first electric, a Silvertone with the amp built into the case, and I won first prize.
When I'm at home or in the studio, I have a 1963 Martin. It's a D-28, and I love that guitar. I write on that guitar, and it's the first guitar that I put a pickup in and ran through an amplifier, splitting the signal to the amplifier and a DI or in the studio mic'ing it traditionally and putting an amp in the other room.
If you have a great-sounding guitar that's a quality instrument and a good amp, and you know how to make the guitar talk, that's the key. It starts with the guitar and knowing what it should sound and feel like.
It's easy to get a good amp that might not be the right amp for you. When you go to a music store, really turn the amps on and turn 'em up - hopefully they'll let you - and work through the sounds. This is an important decision, so take your time and be methodical.
In my very first NFL game, I completed my first pass to Hall of Fame running back Marshall Faulk.
The first amp I had back in the '50s was a small Fender.
My guitar sound pretty much came from discovering there was reverb on my little practice amp and really loving the mood it created.
The first acting part I ever got was a guest spot on 'Chicago Hope' playing a security guard. I thought, 'Oh, this is going to be cool.' But a little bit later, I got a vague part on this short-lived show called 'Marshall Law' with Arsenio Hall and Sammo Hung. It was a poor man's 'Rush Hour.'
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