A Quote by Stevie Ray Vaughan
Your sound is in your hands as much as anything. It's the way you pick, and the way you hold the guitar, more than it is the amp or the guitar you use.
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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.
There's just certain styles of playing that you do play in your own way. Maybe it's in the way your fingers bend, for all I know. And so whenever you pick up the guitar it's not so much the sound of the instrument itself, it's like the ting that you add onto it-the attitude.
More than any other instrument, the relationship between an acoustic guitar and a microphone is super-important. The kind of mics that you use and your placement of the mics to the guitar can radically alter your sound.
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.
Like my best friend, I asked for drums for Christmas, and got them. But when he moved on to guitar, I realized two things: (1) guitar is a much more expressive instrument, (2) way more girls pay attention to guitar players than to drummers.
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.
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.
Paint pictures with sound. First, find your white-the deepest, roundest sound you can play on the guitar. Then, find your black-which is the most extreme tonal difference from white you can play. Now, just pick the note where you've got white, pick it where you've got black, and then find all those colors in between. Get those colors down, and you'll be able to express almost any emotion on the guitar.?
For me, the tabletop is an easy way to eliminate the possibilities of chords, modes, melodies, and harmonies. It kind of confines you to this other sound sphere. I know anyone facing this kind of dilemma could always just find another instrument more suitable to their needs, such as a sampler or synthesizer, but I figured I have a guitar and amp so why not just use them?
My vocation is more in composition really than anything else - building up harmonies using the guitar, orchestrating the guitar like an army, a guitar army.
I think the kicks in Wing Chun are enough. It´s much easier to use your hands than to use your feet. Your hand is able to reach your opponent long before your foot. Why take the long way to attack (circle), when there is a much more direct method of attack? If you are using your hands, then your opponent can´t see a kick coming if you have to use it. When you teach Kung Fu, you can fool a lot of people, but not yourself. You can make like a movie and do many complicated movements and kicks, but you only fool yourself as to whether that would work in a real situation of life and death.
We didn't have much money when I was younger, so I had to collect Coke bottles and cash them in and get a paper route to afford a guitar. That guitar from Sears came with a case and an amp and everything all in one. It was really cool.
My guitar sound pretty much came from discovering there was reverb on my little practice amp and really loving the mood it created.
Basically, I try to treat the electric guitar like an acoustic guitar. What you have to do is attack the instrument and know that your feelings aren't controlled by the controls of your guitar.
Treat each guitar track-and each song-completely different. For example, if I'm using a certain amp and guitar on one track, I'll deliberately use something else for the next tune or overdub.
I played guitar all my life, all the way through the Yardbirds, but I knew that for me, this was going to be a guitar vehicle, because that's what I wanted it to be. There is no way I would play guitar like a tour de force like I did in Led Zeppelin.
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