A Quote by Romy Madley Croft
My guitar sound pretty much came from discovering there was reverb on my little practice amp and really loving the mood it created.
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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.
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.
It's not about how loud you turn the amp up. That's not what makes it sound big. What makes it sound big is fooling around with different delays and reverb settings.
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.
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.
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.
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.
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 always wrote the music first, and the music gave me the mood and the lyrics were pretty much put in to give you a map, where that mood came from and where it's going. But my first love was really the music itself, and I guess I've gone back to that.
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.
I think I could walk into any music shop anywhere and with a guitar off the rack, a couple of basic pedals and an amp I could sound just like me. There's no devices, customized or otherwise, that give me my sound.
I had the question asked of me before, 'What do you like better: singing or playing guitar?' If I'm gonna be totally truthful, if that microphone's in my hand, I'm loving it. When the guitar's in my hand, I'm a little nervous, but I'm still loving it.
A lot of the time, in pop music especially, there's reverb. And the reason is that reverb makes vocals sound better 99% of the time. It makes the notes ring out.
If I didn't have the reverb I'd be an unhappy camper. So I want reverb in my monitor mix. Reverb and a good level in my monitor and I'm all set.
If I'm going to buy a new guitar, I take it to a good 'hot' room, like a tiled bathroom, and listen to the wood. If tone comes off the neck, you can bet it's gonna sound beautiful through an amp
I'm so used to knowing what to do with an electric guitar and amplifier, but with an acoustic guitar, it's different, but I still have an amp and a whole bunch of pedals.
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