Gear Secrets of the Guitar Legends: How to Sound Like Your Favorite Players

ISBN 13: 9780879307516
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A lot of them were auctioned by him in Heritage Auctions. Polytone is one of my favorite sounds for guitar and works great in the studio. I can hear more and dig in more with the.

I use medium picks. I do that because it gives me much more snap when the pick comes off the string. Gabor Szabo was a Hungarian guitarist who mixed jazz, rock, and Hungarian music. The D is built with the finest tonewoods and is one of the most decorated Martin guitars More then pieces of pearl are used on each guitar. He played with the round side of the pick. His sound, which is produced by a very basic setup, can be described as natural, unpolished, silky, and rich.

Grant Green played a Gibson ES until the mids. The guitar had Ps single coil elements instead of the Humbuckers of the more popular Gibson ES model. According to his son, he loved the guitar so much that he would spend days without putting it down.

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Both guitars have simple designs that will allow a beginner the opportunity to experiment with different sounds without too much complexity. I would tread carefully at that price point, as really cheap guitars often end up being more trouble that they're worth. Blues Rock, Rock and Play Along. I highly recommend them. Item information Condition:. Jim Hall is also responsible for launching the career of Canadian jazz guitarist Ed Bickert by recommending him to Paul Desmond for his Quartet. The most popular use of a tube screamer is to push a tube amp to make it overdrive more.

The neck shape and size is just right for him, allowing smooth playing. He also describes the tone as funky and pretty at the same time. It belonged to his collection for many years, until he sold it to guitar builder Rudy Pensa, who sold it in his shop. According to George Benson, Grant Green used to put the bass and treble dials of his amps all the way down, while maximizing the mids.

The guitar originally had a single P90 pickup, but Jim later replaced it with a humbucker. Jim plays it with the tone-knob rolled back. The electric one is built specifically for him.

After 4 years of prototyping, the guitar got approved by Jim, and the Sadowsky Jim Hall signature model was born. The prototypes of the guitar were refined by reducing the thickness of the top and back. I used a Gibson, I actually remember the number, it was a GA I love the sound of tube amps in general.

I liked the way it looked, like an old radio. Jim used this amp for several years, but it eventually became too fragile to take on the road. The top string is. I usually use a. Jim Hall used picks with varied thickness, depending on what he was playing. For rhythmic parts, he would use a thin pick.

To play melodies, he used a medium pick, and for ballads, he used heavey picks. He has a very pure, acoustic-type guitar sound. Not everyone is a fan of this sound though, sometimes it is described as brittle and too bright. Joe Pass used to play a Fender Jazzmaster during his stay at the Synanon Center in California, where he tried to kick drugs. The Fender Jazzmaster was first introduced in and was originally marketed at jazz guitarists.

In the picture below, Joe Pass is playing a Fender Jaguar, recognizable by the single-coil pickups. He got one for his birthday from a guy named Mike Peak in , who saw Joe Pass playing jazz on a solid body the Fender Jazzmaster. The guitar had one pickup and was built specifically for Joe.

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The Ibanez JP20 was discontinued in and suffers a reputation for a thin tone due to its pickup placement too much in the middle, not close enough to the neck. Joe Pass used a medium-thin gauge pick, not soft, but firm. In an interview, he says he always uses the same kind of pick, broken in two.

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He experiments a lot with his sound, adding new guitar effects to his extensive pedalboard regularly. John Scofield made this Gibson EScopy famous. It has been his main guitar since and has played it for over 3 decades. According to John Scofield, the original Ibanez AS guitars from the early 80s were some of the best semi-acoustic electric guitars ever made. He uses the treble element with the highs rolled off. I actually have two Ibanez ASs, two old ones. I changed the pickups on one of them and put some Voodoo Humbuckers on.

But the main one I play still has the original pickups, which are, like, the loudest pickups known to man. The guy I sold it to gave it to another guy in Connecticut, who kept it all those years before moving to Texas.

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He came to a show I was doing in Austin a few years ago, and I played it. It was in good shape — had the same case and everything.

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I remembered the dents I put in that case. He asked if I wanted to buy it, but wanted a lot of money. Well, last year, the guy got back to me and made another offer. So I bought my first guitar — I own it again! I had it set up, and it sounds killer! He said there was a good one at Sam Ash, so I went up there and played it for a while. I was totally embarrassed to buy it because it has a fake cigarette burn in it and screws that have been rusted and two kinds of rubbed-off finish.

John Scofield uses the old Vox AC30 models as well as the re-issues until One of them is a reissue from the late Nineties that hr modded, changing one of the speakers. I like the reissues up until about and through the 90s. I like those reissues. John Scofield has two old Sundown amps, each one with a inch speaker. John Scofield has a large effects board, but only uses them occasionally to create specific sounds.

His pedalboard is custom-made by pedalboards. Another pedalboard is done by Mason Marangella at Vertex. Scofield uses it to fatten up his sound. He uses just a little bit of distortion, but with the tone filter knob all the way up. He has 6 or 7 of the older RATs. John uses the Ibanez CS9 chorus pedal with both controls cranked open to get a typical Leslie effect. Kenny Burrell is a legendary jazz guitar player who is known for his recordings on the Blue Note label.

His main influences are Charlie Christian and Django Reinhardt. They did it reluctantly. I played that guitar for a while, but it was too heavy. I prefer the Super model with two humbuckers and a Florentine cutaway. With that cutaway, I can get my whole hand up there. He played on s of gold records and is proficient in a wide variety of styles, going from pop to blues to bebop. He did the majority of his sessions and solo recordings on his The has Schaller tuners, a graphite nut, a KTS titanium bridge, and two Gibson 57 classic pickups. Larry has a second Gibson ES, which was given to him by a fan.

This is the amp Larry Carlton used for his Steely Dan sessions. So yeah, this has been clean and sounds wonderful. Larry uses a Fender-style heavy pick. He plays with the rounded edge, not the point, to get a better tone. Mike Stern grew up playing blues and rock on Fender Telecasters and Stratocasters, and he stuck with Tele-style guitars when he started playing jazz.

Mike Stern grew up playing blues and rock on Teles and Stratocasters, and he stuck with them when he started playing jazz. Mike used a Fender Stratocaster when he was playing with Miles Davis in the early 80s. He uses a Yamaha SPX90 as a splitter to run the amps in stereo, and also to create a chorusing effect by setting it on pitch change with a value of zero. The volume is set a little higher than the clean sound. One is always turned on with a short delay and little feedback, so it sounds like a reverb.

The other one he uses for longer delays. The is basically a cheaper satin-finished ES, and I love the faded cherry on a plain top — it looks and feels way more like an old than a lot of the highly flamed glossy modern production guitars do. I also put giant stainless steel frets on this guitar for easier string bending. Photo by Randy MacDonald. This guitar fit the bill perfectly, and unlike some of the other solidbodied Gibson, Epiphone, ESP, and PRS guitars I tried in my price range, the Gretsch has a a chambered body that makes it fairly light weight and gives it an airier resonance more like my The bridge pickup has a metal baseplate like that of a Telecaster, also by Lindy Fralin.

I love it, but I also loved it before, and reserve the right to go back. Again, see the results at the top of the page. I think that might be part of the reason Strat players like Magic Sam and Otis Rush gravitated towards the Riviera; the minihumbuckers give clarity not unlike a Fender to an acoustically warm, Gibson-styled guitar. Fender Princeton Reverb s? I changed the speaker to a Celestion Alnico Blue.

Fender Pro Reverb , blackface - This was my main amp for years. Fender Pro Junior — heavily modified. I put a New Old Stock RCA 12AY7 tube in the first position to lower the gain and reduce the breakup, which has the added benefit of making the clean tones deeper and more three-dimensional. Fender 59 LTD Bassman reissue — I replaced the first preamp tube with a 12AY7 to bring the gain down, but everything else is stock.

Victoria Victoriette — A great little amp. So much of my playing is done in fly-in situations where I have to use back line gear that I consider it a luxury to get to use any of these, really. I needed an overdrive pedal for some of the overseas gigs, because unfamiliar rental amps are just about always too loud for any room even a festival. King, also known as the King of Blues, has a legendary affection for this and many of his other guitars. The legend is available for all to experience in the performance below. Heavily used in both metal and jazz, one of the first recognized 6 string bass virtuosos was John Patitucci.

Patitucci played for Chick Corea on many of his influential albums. The additional scale length on the high C string gives melodies a quality that is hard to find on any other instrument, and the low B can…well, shake the floor. The Twang Machine is just one of the many examples of unconventional body types.

Having both the look and sound of a tin can, this unique guitar was one of the many showman tactics that made Bo so popular.

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The late legend played a sizable collection of uniquely styled guitars. Taking the visual appeal of the guitar to another level, Prince had several special body designs made especially for him. Tons of artists are competing for the narrow band of sounds available in the pop genre, so finding a secret weapon that helps you stand out from the crowd can go a long way. Ed Sheeran has the gift of bringing a unique flavor to his radio work as well as his live shows.

It draws audiences in with an effect that can only be described one way: if you want to be heard in a loud room, whisper. The piezo pickup is also great for looping percussion. In an era where Metal was just beginning to distinguish itself from Hard Rock, Metallica guitarists were leaning toward using active pickups to define their sound. Active pickups have a brighter sound and compress the signal to give the tone more sustain. This sound gave 80s thrash metal bands greater control of dynamics through effects processing, and greater ease with speed techniques like shred picking. Anyone seasoned in the culture of singer-songwriters would tell you that her individuality as an artist surpasses that of most folk legends in the 60s, and her guitar technique is a marvel of spontaneity.

Gear Secrets of the Guitar Legends: How to Sound Like Your Favorite Players (Book) book download

Gear Secrets of the Guitar Legends: How to Sound like Your Favorite Players [ Pete Prown] on *FREE* shipping on qualifying offers. (Book). Gear Secrets of the Guitar Legends: How to Sound Like Your Favorite Players ( Book) - Kindle edition by Pete Prown, Lisa Sharken, Steve Vai. Download it once .

She would also most certainly win the Guinness Record for most guitar switches per show, and her Epiphone Zenith would be one of the more interesting guitars in the line-up. Certain players have been able to define the creative direction of a genre purely on the basis of their ability and artistic vision. The Hamer 5-Neck is certainly one of the most outlandish types of electric guitars.

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Though admittedly unwieldy to play, many electric guitarists will identify with the hunger to have access to more sounds. Each of these guitars is famous because a great player created a moment with an audience that carried that memory with them long after.