A You have either reached a page that is unavailable for viewing or reached your viewing limit for this bookDOD presents 100 SUPERSTAR GUITAR SOUNDS RVC UT a tel EFFECTS SETUPS FOR Jimi Hendrix © Korn @ Metallica Van Halen © Stevie Ray Vaughan ® Led Zeppelin Foo Fighters ¢ Pantera ¢ Nine Inch Nails ...and many more! ER (a DEATH METALS ALL SETTINGS ARE i ACCURATELY ILLUSTRATED ON THE CD USING DOD EFFECTS PEDALS, 100 “Sound F/X” columns by Eric Mangum ~~ and Dean Stubbs reprinted from the pages of Suitar Peresjala/])s] RTT 100 SUPERSTAR GUITAR SOUNDS on a Stompbox Budget ISBN 1-575b0-342-X Copyright © 2000 CHERRY LANE MUSIC COMPANY International Copyright Secured All Rights Reserved wusic, text, design, and graphics in this publication are protected by copyright law. Any duplication or transmission, waaee recording, electronic, mechanical, photocopying, recording, or otherwise, is on infringement of copyright. — i A-7PH-4RWJA You have either reached a page that is unavailable for viewing or reached your viewing limit for this bookA You have either reached a page that is unavailable for viewing or reached your viewing limit for this bookA You have either reached a page that is unavailable for viewing or reached your viewing limit for this bookA You have either reached a page that is unavailable for viewing or reached your viewing limit for this bookA You have either reached a page that is unavailable for viewing or reached your viewing limit for this bookA You have either reached a page that is unavailable for viewing or reached your viewing limit for this bookA You have either reached a page that is unavailable for viewing or reached your viewing limit for this bookA You have either reached a page that is unavailable for viewing or reached your viewing limit for this bookA You have either reached a page that is unavailable for viewing or reached your viewing limit for this bookA You have either reached a page that is unavailable for viewing or reached your viewing limit for this bookA You have either reached a page that is unavailable for viewing or reached your viewing limit for this bookA You have either reached a page that is unavailable for viewing or reached your viewing limit for this bookA You have either reached a page that is unavailable for viewing or reached your viewing limit for this bookA You have either reached a page that is unavailable for viewing or reached your viewing limit for this bookA You have either reached a page that is unavailable for viewing or reached your viewing limit for this bookA You have either reached a page that is unavailable for viewing or reached your viewing limit for this bookA You have either reached a page that is unavailable for viewing or reached your viewing limit for this bookA You have either reached a page that is unavailable for viewing or reached your viewing limit for this bookA You have either reached a page that is unavailable for viewing or reached your viewing limit for this bookA You have either reached a page that is unavailable for viewing or reached your viewing limit for this bookA You have either reached a page that is unavailable for viewing or reached your viewing limit for this booksparse arrangements. Their guitarist, The Edge, has, among other equipment, a Washburn acoustic, a Fender Stratocaster, a Gibson Les Paul Custom and a Fender Telecaster, feeding usually into his Vox AC-30 or Mesa/Boogie. U 2 are known for their spartan playing style and On “New Year's Day,” from U2’s War album, The Edge plays all six strings in an even eighth-note strum 30 guitar / August 1987 “New Year’s Day” or rake. He especially likes to play with the harmonics of the strings, and adds an eighth-note repeat from a delay for multiple attacks. The setup shown is a simu- lation of that sound, using common pedal effects. Use this as a starting point to get The Edge’s sound. —Dean StubbsA You have either reached a page that is unavailable for viewing or reached your viewing limit for this bookA You have either reached a page that is unavailable for viewing or reached your viewing limit for this bookA You have either reached a page that is unavailable for viewing or reached your viewing limit for this bookA You have either reached a page that is unavailable for viewing or reached your viewing limit for this bookaT aay (ik David GILMOUR true Hall of Fame tone, David Gilmour’s live sound from Pink Floyd's live album The Delicate Sound of Thunder is especially plaintive in the song “On the Turning Away.” Gilmour is both the vocalist and guitarist on this bluesy, live album. To approximate David's clean sound, I have used an overdrive distortion pedal, a delay pedal, and a chorus pedal. Use the neck pickup on a Strat-type guitar. David's sound is a bit more meaty than the usual Strat pickup. He’s probably using an EMG pickup in the neck position. The overdrive distortion pedal is set for a moderately heavy setting, at between 80% to 95% of its drive. The tone is very subtly brightened, with the control at about 60%. As always, balance the input signal and the output of the distortion so they match when turning the pedal on and off. Next, the delay is set for about 250 milliseconds of delay (70%) with a few repeats (feedback set to 50%), and mixed low in the sound (50%). I’ve added a cho- rus pedal with the speed off (0%), and the depth set high (80%), to add the swirling sound heard on this track. This, plus a lot of reverb from your amp, rounds out the sound. —Dean Stubbs guitar | May 1989 35ag Davin GILMOUR STEREO CHORUS 50% 10% 50% 50% DRY/T TIME REP QUAL STEREO CHORUS nal like a delicate ceramic figure. It’s carefully shaped, painted, and finally, fire-kilned to a strong, smooth surface. His versatile, unique sound comes from a "57 Strat reissue with EMG SA pickups, with an EXG Expander and a SPC mid boost. On stage he uses a couple of Boss compressors, several distor- tion boxes EQ’d with Boss GE7s, and an Ernie Ball volume pedal. His signal is further processed by a t.c. electronics 2290, a Lexicon PCM-70, and an MXR Delay system. His amps are two Hiwatt 100-watt heads into two Marshall cabinets with Celestion speakers. The left amp has a CE-2 chorus attached for width. Dave controls the lot with a customized pedal- board from Custom Audio Electronics. Dave is also the proud owner of the first Fender Stratocaster ever produced, serial #001. P ink Floyd’s David Gilmour processes a guitar sig- For “Hey You” from The Wall, I'm showing both a setup for the acoustic guitar, which begins and is pre- 36 suitar / April 1993 ANALOG DELAY 50% 100% 25% 75% LEV SPD DPTH HIEQ sent through most of the song, and the electric guitar setup for the rhythm and leads. The acoustic signal goes through a chorus set for a wide, deep sweep with slight motion. You want this effect to be quite noticeable. (Editor’s Note: The acoustic guitar is in Nashville tuning, which means that the lowest three strings are an octave higher than usual. To string your guitar in this fashion, replace the low E, A, D and G with the “octave” strings from a 12- string set.) The electric guitar setup begins with a standard distor- tion sound (I found you can recreate Gilmour’s tone from this tune pretty closely by using a Scholz Rockman). The stereo chorus is for stereo configura- tions, but it also helps fatten up the leads. —Eric MangumThe Album TEN Pearl Jam’s STONE GOSSARD & ae ee tai has a raw, dark tone, but relatively more like a pearl than a hunk of granite. Guitarist Stone Gossard uses Gibson guitars primarily: he has a Les Paul Custom, a Gold Top ‘72 Deluxe, a sunburst °75 Deluxe and a °72 Deluxe. He uses a Gretsch Round-Up reissue and an old Guild Starfire. Gossard puts in graphite bridges and nuts to relieve excess string break- age. Mike McCready uses a Japanese "62 Strat reissue, a ‘57 Strat reiusse and a sunburst °62 Strat reissue. 0 ne of the tamer of the Seattle bands, Pearl Jam still The album Ten offers a variety of guitar tones, from clean, untouched guitar signals to brittle, wahed, cho- tused and delayed tones. The group of pedals shown above will get you through the album; you should also have the ability to switch your amp reverb on and off. The distortion controls will be set as shown for the entire set, except for the song “Black,” where the dis- tortion knob should be backed off to about half. The wah pedal is used extensively throughout the album, especially on songs like “Once,” “Even Flow,” “Why Go,” “Black,” and “Deep.” The chorus is always very light and usually used more for a doubling effect. The flanger (an effect used on the vocals during the song “Oceans”) is used once, during some verses and at the ending of the song “Jeremy,” and is set for a fast, tremolo sound, The delay is used on the song “Garden.” It is set for 100% wet mix and long delay time for the bouncing effect toward the end of the song. Keep in mind that these settings are approximate. For each song the distortion’s tone control may need to be tweaked a little. The chorus delay time will vary slightly, and the flanger and delay are used only once with the settings shown. —Eric Mangum guitar / February 1993 37Foo Fighters’ Dave GROHL & VY 40% 10% 10% 50% LEV SPEED DEP HI EQ Nirvana drummer Dave Grohl after the death of guitarist Kurt Cobain. Returning to his original instrument, Grohl took on the roles of guitarist, lead vocalist, and primary songwriter, sharing the guitar responsibilities with former Nirvana touring guitarist Pat Smear. Carrying on in the same vein as Nirvana, the Foo Fighters’ style relies on a similar formula that blends loud, heavily distorted guitars with catchy pop melodies. “Everlong,” a cut from the group’s second release, The Colour and the Shape, demonstrates the band’s post-grunge/alternative-pop sound. T* Foo Fighters emerged in 1995, formed by Both the lead and rhythm guitar parts incorporate raw, distorted guitar tones. Set the amp for near-maximum 38 guitar / September 1997 “Everlong gain, and use the guitar’s volume control to clean up the sound during the quieter sections. For a fat tone, use a guitar with Humbuckings in the neck and bridge positions. The rhythm guitar uses heavy, fuzzy distor- tion throughout; use both pickups together to get a rounder tone with more mids. For the lead guitar parts, use the bridge pickup only to get a tone with more edge. Kick in the distortion box for extra gain and boosted volume during the single- and double-note lead sections and add in the chorus to fatten up the riffs between verses. —tisa Sharken LAA You have either reached a page that is unavailable for viewing or reached your viewing limit for this bookA You have either reached a page that is unavailable for viewing or reached your viewing limit for this bookA You have either reached a page that is unavailable for viewing or reached your viewing limit for this bookA You have either reached a page that is unavailable for viewing or reached your viewing limit for this bookA You have either reached a page that is unavailable for viewing or reached your viewing limit for this bookAnthrax’s CR. “Poison My Eyes” DANNY SPITZ 50% 60% 40% 50% LEV LOW MID HIGH O000 DEATH METAL he Anthrax guitar tone on the tune “Poison My The pedal setup for “Poison My Eyes” consists of a [a= from the Last Action Hero soundtrack, “scratch, growl & grind” metal distortion tone. This shows strength and raw power without any of the will be enough for the rhythm parts. A wah is used for ugly, nasty tone of many thrash/metal/grunge/etc. most of the solo, which is played with the neck pick- bands. up. I’m showing this setup in mono because there isn’t that much stereo separation. You can always use a On the sleeve of the CD White Noise is printed, “Scott chorus to split into stereo if you like. Ian really likes and uses Jackson guitars, Marshall Amplification, t.c. electronics, Seymour Duncan pick- —Eric Mangum ups, Jim Dunlop picks, GHS strings, Stussy, Nike, Billabong . . .” Dan Spitz uses Jacksons with Floyd Rose bridges, EMG pickups and D’Angelico strings. He plays through a modified Bogner preamp and a VHT power amp. His effects include a t.c. electronics delay, a t.c. distortion box, an Eventide harmonizer and a Gatex noise gate. 44 guitar / October 1993TIC@m (es KXe) hroughout the history of guitar, players have been searching for the perfect tone, whether it’s an old Martin, new Ovation, Les Paul, or Fender Strat with heavy strings, light strings, big picks, no picks— the list of variables goes on and on. In the case of Eric Johnson, the list is virtually endless. Here is a guitarist so sensitive to tone, he seems to be able to tell the difference in batteries. It is interesting to note that even the most basic gear contributes to his sound, On “Cliffs of Dover,” Eric uses his Gibson ES- 335 with humbucking pickups through Marshall, Dumble, and Fender amps. This sound is going to be a bit of a toughie, but here’s an idea. First, start with an overdrive set as shown. Note that from the start the tone is set quite low. The sound is uniformly warm, so there is no grittiness. I recommend the use of a chorus to split the sound into stereo, Set as shown for a real light chorus; if it sounds too deep, bring the depth down. Again, this sound is difficult to reproduce because Eric is so detailed in his own setup. I believe, howev- er, that you can get amazingly close if you take some time and, above all, listen carefully. —Eric Mangum guitar | January 1991 45Eric JOHNSON Gibson ES-335. On the rhythm sounds he used a ’58 Strat. Along with the distortion and heavy reverber- ation, this comprises the basis for his sound in the song. F< the melody and solos in “Zap,” Eric used a The basic distortion sound has a finer “grain” to it than a metal distortion, and a harder bite than the usual tube-type distortion. A standard medium distortion is used to make the sound. Match the level in and out of the pedal. The sound of the distortion is a neutral one, so the tone control is left at 50%. The distortion con- trol is up all the way. Next in the chain is a delay pedal. I’ve used an analog pedal with a maximum delay time of 300 millisec- onds. The delay in the song is actually a bit longer than that, more in the 380- to 400-milliseconds range. The repeats of the delay are quite diffused into the rever- beration and are not very bright in sound. Set the delay 46 guitar / December 1988 time at 100% for the longest delay; set the feedback at about 40% to 50% for a few repeats; and set the mix to about 40%. Note that in the song the delay is out during the head and is in during the clean rhythm sound and the solo sound. Use a lot of reverberation in your amp if you have it. If not, you may wish to use a separate reverb unit. I have included a stereo chorus pedal in the setup for the generation of a stereo sound. The speed of the cho- Tus is a slow 40%, with a relatively wide depth of 75%. This will create a slowly sweeping stereo effect. If you are playing with a mono setup, you can delete the stereo chorus. —Dean StubbsEric JOHNSON “Trademark” ric Johnson is a marvel to watch live, and one of the reasons is to see him dance on foot pedals. He sometimes looks like a kid squishing bugs as he constantly and accurately switches effects and amps (not to mention pickup select switches). Everything from a Tube Screamer or a Fuzzface to a t.c. chorus or Echoplex gets stomped on at one point or another. The box that gets the most abuse, though, would have to be his A/B box, which switches between a Marshall head with an Echoplex and a Howard Dumble amp. He also uses old Fender Reverbs. Eric has a variety of old Fender Strats, which he prefers due to what he calls a higher quality of metal in the pickups and wood in the bodies. Getting the sound of “Trademark,” from Ah Via Musicom, will not be easy, but if you use foot pedals, you may actually have an advantage because of their frequency response and characteristic tone. Start with a compressor set just to smooth out the attacks. The release time control is set short because you're not using it for sustain. Next is the distortion with the highs rolled off. This is typical of Eric's dirty tone. Then there’s the delay. Use an analog delay if you have one—it will sound more like the Echoplex delays Eric uses. Finally, set the stereo chorus for a slow sweep at medium depth. Now, to actually play this song, you'll need to brush up on your two-step and juggling. The song begins clean with the compressor, delay and chorus. Use your bridge pickup for the first verse and neck pickup for the second. The distortion comes on after the second verse for one note, then you immediately need to lower your guitar volume to ease the distortion. Listen carefully; by the end of the bridge you should have all the sounds covered. Your main task will be switching to them at the right time while playing. Good luck. —Eric Mangum guitar | November 199] 47Ca Leys xe) 75% 40% 100% LEV TONE §=GAIN DISTORTION 4% 75% 10% 30% DRY/T TIME REP QUAL it seems that his list of equipment has grown immensely, but his basic sound remains remark- ably consistent. To say that Eric’s ear and sense of tone is amazing is like saying he’s also a “pretty good” gui- tar player. Every guitarist should have some Eric Johnson-type sounds in their arsenal of tones. The tones may be tough to get, but they’re worth the effort. Your time will be well spent if you successfully imi- tate his warm, full lead tone or his crisp, compressed and chorused clean sound. F ach time I write about Eric Johnson’s guitar tones Eric’s current list of gear, as used on “Camel's Night Out” from Venus Isle, includes a Flying V, a Fuzz Face, a Prescription Electronics Experience Pedal, a t.c. electronics chorus, and a Lexicon PCM 70 reverb. All of this runs through a Marshall 100-watt head and 4x12 cabinet. Start with a standard distortion pedal set as shown. The next effect is crucial; you'll need to tweak the equalizer so the notes you play are discernible (not muddy) but the overall tone is warm and smooth. The diagram here offers a good starting point, but ulti- mately it will depend on the rest of your setup and your personal touch. Set a delay (preferably analog 48 suitar / September 1996 delay, if you have one) for approximately 250 mil- liseconds. Listen to the song and try to match the amount of delay. There are a few repeats after the ini- tial delay, so the regeneration control is set at about 25%. Use your amplifier reverb and set it for about a 15-20% mixture of effect. That may seem high—and you definitely should avoid using too much reverb— but part of the overall tone Eric achieves comes from his use of a fair amount of reverb. I've shown the setup in mono for simplicity. The stereo image on the recording is probably achieved with the Lexicon reverb or through the mixing board. If you have a digital reverb you can get a stereo image from that, or use a stereo chorus with all the controls set to minimum. The tune is mostly played using the bridge pickup, but to get a separation of rhythm and lead sounds, switch from bridge-only to the bridge/middle position. Finally: listen, listen, listen. I guarantee that Eric Johnson, like many renowned players, has spent time listening to other guitarists’ sounds. That’s how you start. Be picky . . . Eric is. —Eric MangumA You have either reached a page that is unavailable for viewing or reached your viewing limit for this bookA You have either reached a page that is unavailable for viewing or reached your viewing limit for this bookA You have either reached a page that is unavailable for viewing or reached your viewing limit for this bookTes ALEX LIFESON present, and more than likely, future, you will find Alex Lifeson and Rush. Their sound has changed over the years, and effects have always been a part of their guitar sound. 0 n the leading edge of musical technology past, The setup for “Free Will,” from Permanent Waves, is as shown: distortion, flanger and chorus. The tone of the distortion is backed off slightly to make the initial sound fat. The flanger is set with little sweep (speed), delay all the way down, and the width and regenera- tion at about half. Last is the stereo chorus, with a small sweep for ambience and some color. 52 guitar / May 199] The distortion and chorus effects are on throughout the song, while the flanger is used only on the solo. The second half of the solo has a wider sweep than the first half, so if you're feeling brave and you have small enough (or bare) feet, try turning up the speed knob on the flanger while playing. (It’s tough, but worth a try, just for fun.) I was able to reproduce this sound almost exactly using the above pedal array and the bridge pickup in a Signature guitar, which is the same brand that Alex has been known to use. —Eric MangumA You have either reached a page that is unavailable for viewing or reached your viewing limit for this bookA You have either reached a page that is unavailable for viewing or reached your viewing limit for this bookA You have either reached a page that is unavailable for viewing or reached your viewing limit for this bookA You have either reached a page that is unavailable for viewing or reached your viewing limit for this bookA You have either reached a page that is unavailable for viewing or reached your viewing limit for this bookA You have either reached a page that is unavailable for viewing or reached your viewing limit for this bookA You have either reached a page that is unavailable for viewing or reached your viewing limit for this bookA You have either reached a page that is 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have either reached a page that is unavailable for viewing or reached your viewing limit for this bookWMOD Presents 100 SUPERSTAR GUITAR SOUNDS NO aL CD bout Now you can duplicate the sounds of rock’s greatest guitarists! Straight from the pages of geuitar “Sound F/X” columns, here are 100 guitar sounds you can make with today’s inexpensive effects pedals. Each effect setting is accurately illustrated on the accompanying CD using DOD pedals. Included are the guitar sounds of AC/DC CN eee mG TNS sims] er Def Leppard ara) Foo Fighters Jimi Hendrix LO ey) ere ToT Metallica Tem LISS eel cle eer ETL Lamy! CTU eLt TS SRST UETIT Brian Setzer Smashing Pumpkins NTT celia Stone Temple Pilots NCAR t) AGLI Steve Vai NETL Ree CEH at U.S. $19.95 ~ CHERRY LANE MUSIC COMPANY a . ney Ram CR a A ISBN 1-S7Sb0-342-X OT med Bi ll | | | | | | | Seagal entender o "73999" 16800!" « peur te Maceo a cP eMart 02503100 ee ae 38 ete)