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Koen

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71Tele
I never play my Tele through a Fender amp. I play a stock Tele through a '65 Magnatone, and use a Boss pedal for extra overdrive if needed. Simple set-up, but very effective,.

My Tele sounds amazing through my Tweed Deluxe amp. And no pedals needed

I'm sure it does!

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71Tele

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DandelionPowderman

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71Tele
It's the combination of guitar/amp/player/pedal(s) that make a great guitar sound. Example: Pete Townshend's electric guitar sound on Who's Next is one of the best ever. It's a Gretsch Chet Atkins through a '59 Fender Bandmaster and a pedal steel volume pedal. Classic. Keith's recent sound is a Telecaster on the treble pickup through a Fender amp (also with lots of treble). It cuts through like the proverbial blade, but I don't think it's the best tone for most Stones material.

Pete didn't use HiWatts at all for WN???

No, just onstage...'59 Fender Bandmaster with a Gretsch. Try it!

Have the Gretsch (which sounds spectacular thru my Fender amp), but not the Bandmaster

LOVE THIS DUSSELDORF SOUND...exciting for the listener,,, comfortable for the player, does not need to be so excact in his playing.. just my opinion..

I sometimes think that Keith could do with more signal gain or overdrive switching in for some live solos [SFTD notably].

That said, Keith's guitar sound has been much misunderstood over the years and has usually been "cleaner" than folks imagine...even when it initially sounds quite dirty.

The five string open G is the reason for this misconception.

The level of overdrive typically employed in heavier Rock for two note "power chords" and single note soloing quickly turns to horrible mush when full five/six note chords [or even simple triads] are played.

When you hit full chords in an open tuning you already have lots of fundemental notes and harmonics going off... which deliver a full rich sound without any added harmonic distortion.
What's needed above all else is clarity....which is also why Keith favours the dry bite of the Tele for his full chord open G riffing.

Keith's typical amp sound is that classic Fender twang and clang, just on the very edge of break up to put a bit of spice and "hair" on it.
Keith's unique touch and picking dynamics do the rest.

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Spud
I sometimes think that Keith could do with more signal gain or overdrive switching in for some live solos [SFTD notably].

That said, Keith's guitar sound has been much misunderstood over the years and has usually been "cleaner" than folks imagine...even when it initially sounds quite dirty.

The five string open G is the reason for this misconception.

The level of overdrive typically employed in heavier Rock for two note "power chords" and single note soloing quickly turns to horrible mush when full five/six note chords [or even simple triads] are played.

When you hit full chords in an open tuning you already have lots of fundemental notes and harmonics going off... which deliver a full rich sound without any added harmonic distortion.
What's needed above all else is clarity....which is also why Keith favours the dry bite of the Tele for his full chord open G riffing.

Keith's typical amp sound is that classic Fender twang and clang, just on the very edge of break up to put a bit of spice and "hair" on it.
Keith's unique touch and picking dynamics do the rest.

This is indeed true. The best example to back up this is by listening to the 1975/76 tour, where Keith had more overdrive, also while playing in open G-tuning. It just sounds very different than all the other tours.

The only times he has used a fuzz box for solos (or single string riffs) must be 89/90 and 94/95 (Sad Sad Sad, SFTD, CBS, Bitch in 89/90 - Satisfaction in 94/95).

Keith generally doesn't care too much for distortion, seemingly. It is a misconception that he had overdriven sound in 1978, 1981/82 or when playing open G later on.

Here's Satisfaction from the VL-tour:





And SFTD 1989 (From the 2:25 mark):

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DandelionPowderman

This is indeed true. The best example to back up this is by listening to the 1975/76 tour, where Keith had more overdrive, also while playing in open G-tuning. It just sounds very different than all the other tours.

Aside from the choice of amps this was probably in part due to Keith also using a number of custom built five stringers with a more Gibson like construction and pickup configuation. The sounds were certainly different.

I have a suspicion that Keith likes the response of an electric guitar to "feel" more like an acoustic.
It's easier to experience than to describe...but when you plug the right guitar into a simple Fender type tube amp circuit, there's a sense of the sound coming instantly and directly from your fingers, with the tone being shaped by how you play.
The more gain you then introduce to the circuit, by amp design or high output pickups, the more the guitar starts to feel like an electronic instrument.
You are still controlling the the sound...but there feels to be less of a connection with your fingers. The guitar and amp are still doing what you tell them to do...but only after they've thought about it for a microsecond and then put their own spin on it !

It's interesting that folks have also mentioned PT in this thread.
He's another player who uses less gain & distortin than you'd imagine.
The power comes from his attack, and from his clever use of pedal notes and chord inversions.



Edited 1 time(s). Last edit at 2014-07-28 14:55 by Spud.

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Spud

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DandelionPowderman

This is indeed true. The best example to back up this is by listening to the 1975/76 tour, where Keith had more overdrive, also while playing in open G-tuning. It just sounds very different than all the other tours.

Aside from the choice of amps this was probably in part due to Keith also using a number of custom built five stringers with a more Gibson like construction and pickup configuation. The sounds were certainly different.

I have a suspicion that Keith likes the response of an electric guitar to "feel" more like an acoustic.
It's easier to experience than to describe...but when you plug the right guitar into a simple Fender type tube amp circuit, there's a sense of the sound coming instantly and directly from your fingers, with the tone being shaped by how you play.
The more gain you then introduce to the circuit, by amp design or high output pickups, the more the guitar starts to feel like an electronic instrument.
You are still controlling the the sound...but there feels to be less of a connection with your fingers. The guitar and amp are still doing what you tell them to do...but only after they've thought about it for a microsecond and then put their own spin on it !

It's interesting that folks have also mentioned PT in this thread.
He's another player who uses less gain & distortin than you'd imagine.
The power comes from his attack, and from his clever use of pedal notes and chord inversions.

Spot on!

Keith sound is so simple but very raw in the way that leo fender imagined the sound and tone of pure tube driven fender amps thru fender guitars with single coil pickups (keith does like that humbucker in the neck postion also).to me that is the beauty of keith's tone .

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DandelionPowderman

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Mel Belli
2007 was a low point for Keith. He has recovered nicely since then, but I still generally hate the sound of him on the semi-hollows via tweed Twins. Borderline unlistenable.

Nearness Of You, Let It Bleed and Neighbours frome Four Flicks are borderline unlistenable?

I like the overall performance of "Nearness." But "Neighbors" on that tour -- yeah, unlistenable for me.

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DandelionPowderman

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71Tele

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DandelionPowderman

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71Tele
It's the combination of guitar/amp/player/pedal(s) that make a great guitar sound. Example: Pete Townshend's electric guitar sound on Who's Next is one of the best ever. It's a Gretsch Chet Atkins through a '59 Fender Bandmaster and a pedal steel volume pedal. Classic. Keith's recent sound is a Telecaster on the treble pickup through a Fender amp (also with lots of treble). It cuts through like the proverbial blade, but I don't think it's the best tone for most Stones material.

Pete didn't use HiWatts at all for WN???

No, just onstage...'59 Fender Bandmaster with a Gretsch. Try it!

Have the Gretsch (which sounds spectacular thru my Fender amp), but not the Bandmaster

I am lusting after a double cutaway Nashville Chet Atkins right now.

Keith's direct sound at rehearsals in Bondy was very punchy and bright. It is probably forever engraved in the lucky limited audience´ eardrums, as it is in mine. Through the PA at shows, I found some of that edge was lost.



Edited 1 time(s). Last edit at 2014-07-29 08:17 by gwen.

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Spud

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DandelionPowderman

This is indeed true. The best example to back up this is by listening to the 1975/76 tour, where Keith had more overdrive, also while playing in open G-tuning. It just sounds very different than all the other tours.

Aside from the choice of amps this was probably in part due to Keith also using a number of custom built five stringers with a more Gibson like construction and pickup configuation. The sounds were certainly different.

I have a suspicion that Keith likes the response of an electric guitar to "feel" more like an acoustic.
It's easier to experience than to describe...but when you plug the right guitar into a simple Fender type tube amp circuit, there's a sense of the sound coming instantly and directly from your fingers, with the tone being shaped by how you play.
The more gain you then introduce to the circuit, by amp design or high output pickups, the more the guitar starts to feel like an electronic instrument.
You are still controlling the the sound...but there feels to be less of a connection with your fingers. The guitar and amp are still doing what you tell them to do...but only after they've thought about it for a microsecond and then put their own spin on it !

It's interesting that folks have also mentioned PT in this thread.
He's another player who uses less gain & distortin than you'd imagine.
The power comes from his attack, and from his clever use of pedal notes and chord inversions.

Very true...still, he has opted for a very trebly cleaner Fender sound lately with less coloring by the amp than he did in the days when he played through big Ampegs. Just listen to a clip from the most recent tour, then go listen to Brussels.

Yep,

The Ampegs did have a thicker, juicier sound.

But don't forget that they were also typically being driven to within an inch of their lives... because in those days you still relied partly on the backline to fill the room.

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Mel Belli

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DandelionPowderman

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Mel Belli
2007 was a low point for Keith. He has recovered nicely since then, but I still generally hate the sound of him on the semi-hollows via tweed Twins. Borderline unlistenable.

Nearness Of You, Let It Bleed and Neighbours frome Four Flicks are borderline unlistenable?

I like the overall performance of "Nearness." But "Neighbors" on that tour -- yeah, unlistenable for me.

Because of Keith's sound?

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Spud
I have a suspicion that Keith likes the response of an electric guitar to "feel" more like an acoustic.

That goes in the same direction as the interview I once read, where he said that at home he doesn´t play electric at all. Only "western" or "spanish"-style guitars. Must have been in Guitar Player or Guitar World a couple of years ago.

Also Malcolm Young plays an almost clean sound. But it rings heavier than "that fat guy on the scooter" ("Meat Loaf")) looks, and that´s quite a bit .

Cheers, Fillmore

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DandelionPowderman

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Mel Belli

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DandelionPowderman

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Mel Belli
2007 was a low point for Keith. He has recovered nicely since then, but I still generally hate the sound of him on the semi-hollows via tweed Twins. Borderline unlistenable.

Nearness Of You, Let It Bleed and Neighbours frome Four Flicks are borderline unlistenable?

I like the overall performance of "Nearness." But "Neighbors" on that tour -- yeah, unlistenable for me.

Because of Keith's sound?

Yep. And the playing, to be honest. The Chuck Berry-isms, the generic country bends — totally takes the edge off the song for me. Keith's vocabulary of licks has shrunken quite a bit over the years. I'm basically okay with that. But the brittle tone I'm hearing from that particular guitar/amp setup is a dealbreaker.

That's ok, but keep in mind that the whole Neighbours-solo consists of country bends on TY

Has anyone seen a video from the latest tour that isolates Keith's guitar?

Nope, but there was one Youtube vid from the US '13 tour where the uploader was right in front of Taylor's amp during MR - what a great sound... don't remember the date, though.



Edited 1 time(s). Last edit at 2014-07-29 00:13 by Milan.

Those amp video recordings sure give weird results...

I love his fuzzy sounds in 1966 - 1967.

Complicated, Miss Amanda Jones, 2000 Light Years From Home, Citadel?

Yes please!!!

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71Tele

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beachbreak
Keith's current live sound is awesome.

I also really like his studio sound. I have heard that he plays through small vintage tube amps like a Champ but to me I hear a creamy distortion on songs like "Monkey Man". Sounds smoother than a cranked tube amp. Anyone know if he used a pedal and which one(s) for the dirty sound on that song and songs like Saint of Me? I'm almost thinking a RAT but never heard of him using one. Doesn't sound like a Ibanez Tube Screamer to me.

His recording technique has changed dramatically from the Monkey Man days. He used to use bigger amps in the studio. I generally didn't like that cold sound on the Let Bleed album, but it was very effective on Gimme Shelter. Not so good on the studio version of Midnight Rambler.

Really? I love that sound!

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fuzzbox
I love his fuzzy sounds in 1966 - 1967.

Complicated, Miss Amanda Jones, 2000 Light Years From Home, Citadel?

Yes please!!!

Supreme!

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71Tele

His recording technique has changed dramatically from the Monkey Man days. He used to use bigger amps in the studio. I generally didn't like that cold sound on the Let Bleed album, but it was very effective on Gimme Shelter. Not so good on the studio version of Midnight Rambler.

The 60's stuff is a mix of big and small amps, valve and solid state.

Maybe I am biased, but Keith's metallic sound during the 1969 us tour was his best sound IMO...Ampeg/armstrong combination...moreso the ampegs I feel.
The sound his lead parts during under my thumb Altamont were brilliant!

Spot on about under my thumb Altamont and his 1969 sound. I love it and I love the 1975 and 1976 sounds too. That murky zemiathis open G, that dark heavy full sounded HTW is the best. The Les Paul of 1972 (Rambler) is fantastic.

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KRiffhard

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Milan
I never get tired of watching this clip, Düsseldorf '07 - the person was standing directly in front of Keith's amp:





Dirty enough for ya?

Awful

WOW! Just... wow!

Keith's sound (tone, etc) on TSMR and BB is incredible. It's amazing how he never used that sound again. The sound on Can't You Hear Me Knocking is incredibly tight and dirty. He got great sounds throughout that 1969-1976 period (I love the lazy dirtiness of Dancing With Mr D and the clean funk heavy of Slave and the 75-76 tours, like Honky Tonk Women from LOVE YOU LIVE - awesome). Later it got a bit thin with two exceptions - the guitar sounds on TATTOO YOU that are from the ER sessions sound good as does She's So Cold. I like some of the sounds he got on UNDERCOVER, especially Tie You Up.

Other than those two, nothing sounds good until maybe Love Is Strong (or MAIN OFFENDER for that matter). Lowdown was interesting.

Regarding his best sound... with open G... I'm going to have to go with Take It So Hard and How I Wish. That sound is stellar (he hilariously got a similar sound with One More Shot).

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GasLightStreet
Keith's sound (tone, etc) on TSMR and BB is incredible. It's amazing how he never used that sound again. The sound on Can't You Hear Me Knocking is incredibly tight and dirty. He got great sounds throughout that 1969-1976 period (I love the lazy dirtiness of Dancing With Mr D and the clean funk heavy of Slave and the 75-76 tours, like Honky Tonk Women from LOVE YOU LIVE - awesome). Later it got a bit thin with two exceptions - the guitar sounds on TATTOO YOU that are from the ER sessions sound good as does She's So Cold. I like some of the sounds he got on UNDERCOVER, especially Tie You Up.

Other than those two, nothing sounds good until maybe Love Is Strong (or MAIN OFFENDER for that matter). Lowdown was interesting.

Regarding his best sound... with open G... I'm going to have to go with Take It So Hard and How I Wish. That sound is stellar (he hilariously got a similar sound with One More Shot).

His Mesa-sound continued on DW and TIC as well. One may argue about the quality of DW, but there's nothing wrong with the guitar sound there.

DIRTY WORK could have the best guitar sound recorded ever and no one would ever know it thanks to the mix that ruined that LP (and the production, overall, of course). The guitar sound on that record doesn't have any bottom to it, it's mainly mid and high bight. Sure you can hear the bottom but it has no body.