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dadrob
Neil Young uses a 63 princeton not a champ if I recall.
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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).
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DandelionPowderman
El Mocambo deserves a mention. A showcase for Mesa Boogie. Probably my favourite Stones sound - by both Keith and Ronnie. Lovely!
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DandelionPowderman
The maximum distorted sound was on Satisfaction in 94/95. Never heard that sound, before or since.
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Naturalust
Keith might be one of the only rock superstar guitarists who doesn't use a distortion/boost pedal of some sort. I think it limits his sounds unnecessarily and often wonder if he is too lazy or stubborn to experiment in that department. He might have boxed himself in early on when he was often quoted as saying "it's all in the fingers, we just plug the guitars into the amps and turn 'em up".
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Title5Take1
Some guitar magazine interviewer told Keith he went through "reams of frustration" trying to duplicate the "almost clicking sound" of Keith's guitar on SHE'S SO COLD.
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MathijsQuote
Title5Take1
Some guitar magazine interviewer told Keith he went through "reams of frustration" trying to duplicate the "almost clicking sound" of Keith's guitar on SHE'S SO COLD.
A Tele through a MXR Analog Delay through a Boogie MK1...
Mathijs
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liddasQuote
MathijsQuote
Title5Take1
Some guitar magazine interviewer told Keith he went through "reams of frustration" trying to duplicate the "almost clicking sound" of Keith's guitar on SHE'S SO COLD.
A Tele through a MXR Analog Delay through a Boogie MK1...
Mathijs
How would you set the MXR? I am a complete newbie with perdals!
C
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LuxuryStones
On stage he sounded best on Ampegs to me. Let's say the Ampeg era.
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Eleanor RigbyQuote
LuxuryStones
On stage he sounded best on Ampegs to me. Let's say the Ampeg era.
Too true..simple set up is always the best!
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NaturalustQuote
DandelionPowderman
El Mocambo deserves a mention. A showcase for Mesa Boogie. Probably my favourite Stones sound - by both Keith and Ronnie. Lovely!
Yes worth a mention. But Keith wasn't using the preamp section of those Mesa's to maximum effect. They were capable of much more smooth tube distortion which he never really employed although I'm sure it was by choice.
I am curious to what people think Keith's maximum distorted sound was live and studio. I'm thinking CYHMK was about as gritty a studio sound and possibly Knebworth for both Keith and Ronnie.
peace
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DandelionPowdermanQuote
liddasQuote
MathijsQuote
Title5Take1
Some guitar magazine interviewer told Keith he went through "reams of frustration" trying to duplicate the "almost clicking sound" of Keith's guitar on SHE'S SO COLD.
A Tele through a MXR Analog Delay through a Boogie MK1...
Mathijs
How would you set the MXR? I am a complete newbie with perdals!
C
Damp half the beat, adjust to get a double echo. Make sure the delay is as strong as your own strumming. It sounds fantastic
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DandelionPowderman
The tone Keith had in 89/90 (Music Man Silhouette on Bitch/Sad Sad Sad) [snip].
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DandelionPowdermanQuote
Eleanor RigbyQuote
LuxuryStones
On stage he sounded best on Ampegs to me. Let's say the Ampeg era.
Too true..simple set up is always the best!
The Mark-boogie was even simpler and smaller
Can anything sound better than this?