The diagram below shows my two live set ups.
Amps
I play two guitar set ups that gives me 2 distinct guitar tones. One that is set up like Stevie Ray Vaughan and all other texas blues greats using a Fender Twin as the main amp with a strat. The Los Lonely Boy use this same set up for their hit song Heaven as well as Kenny Wayne Shepherd on his blue on black hit. Jonny Lang uses a Fender Tele with a Fender Vibro King on his early albums in case you were interested in his guitar tone. Run this fender twin clean with a delay and you can get guitar tones from everything from U2, Pink Floyd, to Chris Isaac. Stevie ran a strat with a maple neck through the twin reverb clean as a whistle to get that tone on "Lenny". He would run a tube screamer to get his grit.
The other guitar set up that I use in my line up is set up to achieve tones from the late 60's era. Jimi Hendrix, Eric Clapton, Santana and all other late 60's rock greats would get their huge sound from a 59 Plexi Marshall Super Lead. This amp was designed for festivals in that era because the P.A. gear was not yet up to the level it is today. They could not get the sound to project out to the hundreds of thousands so they made big amps with a big sound. That was their P.A. 100 wats of pure raw guitar tone. Depending if you use a strat or a Les Paul with a humbucker pick up you can achieve tones from The Who, Santana, Red Hot Chili Peppers john frusciante rhcp, Joe Bonamassa, Van Halen, Doyle Bramhall ii, and one of my favorite tone dawgs Eric Johnson. Sometimes I run them both together like Eric Johnson and sometimes I run them individualy. If you use the Marshall Super lead run pretty clean with a fender strat plugged in you can get Jimi Hendrix tone on the song Castles Made of Sand or the Wind Cries Mary. Put a fuzz face in the chain and you get to experience purple haze and foxy lady.
Guitars
When it comes to the guitars I like to play custom Fender Stratocasters and G&L. I prefer the neck on the strat over the Gibson Les Paul. And when you put a humbucker in the back you get that les pual sustain.
Pedals set up
I use these vintage pedals with monster cables linking them all together - Vox Wah, 2 Ibanez Tube Screamers, Dallas Arbiter Fuzz Face, Uni Vibe, Boss DD20 Delay, Roger Mayer Octavia. My amps I used on my cd's Fender Twins and a Marshall Plexi Super lead are both re-issued in the early 90's. On the DSP EP I used an SRV custom strat with the fender twin reverb. Pedals used on that CD were the Boss DD20 delay for that U2 sound and a Holy Grail Reverb pedal that gave it the Chris Isaac Vibe. The slite overdrive came from one tube screamer, sustain came from the second and the over the top insane came from all of the above plus the fuzz face. The Feels Real Good CD was with the Plexi and Tube Screamer for sustain.
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Santana Santana Santana Santana Santana Santana
Santana Santana Santana Santana Santana Santana Santana Santana Santana Santana Santana Santana
Santana Santana Santana Santana Santana Santana
Santana Santana Santana Santana Santana Santana Santana Santana Santana Santana U2 U2 U2 U2 U2 U2 U2 U2 U2 U2 U2 U2 U2 U2 U2 U2 U2 U2 U2 U2 U2 U2 U2 U2 U2 U2 U2 U2 U2 U2 U2 U2 U2 U2 U2 U2 U2 U2 U2 U2 U2 U2 U2 U2 U2 U2 U2 U2 u2 u2 u2 u2 u2 Led Zeppelin Led Zeppelin Led Zeppelin Led Zeppelin Led Zeppelin Led Zeppelin Led Zeppelin Led Zeppelin Led Zeppelin Led Zeppelin Led Zeppelin Led Zeppelin Led Zeppelin Led Zeppelin Led Zeppelin Led Zeppelin
Kenny Wayne Shepherd Kenny Wayne Shepherd
Kenny Wayne Shepherd Kenny Wayne ShepherdKenny Wayne Shepherd Kenny Wayne Blue on Black Blue on Black Blue on Black Blue on Black Red Hot Chili Peppers Red Hot Chili Peppers Red Hot Chili Peppers Red Hot Chili Peppers Red Hot Chili Peppers doyle bramhall ii smokestack doyle bramhall ii smoke stack doyle bramhall ii smoke stack doyle bramhall smoke stack ii
Explore some of the best guitar tone in the history of rock music.
Stevie Ray Vaughan Guitar Tone
Stevie Ray Vaughan Guitar Tone is one of the most coveted tone there is. Lets take a look on what he used. SRV Set Up Since Stevie's rig changed so often, we'll give some details by year. Before we start, let's summarize some of the mods he made over the years. A constant in Stevie's sound was a pair of sequentially numbered, 1x15" Fender Vibroverbs, numbers 5 and 6. He obtained them in different years, and was very proud of having such low serial numbers, and in sequence to boot. It seems no matter what other amps were in his setup, the Vibroverbs were always there. Another pair of amps that regularly drifted in and out of Stevie's rig were a pair of Fender Super Reverbs. While the Vibroverbs would give that much desired "tube breakup" at relatively low volumes, the Supers were 100-watt monster combo amps that would stay almost totally clean even at volumes that would make your ears bleed! Stevie would blend these into the overall sound for sheer power. If that wasn't enough, Stevie also relied at various times on a couple of plexi Marshalls: a 100-watt Super PA, and a 200-watt Major. These fed modded Marshall "bathtub" cabinets, and another homemade cabinet. Early in his career he even relied on a Marshall Town and Country Combo, another 200-watt monster that (fortunately?) peaked-out at only 80 watts. Later the Marshalls were generally retired in favor of a Howard Dumble Steel String Singer. This Rolls-Royce of high-powered heads fed the same Marshall speaker cabinets. He retired the Marshalls because he could not find the proper tubes anymore. Finally, he also possessed an oddity of a cabinet called a Fender Vibratone. This is a Leslie-style speaker cabinet, but instead of a rotating speaker, it had a slotted, rotating foam cylinder around the stationary speaker. The effect is the same, though-- a rich, warbling sort of organ tone. This unit is heard on "Cold Shot" and "The Things I Used to Do." Some modifications he made to the amps include: Fender Super Reverbs Replaced speakers with 10-inch Electro-Voice EVMs Baffle boards replaced with 3/4" plywood American 6L6, Sylvania STR415, and Sylvania STR387 tubes Fender Vibroverbs Baffle boards replaced with 3/4" plywood American 6L6, Sylvania STR415, and Sylvania STR387 tubes Channel 1 disconnected from phase inverter tube Tremelo circuit disconnected at trem intensity control Home-made 4x12 cabinets, w/ 12" EVMs Stevie played with a minimum of effects on stage, but also regularly experimented in the studio to get particular sounds. His stomp-box gear included a pair of old Ibanez TS808 Tube Screamers, a pair of Vox wah-wah pedals, Octavias, Univibes, Fuzz Faces, and an Echoplex. His amp tech in the later years, Cesar Diaz, modified the Fuzz Faces with matched germanium transistors. Diaz also performed most of the mods to the amps, and was regularly called upon to repair the amps that Stevie blew up. Stevie also had at least two of everything because of the age and relative unreliability of the effects. For instance, he once remarked that he rarely used the Fuzz Faces outdoors because the heat from the sun would cause them to fail. He did not use any rack-mount or digital gear. One of Stevie's album experiments was to chain the two Tube Screamers, giving a hugely loud and distorted tone. He later used the Fuzz Faces to do this sort of thing. Another experiment was to connect two wahs inline, but rock the pedals in opposite directions. This was first heard on "Say What!". The pedals would cancel some frequencies and enhance others, giving a wild phased type of tone. Every so often he would kick-in a Univibe or Octavia to get a richer, doubled sort of tone. This article was from: http://hanshc.home.texas.net/srv%20gear.htm
