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If you made it through our last blog post about guitar effects chains. This is part 2. Finally: How to combine your effects... Now you need to know how to arrange your different effects to create the best possible sound! Check out what happens when you place your compressor before or after your distortion pedal. An EQ can create sonic wonders - or disasters - depending on its placement in the effects chain. Tons of pedals can get quite noisy. Try to be a minimalist and get the best possible amp sound before you add pedals. Here are some common set-ups from guitar to amp that you can use as a reference:
GUITAR - WAH - OVERDRIVE/DISTORTION - EQ - AMP (a classic!)
GUITAR - WAH - OCTAVE - NOISE GATE - MODULATION - DELAY - AMP (for the crazy guitar heads!) DO NOT: Put overdrive at the end of the chain - all your effects will sound distorted. Ugh! ..Place reverb before the other effects - this will add reverb to all the other effects. Pedal boards are great for keeping your effects neat and organized, unless you only use one or two of them. They also have several 9-volt outlets. You don't want stomp box batteries dying on you during a gig! Right-angled 1/4 -inch cables are great for connecting your pedals to each other and the pedal board's effects loop input jack. Get the best quality brands (Monster, etc) even if they cost more. They're well worth your money...as they reduce noise. We have all you need to build a pedal board so come in or call and we can hook you up!
Auto Filters and Envelope Devices Auto filters and other envelope devices love to be first in the signal path. These are dynamic units that require an unprocessed signal at their input to operate properly. They work best patched directly to your guitar. It just so happens that they also sound great when placed first in your effects chain. Wah-wah pedals are band-pass filters that boost a narrow band of frequencies, allowing you to sweep them up and down the frequency spectrum. For a wide sweeping, natural sound, your wah should be next in your chain (after your auto filter or envelope device), and before any overdrive, distortion, delay or modulation effect. This arrangement also yields more of a vintage tone as well. However, if you are going for a more mechanical sounding wah, place it after your distortion or overdrive effect. Another interesting tone is to have a mild overdrive in front of your wah and distortion after it, which will allow you to experience elements of both tones. Compressors LimitersCompressor-limiters have a couple of uses; as a sustainer they amplify weak signals and attenuate strong signals, thereby increasing your guitar’s sustain. As a limiter, they limit the amount of signal entering your amp or subsequent effect, helping to avoid distortion. A combination of both features – sustain without distortion — can be achieved with the right control settings. Compressor-limiters can also be used as simple boosts. These devices do their best work early in the signal path — before distortion, modulation effects, delays and reverbs, as they are best utilized after all dynamically-sensitive units. Distortion
Volume
Modulation devices |
 | Vibrato pedals raise and lower the pitch of your guitar’s signal. And while we’re talking about this effect, I should point out that there is a difference between vibrato and tremolo. A tremolo pedal is a volume-altering device; some pulse, and others fade your signal in-and-out, while the vibrato raises and lowers the pitch of the note or notes. Some tremolo pedals even pan your signal between two amps. You can place a tremolo early in the chain, before distortion devices and it will alter the gain of the distortion pedals as it trems your signal, or place it after for a more mechanical sound. If you place it after a reverb unit, you can lop off reverb decay tails for. Tremolo pedals are very useful anywhere in the effects chain. The same goes for vibrato pedals. |
Noise Gates
Noise gates are best used after distortion and before any echo or reverb unit. You may have to experiment with placing your noise gate before or after modulation effects (chorus, flanger or vibrato), depending on how noisy they are and if their sweep trips the gate open and closed. Also, if your pedal has a side chain or external trigger input, this is very useful for having a different signal control the gate. For example, you could split your guitar early in the effects chain, and control the gate’s behavior with a noise-free signal. This way you can avoid high threshold settings and cutting off your guitar’s signal as it decays. Another use is patching a drum machine in and turning your noise gate into a tremolo effect with rhythm.
Phase Shifters
Phase shifters are similar to flangers in that they have the same type of controls and the modulation is comparable. But unlike flangers, phase shifters do not delay the signal. They do exactly what the name implies: shift signal phase. They split the incoming signal, one half goes directly to a mixer, and the other half goes through two or more phase shifting stages, and gets mixed back in with the dry, unprocessed signal. The resulting effect is phase cancellation of certain frequencies as it sweeps through its modulation range. For a lush, subtle tone with a lot of depth and focus, they sound great before distortion. Although some types of phase shifters may seem a bit noisy before a distortion pedal, in my opinion the effect is worth it. For a more animated, mechanical effect, you can run it after your distortion pedal.
Ambient effects, such as delays (echo) and reverb sound best at the very end of the signal path. It’s your choice: do you want to reverb your echoes or echo your reverb? I tend to prefer running my echo before reverb. Just because it sounds good to my ears.
Ambient effects, such as delays (echo) and reverb sound best at the very end of the signal path. It’s your choice: do you want to reverb your echoes or echo your reverb? I tend to prefer running my echo before reverb. Just because it sounds good to my ears.
Fuzz and Octive
And finally, a word about Fuzzface-like devices and octave up fuzz pedals: these two effects both love to have the guitar plugged directly into them. Neither will not respond properly if running anything before them; wah pedals will not wah, and the units themselves will not sound or feel right. They do work great together, running an Octavia into a Fuzzface sounds wonderful, but you must run your guitar right into them. Octave down/distortion pedals can be placed anywhere you would put a distortion unit.
So there it is a basic understanding of the most common effects pedals, and where they like to reside in your signal chain. There are many other weird, wonderful effects out there. If you have one I haven’t addressed here, just do some research at the company’s website to determine what it is the pedal does to your signal. Once you know this, you can use your know how to determine where it should lie in your path.
But, as always, the best – and most enjoyable — test is to plop your pedal down in between two others and see how it sounds. After all, monkeying around with gear is fun, and you may discover something new in your eternal quest for good guitar tone.
Our next post will be on examples of how to combine your effects. Keep checking back here for more.
So there it is a basic understanding of the most common effects pedals, and where they like to reside in your signal chain. There are many other weird, wonderful effects out there. If you have one I haven’t addressed here, just do some research at the company’s website to determine what it is the pedal does to your signal. Once you know this, you can use your know how to determine where it should lie in your path.
But, as always, the best – and most enjoyable — test is to plop your pedal down in between two others and see how it sounds. After all, monkeying around with gear is fun, and you may discover something new in your eternal quest for good guitar tone.
Our next post will be on examples of how to combine your effects. Keep checking back here for more.
Like dude. Its totally time to get rockin on our sweet guitars. Share this post and tell friends you learned these radical tid-bits that are most tRiUmPhAnT. Turn that knob to BoDaCiOuS levels and lets get going!
Kashmir by Led Zeppelin
[Main Riff 1]
D|------------------------------------------------------------------------------------
|A|------------------------------------------------------------------------------------
|G|--2---2---2------2---2---2-------3---3---3------3---3---3-------------------
| D|--0---0---0------0---0---0-------0---0---0------0---0---0-------------------
| A|--5---5---5------5---5---5-------5---5---5------5---5---5-------------------
| D|---------------------------------0--------------------------------0---------------
| D|-----------------------------------------------------------------------------------
| A|-----------------------------------------------------------------------------------
| G|--4---4---4------4---4---4-------5---5---5------5---5---5------------------
| D|--0---0---0------0---0---0-------0---0---0------0---0---0------------------
| A|--5---5---5------5---5---5-------5---5---5------5---5---5------------------
| D|---------------------------------0---------------------------------0-------------------
| D|---------------------------------------------------------------------------------
| A|---------------------------------------------------------------------------------
| G|--7---7---7------2---2---2-------3---3---3---------------------------------
| D|--0---0---0------0---0---0-------0---0---0---repeat------------------------
| A|--5---5---5------5---5---5-------5---5---5----------------------------------
| D|-------------------------------0---------------------------------------------------
D|------------------------------------------------------------------------------------
|A|------------------------------------------------------------------------------------
|G|--2---2---2------2---2---2-------3---3---3------3---3---3-------------------
| D|--0---0---0------0---0---0-------0---0---0------0---0---0-------------------
| A|--5---5---5------5---5---5-------5---5---5------5---5---5-------------------
| D|---------------------------------0--------------------------------0---------------
| D|-----------------------------------------------------------------------------------
| A|-----------------------------------------------------------------------------------
| G|--4---4---4------4---4---4-------5---5---5------5---5---5------------------
| D|--0---0---0------0---0---0-------0---0---0------0---0---0------------------
| A|--5---5---5------5---5---5-------5---5---5------5---5---5------------------
| D|---------------------------------0---------------------------------0-------------------
| D|---------------------------------------------------------------------------------
| A|---------------------------------------------------------------------------------
| G|--7---7---7------2---2---2-------3---3---3---------------------------------
| D|--0---0---0------0---0---0-------0---0---0---repeat------------------------
| A|--5---5---5------5---5---5-------5---5---5----------------------------------
| D|-------------------------------0---------------------------------------------------
Bill and Ted air guitar
E string hold 1 finger on the 17th at the E and use 2nd finger to hammer on and pull off the 20. Alternate with right hand finger to hammer on and pull off 20.
Cinnamon Girl by Neil Young
E ]-----------------------------------------------------------
B ] -----------------------------------------------------------
G ] -----------------------------------------------------------
D ] -5--------7---7-7-7---7--------------------------------
A ] -3-slide-5---5-5-5----5---3-2-0------------------------
E ] ----------------------------------------1-3----------------
E ]-----------------------------------------------------------
B ] -----------------------------------------------------------
G ] -----------------------------------------------------------
D ] -5--------7---7-7-7---7--------------------------------
A ] -3-slide-5---5-5-5----5---3-2-0----------------------
E ] ----------------------------------------1-----------------
B ] -----------------------------------------------------------
G ] -----------------------------------------------------------
D ] -5--------7---7-7-7---7--------------------------------
A ] -3-slide-5---5-5-5----5---3-2-0------------------------
E ] ----------------------------------------1-3----------------
E ]-----------------------------------------------------------
B ] -----------------------------------------------------------
G ] -----------------------------------------------------------
D ] -5--------7---7-7-7---7--------------------------------
A ] -3-slide-5---5-5-5----5---3-2-0----------------------
E ] ----------------------------------------1-----------------
If you want to play the whole song or learn more riffs give us a call at 425.284.1960 and schedule a lesson!
It takes two hands to play a guitar, just like a piano, trumpet or drum but unfortunately most players seem to focus on only one hand- the left hand. Afterall the left hand is the flashy hand. Just think of the famous 1980s guitar players like Eddie Van Halen, George Lynch and many of the other “hair band” players and their pyro techniques. When you watch famous guitar players you will see the fingers stretched in almost impossible contortions of barre chords or moving in a blur of scales, bends, slides and other techniques. In fact almost all the close-ups in music videos focus in on the left hand rather than the right. But the guitar is a rhythm instrument. Just watch any Mississippi delta blues player, jazz guitarist or R&B player and you’ll see how rhythm is essential to the guitar part. Most guitar players in a band will play rhythm guitar parts probably 80 to 90 percent of the time, solos usually only lasting eight bars or so.
What makes a great guitar player is his ability to “lock in” with the other rhythm instruments like bass and drums. Essential to playing great rhythm guitar is developing a chord vocabulary. Whether you are a fingerstyle guitarist who prefers open tunings and suspended chords or a jazz or rock player utilizing barre chords, you must study your chords. Practice is essential to mastering the ability to smoothly move between chords in time.
The other piece of the puzzle is the right hand. The right hand is responsible for keeping time and creating rhythm patterns to compliment the rest of the rhythm section. The best way to develop a great sense of rhythm is to play with other rhythm instruments like drummers and bass players. If you can’t find a drummer to play with then practice with a drum machine. And don’t get stuck on the Rock 1 beat but rather experiment with the Latin, R&B and Funk grooves to expand your rhythm chops.
The right hand also creates the percussive tones of palm muting, plucking and popping the strings, sweep techniques and more. So if you want to be a better guitarist take that neglected right hand and invest lots of your practice time grooving to the beat.
What makes a great guitar player is his ability to “lock in” with the other rhythm instruments like bass and drums. Essential to playing great rhythm guitar is developing a chord vocabulary. Whether you are a fingerstyle guitarist who prefers open tunings and suspended chords or a jazz or rock player utilizing barre chords, you must study your chords. Practice is essential to mastering the ability to smoothly move between chords in time.
The other piece of the puzzle is the right hand. The right hand is responsible for keeping time and creating rhythm patterns to compliment the rest of the rhythm section. The best way to develop a great sense of rhythm is to play with other rhythm instruments like drummers and bass players. If you can’t find a drummer to play with then practice with a drum machine. And don’t get stuck on the Rock 1 beat but rather experiment with the Latin, R&B and Funk grooves to expand your rhythm chops.
The right hand also creates the percussive tones of palm muting, plucking and popping the strings, sweep techniques and more. So if you want to be a better guitarist take that neglected right hand and invest lots of your practice time grooving to the beat.
We've said it many times. We've posted about it, written about it, handed out fliers and put signs up. One of the worst things going on in the guitar industry is going too cheap. Stick with me here and let me explain.
What would happen if Johann Pachelbel was given a cheap $50 toy piano or Picasso was only allowed to create a painting using a stick to draw in the dirt. Let me ask you this. How inspired are you to listen to music when its on a home theater system with hi fi sound. Now how satisfied are you listening to it with your tiny little phone speakers? A sure fire way to kill passion is to show art in its cheapest dirtiest form. If you want to inspire someone you show them the best. You take them to a high-end restaurant to try filet mignon if you want to introduce them to steak. You take someone to an art museum to introduce them art. You take them to a concert to show them music. Why would you give them a $50 stick of wood with strings slapped on them to get them interested in guitar?
Maybe you are thinking. Plenty of people find passion by drawing in dirt or playing a cheap instrument. You can probably name me a few famous guitar players that started with cheap or free instruments. Yes, but this is only the extremely motivated few. These are people that refused to quit no matter what. But if they had something that played correctly and sounded great would they may have found success that much sooner? For the rest of us we need whatever help we can get.
This is a large part of why the music industry shrank so drastically over the years. People buy very inexpensive guitars made overseas. They don't want to pay for lessons so they look for free lessons from friends or YouTube. Many quit within a month or two and never return.
Finally I'll leave you with my personal story. I quit trying to learn guitar 3 times. My brother and father showed me a few chords on an acoustic guitar. I just wasn't interested. There was no commitment. No purchase of my own money and the music wasn't what I was interested in. I had friends who let me borrow a guitar and the same thing happened. It wasn't until I bought a beautiful, sweet sounding guitar associated with the genre of music I was interested which created a spark. I still would have quit by getting distracted by all the movies, video games, friends and TV shows if it wasn't for a teacher. I was committed to seeing my teacher each week. I was committed to practicing because I was giving someone my hard earned money and I wanted to show up because the teacher got to know me more and more. He kept finding music I loved. He kept things exciting and interesting. He got me through the hardest part which is the first couple months. Not only was I playing music I loved but I found out about more bands and songs I've never heard before. Like a personal Pandora or Spotify but better. When is the last time you had a professional musician pick out music for you based on personal connection?
Lastly let's talk about what is possible. At Northwest Guitars we have a success rate over 95% with all our students. Meaning someone who knows nothing about guitar is able to eventually play songs fluidly. This is way better than the industry standard. Why? One reason is that we don't sell unplayable guitars. Another is we have passionate professionals with years and years of experience who love guitar. We've created a store that is fully focused on the passion of music. All day long we find new music, share it, talk about it. We have shows, clinics and jam sessions. We have old and young musicians sharing stories and ideas. When you come to see us we'll help you find a good quality, well set-up instrument that will fit your budget and connect you with one of our expert and experienced teachers so you will have the best chance of success!
If this article hits a chord with you. Share it. Tell friends and family its important to dive in head first when trying guitar. Spend some real money on a beautiful looking, feeling and sounding guitar. Get a teacher who inspires you. Tell them by buying something cheap online they aren't giving the art a real chance.
Guitar lessons Bellevue
 | Many guitarists ponder the aspect of learning to play finger style, but few ever get around to learning how to go about it. This is partly because there are a number of misconceptions about playing with your fingers instead of a guitar pick. And in this article we’ll address a few of those misconception. |
Today there are as many popular styles of guitar playing as there are brands of guitars. And unless you are satisfied with focusing on just a few styles such as metal or acid rock, you’re could be limited as a player if you play only using a guitar pick. And, there are four or five decades of musical styles out there still floating over the airways and iPods that you are missing out on as a player. In truth, finger style playing can actually be as easy or easier than pick style. Ask any professional guitarist or guitar teacher what he or she uses when playing at home for their own enjoyment. Many will say “Fingers.” A good example of a modern rock guitarist that uses his fingers would be Mark Knopfler of Dire Straits.
Stringed instruments, whether guitars, cellos, violins or harps, produce vibrations that we can hear and feel when we pluck the strings. Holding the guitar against your chest and plucking the strings with your fingers is a more organic and natural experience. You feel closer and more intimate with your instrument. Plus, correct finger style hand position is a far more comfortable way to play guitar.
However playing with a pick has its advantages too. Sweep picking, harmonics, speed runs and other techniques are only available to the player using a flat pick. Percussive rhythm playing is accomplished easily using a pick. Bluegrass practically demands it as does shred, metal and many classic rock styles.
Most qualified guitar instructors are only happy to demonstrate pick technique and proper finger style techniques. A variety of right hand techniques will make you a more versatile guitar player and you will find that entire worlds of playing open up for you.
Stringed instruments, whether guitars, cellos, violins or harps, produce vibrations that we can hear and feel when we pluck the strings. Holding the guitar against your chest and plucking the strings with your fingers is a more organic and natural experience. You feel closer and more intimate with your instrument. Plus, correct finger style hand position is a far more comfortable way to play guitar.
However playing with a pick has its advantages too. Sweep picking, harmonics, speed runs and other techniques are only available to the player using a flat pick. Percussive rhythm playing is accomplished easily using a pick. Bluegrass practically demands it as does shred, metal and many classic rock styles.
Most qualified guitar instructors are only happy to demonstrate pick technique and proper finger style techniques. A variety of right hand techniques will make you a more versatile guitar player and you will find that entire worlds of playing open up for you.
Let me begin by saying that back in the days of rock’s founding fathers (like Chuck Berry and Buddy Holly) most players were satisfied using just a guitar pick. Finger style playing was thought to be something reserved for classical or flamenco artists like Andres Segovia or Carlos Montoya. And to some degree, this was true. Music stores rarely had a nylon stringed guitar hanging on the wall, and flat-topped steel string guitars were designed for “flat picking.” However, people like Bob Dylan, Joni Mitchell, James Taylor and Leo Kottke (to mention just a few) changed things forever. Lots of these folk guitarists also played banjo and so were comfortable using their fingers. Several actually used their metal banjo picks on multiple fingers.
The Minor Pentatonic Box: for anyone wanting to play guitar solos over blues and rock songs this is usually the first thing any aspiring guitar hero learns. Often it's the only thing we learn: it sounds good over all three of the chords of a common blues progression (the I, IV, and V ...if you aren't familiar with these terms for music theory, teachers at NWG can show you or there is plenty of information online to help) and there are a few players out there that can make just those five notes sound perfect. The problem is, for many, many other players it can sound boring and repetitive, and nothing like other musicians with a more advanced melodic vocabulary; if that's the music you listen to and enjoy. Many of those players have moved beyond "playing over the key" and are "playing over the changes"; in other words, making different melodic choices that sound better over each chord.
Playing over changes seem daunting early on; for example, if you've looked at one of those charts that show you every scale you could play over chord X. ("I don't know all those scales." "I can't remember all that." "This just sound like playing scales.") There is an easier way to make a big step forward in your note choice sophistication while just adding one note… OK, three if you're being nit-picky, but just one at a time: add the major third from each chord to the pentatonic scale while following the chord progression. The video {below} made at NW Guitars will demonstrate a bit of how this can be done. Keep practicing!
Learn more about CD Woodbury
The Minor Pentatonic Box: for anyone wanting to play guitar solos over blues and rock songs this is usually the first thing any aspiring guitar hero learns. Often it's the only thing we learn: it sounds good over all three of the chords of a common blues progression (the I, IV, and V ...if you aren't familiar with these terms for music theory, teachers at NWG can show you or there is plenty of information online to help) and there are a few players out there that can make just those five notes sound perfect. The problem is, for many, many other players it can sound boring and repetitive, and nothing like other musicians with a more advanced melodic vocabulary; if that's the music you listen to and enjoy. Many of those players have moved beyond "playing over the key" and are "playing over the changes"; in other words, making different melodic choices that sound better over each chord.
Playing over changes seem daunting early on; for example, if you've looked at one of those charts that show you every scale you could play over chord X. ("I don't know all those scales." "I can't remember all that." "This just sound like playing scales.") There is an easier way to make a big step forward in your note choice sophistication while just adding one note… OK, three if you're being nit-picky, but just one at a time: add the major third from each chord to the pentatonic scale while following the chord progression. The video {below} made at NW Guitars will demonstrate a bit of how this can be done. Keep practicing!
Learn more about CD Woodbury
Staying Sharp About Flatwounds
Flatwound strings have been around since the invention of the electric bass guitar. Clear back in 1951, the Fender Precision bass came stock with flatwounds. To say they have been a major part of rock ‘n roll would be a monumental understatement! Roundwound strings wouldn’t become the dominant string of choice until the 1980’s. And now we are experiencing a real comeback of this classic sounding string.
Flatwound strings have been around since the invention of the electric bass guitar. Clear back in 1951, the Fender Precision bass came stock with flatwounds. To say they have been a major part of rock ‘n roll would be a monumental understatement! Roundwound strings wouldn’t become the dominant string of choice until the 1980’s. And now we are experiencing a real comeback of this classic sounding string.
The list of artists who use(d) flatwounds strings is a veritable list of whoes-who of rock and roll. Names include Bill Black (Elvis), James Jamerson, Paul McCartney, Chris Squire, Carol Kaye, John Paul Jones, Steve Harris (Iron Maiden), and many more. You name the artist in the 50’s, 60’s and much of the 70’s and you can be dang sure he/she were using flatwound strings.
Flatwounds have a deeper, mellower sound than roundwounds that have been used across the musical spectrum including reggae, country, blues, jazz, roots rock and many indie bands have jumped on board as well. Many producers love the sound of flatwounds which eliminate the “squeak” (finger noise) when recording, plus they are easier on your frets, not to mention your fingers! And if they don’t have enough “growl” for you, there are now more modern sounding flats like the Ernie Ball Slinky Flatwound strings that have a cobalt underwrap and ribbon that return much of the punch of a roundwound string while retaining the feel of flats.
Do yourself a favor and try some on one of your basses today!
By
Michael Bloodgood
 | The Vox AC30 became a world famous amp clear back in the early 60's. There are few amplifiers that that kind boast that title! The Beatles, U2, Queen, The Pretenders, Tom Petty and the Heartbreakers, and so many MANY more have made chart topping hits using the AC30. It is one of the most treasured amps you will see in any guitar player's arsenal. So why is it so good? Simple. It sounds amazing, with a legendary tone. We have the AC30C2 Amp currently in stock! To all our students and customers: Get in here and try it out for educational purposes. Every player should hear and play an AC30. It's almost a right of passage. Don't be that guy at the jam session that asks "What's an AC30?" and then gets a funny look from everyone else in the band! |
| Learn more: Intro to the AC30C2 | Hear it: Demo of AC30C2 |
Find out more here.
More videos...
Blink 182, Angels & Airwaves
All American Rejects
A short sample list of people who use an AC30:
- Hank Marvin, Bruce Welch and Jet Harris of The Shadows, for whom the amplifier was originally developed during early 1960s before Beatlemania.
- John Lennon, Paul McCartney and George Harrison of The Beatles
- Keith Richards and Brian Jones of The Rolling Stones
- Pete Townshend of The Who
- Brian May of Queen
- Jimmy Page of Led Zeppelin
- Ritchie Blackmore of Deep Purple
- Francis Rossi and Rick Parfitt of Status Quo
- Paul Weller of The Jam
- Robert Smith of The Cure
- The Edge and Bono of U2
- Kurt Cobain of Nirvana
- Noel Gallagher of Oasis
- Bernard Sumner of Joy Division and New Order
- Tom Petty and Mike Campbell of Tom Petty and the Heartbreakers
- Peter Buck of R.E.M.
- Rory Gallagher
- John Scofield, noted jazz/fusion guitarist
- Joe Strummer of The Clash
- Jim Albrecht of Hoi Polloi
- Matthew Bellamy of Muse
- Snowy White
- Joe Satriani
- Kenny Howes
- Justin Hayward of the Moody Blues
- Jonny Greenwood, Thom Yorke and Ed O’Brien of Radiohead
- Hans Magnus Ryan a.k.a. Snah of Motorpsycho
- Gary Lightbody of Snow Patrol
- Phil X of Powder, The Drills and Fretted Americana
- Carl Barat of The Libertines and Dirty Pretty Things
- Nic Cester of Jet
- Jamie Hince of The Kills
- Courtney Taylor-Taylor of The Dandy Warhols
- The Pigeon Detectives
- Cage The Elephant
- James Dean Bradfield of Manic Street Preachers
- Andrew Stockdale of Wolfmother
- Sergio Pizzorno of Kasabian
- Jan Paternoster of The Black Box Revelation
- Caleb Followill of Kings of Leon
- Andrew White of Kaiser Chiefs
- Brendan Benson
- Jim Adkins of Jimmy Eat World
- Tony Bevilacqua of The Distillers
- Josh Homme and Troy Van Leeuwen of Queens of the Stone Age
- Chris Shiflett of Foo Fighters
- Jeff Beck
- Marc Bolan
- Bernard Butler of Suede
- Arctic Monkeys
- The Black Angels
- Dave Davies
- Grant Nicholas of Feeder
- Topher Mohr of Mayer Hawthorne & The County
- Nick Zinner of Yeah Yeah Yeahs
- Tom DeLonge of blink-182 and Angels & Airwaves
- Billy Lunn of The Subways
- Rose Hill Drive
- The Horrors
- My Chemical Romance
- Dustin Kensrue and Teppei Teranishi of Thrice
- Kelly Jones of the Stereophonics
- Greg Hill, former guitarist for MUTEMATH
- Dan Kroha, guitarist and vocalist of garage punk band the gories
- Nick Broomham
- John Rzeznik of The Goo Goo Dolls
- Andy Latimer of the prog-band CAMEL
- Jeff Tweedy of Wilco
- Kevin Parker of Tame Impala
Written by
Sean F
Way back in the '50s when rock and roll first started with Elvis and Carl Perkins the guitar of choice for the new rockers was Gretsch. Duane Eddy, Eddie Cochran, Bo Diddley and of course Chet Atkins were just a few of the guitarists of note playing Gretsch. Then came the British invasion and we saw George Harrison on the Ed Sullivan show playing a Gretsch Country Gentleman. The folk rock movement gave us Buffalo Springfield with Stephen Still, Neil Young and Richie Furay all playing Gretsch guitars, the Byrds with David Crosby and his Gretsch and later Crosby, Stills and Nash with Stephen Stills playing a big White Falcon. Gretsch has certainly been the main stay guitar of rockabilly players most notably Brian Setzer. What you may not know is that may harder rock bands use Gretsch. Even Pete Townsend of the Who recorded the entire Who's Next album using a Gretsch and when you listen to AC/DC the entire rhythm sound (the big chord stuff) is Malcom Young playing his Gretsch.
We identify Gretsch with the early rock classic sounds from the '50s, 60's and 70's but today Gretsch is used, owned and endorsed by many contempory guitar players like Jack White, both the Edge and Bono of U2, Billy Gibbons, Jeff Beck, David Gilmore, Tom Petty, Richard Fortus of Guns and Roses and numerous alternative and rock guitarists wanting the "great Gretsch sound."
We identify Gretsch with the early rock classic sounds from the '50s, 60's and 70's but today Gretsch is used, owned and endorsed by many contempory guitar players like Jack White, both the Edge and Bono of U2, Billy Gibbons, Jeff Beck, David Gilmore, Tom Petty, Richard Fortus of Guns and Roses and numerous alternative and rock guitarists wanting the "great Gretsch sound."