This is why purists may scoff, but Stevie Ray Vaughan was more than just another Lone Star axe-slinger. Some of his work was certainly radio-friendly enough to get playing time on pop stations. Stevie had a wonderful gift for making raw roots blues palatable to more genteel tastes. I’m talking about none other than Texan titan Stevie Ray Vaughan and his contribution to Bowie’s oeuvre, of course.
The improbable pairing of a redneck blues-rocker and the androgynous Thin White Duke, with a couple of off-the-cuff lead lines played over an amp on the verge of breakup, resulted in a pop song with enough R&B cred to be called Let’s Dance. Though departed, this man remains an object of adulation for many who worship at the altar of sizzling blues guitar sounds.Īnd even those with a foot or other extremities in the pop camp value his tasty tone on the tracks he laid down for David Bowie. Ask us in the comments if you want the left and right ones too and we’ll add them in!
These are the settings for the main guitar track in our AC/DC video. Oh, and if it’s not sounding right, reach for your gain knob! We explain why that’s so important when channeling the AC/DC spirit here. And that’s a fine place to be in the Young brothers’ universe. That should put you squarely on the Highway To Hell. Lock into the rhythm like a human metronome stab at those lead notes like you’re plunging an ice pick into a zombie that’s snatching at your main squeeze. Now comes the hard part: play only what’s absolutely necessary, but with the intensity of a jackhammer chewing up pavement. Technically speaking, there’s no big secret to that Thunder from Down Under: break out a guitar loaded with crisp humbuckers, plug it into a tube amp, and push its power stage to the brink of breaking up to get a touch of compression.
STEVIE RAY VAUGHAN GUITAR RIG PLUS
Plus it means as well as trying to recreate AC/DC’s classic guitar sound, we’ve also had a go at pretending to be Angus for this pic we shot when we released our official H&K company biography: Into The Blue! Happy times… We had an awful lot of fun at this photo shoot. They bludgeoned their way to chart-topping success and into guitarists’ collective consciousness with all the gleeful abandon of schoolboy delinquents armed with guitars. The Young brothers may not have invented the formula, but the lusty exuberance and unrelenting, go-for-the-throat savagery of their rhythm and lead work raised the rock riff to an art form. The rock ‘n’ roll circus that is AC/DC may be winding down these days, but make no mistake: those Aussie pub rockers took Chuck Berry’s recipe for rock ‘n’ roll success – a catchy line over a driving backbeat – and added a shot of venom, vigor and high voltage to rewrite the book on lean, mean rock riffery. OK, let’s get that right hand going then (quiet at the back!)… We’ll start with everyone’s favorite Australian schoolboy upstarts – but by the way, don’t forget you can nail the sounds of Jimi Hendrix, David Gilmour and Nile Rodgers by checking out our previous Get The Guitar Sound blog right here! Well, you’ve come to the right place – what better way to improve your sound than by tweaking your amp and rig to sound like a guitarist you love? Today we show you how a few simple knob twists will get you in the same six-string ballpark as three of the guitar world’s greatest: Angus and Malcolm Young of AC/DC, blues-rock legend Stevie Ray Vaughan, and all-round axe slinger Steve Lukather.
STEVIE RAY VAUGHAN GUITAR RIG FULL
Each string had 3 full winds for the best angle at the bone nut.If you’re anything like us, you want your guitar tone to be as hot as possible. String height was measured to be 5/64" on the high E string and 7/64" on the low E string. The fingerboard radius when new would have been 7.25 inches as were all pre CBS curved fingerboard Fenders but SRV's guitar ended up after many refrets and sanding of the fingerboard as 10" and used Dunlop 6100 fretwire. 012" at the 7th and 9th frets, and leveled out through the remainder of the fingerboard. Vaughan used the guitar on all five of his studio albums and on Family Style. After purchasing the instrument in 1973 from Ray Henning's Heart of Texas music shop in Austin, Texas, it was his main performing instrument and companion. Number One (also known as Vaughan's 'First Wife') was a 1962/63 Fender Stratocaster used by Vaughan for most of his career it was "rebuilt more times than a custom Chevy." Vaughan always claimed it was a 1959 model, since that date was written on the back of the pick-ups Rene Martinez, who maintained the guitar since 1980, saw the year 1963 stamped in the body and 1962 on the neck.
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