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00:00Had a sound like Rory Gallagher.
00:04Today we're diving into the tone secrets that define Rory's iconic no-frills approach sound.
00:08Start with an S-style guitar with vintage output single coils.
00:13For amp-same, grab a cranked Vox AC-30 or Brit-style amp with EL-84 power tubes.
00:20Push to create a natural, harmonically rich overdrive.
00:23Now the real secret weapon is a Dallas Rangemaster treble booster
00:26that pushed his already screaming AC-30 to searing articulate lead tone.
00:33Beyond the treble booster, he didn't really use much in the way of effects.
00:36Let your guitar and amp do the talking.
00:38Rory's true X-factor was his hands.
00:40An aggressive picking attack and a wide, expressive vibrato.
00:43And incredible dynamic control.
00:45Get more comfortable with your guitar's volume knob to control the breakup of your amp.
00:51It's a powerful, often overlooked tool for getting a wide array of expressive tones
00:55from a single, basic signal change.
00:57Who's next? Comment your favorite Rory Gallagher song.
00:59How to get Ryan May's iconic guitar sound.
01:05And why it sounds so special.
01:07The way you do it is putting your pickups out of phase on purpose.
01:10Here's in phase.
01:12Out of phase.
01:15It gets really nasally.
01:17Essentially, you have one pickup that's pushing the wave
01:19and one that's pulling the wave at the same time.
01:21And they're canceling out frequencies.
01:23And you can put them in series as well, which gets you even closer.
01:28How to sound like Stevie Ray Vaughan.
01:34Heavy hands, thick strings, and a $350,000 amp.
01:39For guitar, it's got to be a Strat with single coil pickups.
01:42No if, ands, or scuttlebutts.
01:43Stevie's secret weapon was heavy gauge strings.
01:51Often 12s or even 13s.
01:53Hard to bend, but robust and rich in tone.
01:55Actual disclaimer, 13s are so tough to bend
01:58that Stevie actually had to superglue his fingertips on tours.
02:04If you don't have superglue or you're not ready for 12s or 13s,
02:07try 11s for a thicker tone.
02:08See, strats are actually designed to take 9s.
02:10So the higher output from the thicker strings
02:12gives you a more aggressive bell-like clarity.
02:16For amp stems, Stevie famously used a Dumble Overdrive Special,
02:20one of the most coveted guitar amps ever made.
02:22Dumbles give big headroom dynamic cleans
02:24with just enough breakup when you dig in more aggressively with the pick.
02:29Now, instead of choosing between the Ferrari and the Dumble,
02:31let's just model it in software.
02:37Dial the gain in low to maintain headroom.
02:38While pushing the mids to 6 or 7, treble just under 6,
02:42and bass around 4 or 5.
02:44Use a TS or green style overdrive pedal
02:46for some extra magic in front of the amp.
02:47Keep the gain low around 3,
02:49but boost the volume to push the amp naturally.
02:51Finally, technique.
02:52They say tones in the hands, so let's see.
02:58Stevie attacked the strings with a heavy right hand,
03:01relying on things like downstrokes, bouncing, and rakes.
03:04On shuffles, big bends, and double stops.
03:06I mean double trouble stops.
03:08But wait, it still doesn't sound right,
03:10because there's one more secret to this SRV sound that you need to know.
03:13Stevie used the round edge of a celluloid pick, not the tip.
03:16Comment which SRV lead you're going to play first.
03:18What if you could split stems, clean up vocals, and even fix a bad recording?
03:27Let me show you what I mean.
03:28What if you could split stems, clean up vocals, and even fix a bad recording?
03:32Online without expensive software.
03:34Meet La La Laye, an online tool that lets you do things like split stems,
03:37and repair vocals.
03:42But it's their newest feature that you need to know about if you record music or make content like me.
03:46The Echo and Reverb Remover.
03:48Recording is an inexact science, and mistakes happen.
03:51Whether you're battling the elements, noise, interference,
03:53or recording in a space that isn't sound treated.
03:56In the recent past, fixing these mistakes required very expensive software.
03:59But with La La Laye, all I need to do is upload my track to the site or app
04:03to access all of these incredible features for one affordable monthly subscription or credit pack.
04:07So that you can easily repair audio on the fly,
04:09and create the best possible music or content.
04:12And you can try it out yourself from the link in my bio.
04:14Kinda sound like Radiohead.
04:19Radiohead's Johnny Greenwood uses a ton of great pedals.
04:24His tone is atmospheric, angular, raw, at times totally unhinged.
04:29Start with a T-style guitar.
04:33Ideally with a bridge humbucker or high-output single coil pickup.
04:37Greenwood's OG Radiohead Tele used Lace Sensor pickups.
04:40Hot, mid-forward, and a little darker than standard single coils.
04:43For Ampsim, go clean with a Vox AC30 clone.
04:49Preferably with Alnico speakers for that nice edge of breakup grip.
04:52For Crunchy Drive on songs like Paranoid Android,
04:54Greenwood used a Marshall Shredmaster.
04:59An early 90s Marshall distortion product
05:04that's aggressive, compressed, and unapologetic.
05:14The Roland RE-20 Space Echo is a huge part of Greenwood's rig.
05:18Try room, spring, and or plate reverbs with a modulated delay.
05:24Then combine these sounds with a Digitech Whammy.
05:26To create alien-sounding cascades of sound.
05:31For Greenwood, every plug-in or pedal is a compositional tool.
05:35Effects aren't secondary or even complementary.
05:37They're a primary sonic weapon.
05:39Used to create, not just alter, the guitar sound.
05:42Comment your favorite Radiohead song.
05:43So you played this absolutely insane lick at the Tate McCray show at Bridgestone last night.
05:51His name is Zach Fenske.
05:53You might have seen him at your local Enormodome with Tate McCray.
05:55And today we're going to rip off one of his best licks.
05:57Let's go!
05:59And we're going to put tabs up on screen for everyone else to learn it.
06:02With it being an arena context, if you're playing a lot of fast notes, it can be a bit lost because there's so much echo going on.
06:08What I've found people have reacted a lot to is when you do something that's repeating and something that their ear can catch.
06:13Second finger, B-flat.
06:16My first finger on the C.
06:19Yep, and then third finger on the E-flat.
06:21We're in C, right?
06:24C minor, yeah.
06:25And then your pinky is reaching up to the B-flat.
06:28Ah.
06:29Yeah, I already hear your...
06:31You already got it.
06:32And then you come down to the G.
06:34Oh, so you have one, two, three, four, five, six, seven, eight, nine, ten.
06:40Yeah, so it kind of offsets.
06:42And you know what?
06:43Thank you, Dre.
06:43That's why he's the professional here.
06:46That's a group of ten.
06:47It's creating like a swirl.
06:50That's it.
06:51That's it.
06:52There it is.
06:52That's it.
06:52Dre's got a good right hand on him, so he's picking a lot of those notes.
06:55You can either pick it or you can go legato with it.
06:59You can keep repeating it for longer that way.
07:01Can we do it as a harmony?
07:02Yeah, do a lower position.
07:03Okay, let's go.
07:07Now we sound like it's like Rush or something.
07:10Yeah, something crazy.
07:11Make sure you go follow Zach on Instagram and check out the Tate McCray Show on tour.
07:15Let's go.
07:15This coin helped create some of the most iconic guitar riffs of all time.
07:28We're talking about Brian May's legendary Sixpence.
07:31The year is 1551, and the British Sixpence coin is manufactured for the first time.
07:40400 years later, a young Brian May is struggling to find the perfect guitar pick to play with
07:44his new band, Queen.
07:46May believed thin plastic picks would help with speed, but made him feel kinetically disconnected
07:50from the vibrations of the guitar strings.
07:53Thicker plastic picks didn't cut it either.
08:00One day, a disgruntled May picks up a Sixpence piece at random and has an epiphany.
08:07The Sixpence piece would give him the control and feel he wanted for his guitar tone.
08:11The high nickel content of vintage Sixpence means a softer metal, which won't hurt steel
08:15guitar strings.
08:16To maintain flexibility, May held the pick loosely and was finally able to channel the feeling
08:20of striking the strings through his fingers.
08:22Absolutely everything that happens at the string, I will feel in the fingers.
08:26But there's more.
08:27When held at an angle, the serrated edge of the coin produces a percussive sound from the
08:31attack of the texture leaving the strings.
08:33Side note, it also stains the absolute heck out of your fingers.
08:36This produces harmonic artifacts that mimic the articulation of the human voice, which you
08:40can hear in Killer Queen.
08:44We will rock you.
08:49Bicycle race.
08:52And of course, making this humble tender a bona fide riffing machine.
08:59Comment your favorite Queen song.
09:07Had a sound like Van Halen.
09:08Eddie's infamous Frankenstrat guitar uses a single PAS-style humbucker in the bridge.
09:20Before the amp, Eddie used an MXR EQ pedal with a mid-boost.
09:23Eddie's legendary brown sound came from a Marshall Superlead 59 Plexi.
09:28We can simulate this with any British or modded Plexi-style amp.
09:31Eddie hot-biased his amp with 12 AX-7 preamp tubes and EL-34s in the power amp stage.
09:39For the cab, I'm using a 412 greenback.
09:40For pedals, Eddie took the MXR Phase 90 and flanger to new heights.
09:44With the phaser set low.
09:48Here are the settings I'm using for the flanger.
09:50Then add tape delay after the flanger.
09:56Eddie's Echoplex unit would have added additional preamp saturation and analog color.
10:00So add a boost before the delay.
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