Stevie Ray Vaughan’s guitar tone was as dry as a San Antonio summer and as sparkling clean as a Dallas debutante, the product of the natural sound of amps with ample clean headroom. However, Vaughan occasionally used pedals to augment his sound, mainly to boost the signal, although he occasionally employed a rotating speaker cabinet and wah pedals for added textural flair.
These videos are bonus content related to the January 2014 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now, or in our online store.
When Gus G. became Ozzy Osbourne’s axman in 2009, the Greek shredder quickly became as scrutinized as the celebrated guitarists that preceded him in Ozzy’s band, including Zakk Wylde, Jake E. Lee and Randy Rhoads. While his predecessors had relied on Marshall amps, the core of Gus G.’s sound came from high-wattage Blackstar Series One heads.
These videos are bonus content related to the Holiday 2013 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now, or in our online store.
Some storied amp manufacturers are happy to chase the next trend-setting sound or reissue inferior modern versions of their classic offerings. Orange Amplification, on the other hand, has devoted itself to refining the gear behind its long-loved, uniquely expressive, valve-derived tones.
At first glimpse, the Orange Micro Terror amp head looks like a tiny scale model of the already diminutive Orange Tiny Terror head. After hearing it plugged in and cranked up, it seems more like a cunning magic trick, because your eyes will tell you that there’s no possible way an amp that small can sound so good and produce volume output that loud.