The origin of guitar distortion goes back to the earliest electrified blues guitarists. They didn’t care that their primitive tube amps were breaking up and distorting, as long as they were loud. Soon, blues guitarists grew quite fond of those nasty, gnarly distorted tones, and they sought to replicate them by any means necessary.
As the holidays — and some much-needed time off — swiftly approach, I present to you my holiday gear wish list, all of which I hope Santa will be kind enough to leave under my tree. I know certain items on my wish list are somewhat pricey, but hey, that’s why I call it a wish list! Even so, if I don’t get it all, just receiving one will give me holiday cheer well into 2014.
Electro-Harmonix has announced the latest addition to its range of overdrive and distortion pedals: the Soul Food. This transparent overdrive can fatten a guitarist’s tone in all the right places without compromising or changing it.
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.
Originally intended to mimic the sound of a muted trumpet, it didn't take long for guitarists like Jimi Hendrix and Frank Zappa to make that sweet, sweeping "wah-wah" sound an integral part of the rock and roll lexicon.