Gibson: Difference between revisions
From Allan Holdsworth Information Center
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Holdsworth’s current lead work is especially unusual because although his tone is as fluid and nimble as a synthesizer, he uses virtually no signal processing at all (he did use a Scholz Rockman for the sax-like bite of "Three Sheets To The Wind"). "I’ve noticed for a long time that lighter bodied guitars always seemed to sound better. [Charvel’s] Grover Jackson was unbelievable, going to all lengths experimenting with different woods. We finished up using bass wood; it’s a little bit like alder, but it’s lighter, very resonant. Grover made four Charvel guitars for me. He also widened the neck dimensions, more like a '''Gibson'''. The bridge is an aluminium DiMarzio and the pickups are Seymour Duncans, similar to a PAF but with two rows of pole pieces so that both bobbins are absolutely symmetrical; it makes the magnetic field more uniform." For strings, Allan uses .009 Kaman Performers. His favorite amp for lead playing has been a Hartley-Thompson with an occasional Fender. | Holdsworth’s current lead work is especially unusual because although his tone is as fluid and nimble as a synthesizer, he uses virtually no signal processing at all (he did use a Scholz Rockman for the sax-like bite of "Three Sheets To The Wind"). "I’ve noticed for a long time that lighter bodied guitars always seemed to sound better. [Charvel’s] Grover Jackson was unbelievable, going to all lengths experimenting with different woods. We finished up using bass wood; it’s a little bit like alder, but it’s lighter, very resonant. Grover made four Charvel guitars for me. He also widened the neck dimensions, more like a '''Gibson'''. The bridge is an aluminium DiMarzio and the pickups are Seymour Duncans, similar to a PAF but with two rows of pole pieces so that both bobbins are absolutely symmetrical; it makes the magnetic field more uniform." For strings, Allan uses .009 Kaman Performers. His favorite amp for lead playing has been a Hartley-Thompson with an occasional Fender. | ||
==[[Reaching For The Uncommon Chord]]== | |||
'''FENDER STRATOCASTER | |||
''' | |||
The first good guitar I had was a Fender Stratocaster. I only had it for a short period of time, but I really loved it. The Fender was a new guitar with a great sound, although I only had that first Strat for about six months. Then one day I went down to Leeds. ... | |||
'''GIBSON SG | |||
''' | |||
I used to ride the bus down there, sometimes just to look in the window of a Kitchens - a big music store. And one day I saw a Gibson SG - it was the first time I'd ever seen one in my life. I went in, and they let me take it downstairs and play it. I loved it. So I managed to exchange the Strat for the SG. I played that guitar from then through the time I joined with Tony Williams. Wonderful machines. In those days there weren't that many different guitars around. There were basically two, Fender and Gibson; both had completely different sounds. With the Gibson I had found a guitar with a voice more akin to what I was looking for. Now those two sounds have merged more with a lot of people experimenting, putting Humbuckers on Strats, etc. — which I did. I was so knocked out with this little Gibson. I then read about Orville Gibson and that man's story, and I became a big fan of his. I used to read a lot of books about violin makers and instrument makers in general. I admire innovative people like Leo Fender and Orville Gibson and those who helped develop their instruments, like Bach did with the organ. | |||
==[[Castles Made Of Sand (Guitarist 1987)]]== | ==[[Castles Made Of Sand (Guitarist 1987)]]== | ||
