I love a little distortion across the bass; I think it kind of adds something to the sound of the band when the bass is a little overdriven.
The Beatles had some juice when it came to distortion, but Clapton was finally able to break through those early studio engineers' fear of overloading. He defined the sound that guitarists spend the rest of their lives trying to get.
I think that's why so many school bands start on guitars: because they hide their mistakes with the distortion.
I write almost all my songs on an acoustic guitar, even if they turn into rock songs, hard rock songs, metal songs, heavy metal songs, really heavy songs... I love writing on an acoustic because I can hear what every string is doing; the vibrations haven't been combined in a collision of distortion or effects yet.
I like the experience being in the audience and being overwhelmed by sound, like thick, oppressive loud sound and distortion.
I really like iZotope Trash, which is a great plug-in for distortion, as is Ohmicide, which I love. It's an absolutely crazy multiband distortion, compression, EQ and filter, which pretty much lets you do anything.
It's almost like, it's often the bad recording quality of things which makes them interesting.
Virtual-reality researchers have long struggled to eliminate effects that distort the brain's normal processing of visual information, and when these effects arise in equipment that augments or mediates the real world, they can be that much more disturbing.
On 'Fuzz Universe,' I think I've taken a giant step closer to the ultimate rock guitar sound and playing of my dreams.
Things get very distorted when you do a movie, weirdly so.
I love a good Slash guitar riff. It's sexy!
There is a garbage culture out there, where we pour garbage on people. And we pour more garbage on people. Then the pollsters run around and take a poll and say, do you smell anything? And of course you smell something.
