Reverb Quotes

Guitar Player Magazine says Dick Dale is the father of Heavy Metal, blowing up 48 amplifiers, creating the first power amplifier.

On 'Honeybabysweetiedoll' I used a Whammy, a Boss OC-3 octave box, a Sustainer and a Line 6 DL4 Delay Modeler. That's only on the intro, where all those weird noises are happening.

Dick Dale don't surf no more.

Engineering and mixing are absolutely key. Once a song is done, for me personally, it's usually two or three days to get the mix down.

'No Bones' has some reverb that I kick around.

Producing is getting the performances, tracking it, making sure all the parts are there. Mixing is when you take the finished work, and you make sure all the levels are right. It's putting all the parts together.

I'd often use a Leslie cabinet on its own in the studio because everyone in the late Sixties and Seventies was experimenting with them. We'd stick anything through a Leslie because it made everything sound so good.

Some of the songs I've made, I'm really disappointed in how I mixed them.

Man, Dick Dale shreds. He's welcomed to anybody's bar mitzvah.

I like the sound of a Silvertone amp for myself. It's kind of cleaner guitar sounds when necessary, maybe a little less metal-sounding. But it really doesn't matter what amp I play through; it's really the way I voice chords and play guitar, how I strike the strings.

Surf music is actually just the sound of the waves played on a guitar: that wet, splashy sound.

The only way you can get Scotty Moore's tone is with a big hollowbody guitar.

My tools are musicians, effects, things like that.

Surf music is played through a Showman amp with a Stratocaster guitar.

I'm always saying in the studio, 'My vocals are too loud!' or 'My vocals have too much effect on them!' I like some of it, but I'm not a fan of loading effects onto my voice.

My basic setup is my Ibanez Fireman guitars and for pedals, the TC Electronic MojoMojo is the mainstay of my board, along with a Catalinbread Calissto Chorus.

When my guitar was growling, playing surf beat, you could hear it; you could feel it.

In the studio, my brother and I have always used a lot of Marshall amps. We like to keep it pretty basic. We just use a couple of cabinets each - sometimes just one, if we think that's enough. We mainly go for 100-watt and 50-watt heads.

The magic that you find in surf music, I think, is really timeless. You know, when I was very young, I was in a surf band. Surf music is an instrumental music that still means a lot to me, not in an nostalgic way, but as something that really gets to the heart of the guitar itself.

We always did our own mixing.

Nothing could capture the sound of Dick Dale - he was too loud.

A lot of times you'll hear bands and it's a different sound coming out than what's on stage. Because you can clean it up through a PA and make it sound completely different than what they really sound like.

I have an Otari with a Korg T2 Midi synthesizer, a drum machine and a few effects units.

In all the music that deals with experimental repetition, drum and bass, dub, various kinds of house music, there's always been a quality of atmosphere and ambience.

The Police could get away with doing an entire record with really no audible reverb, which I have always admired and thought would be a lot of fun to try to re-create.