Tone Shaping Quotes

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.

There's something about a wah pedal that really gets my gut going! People will probably say, 'He's just hiding behind the wah.' But that isn't the case. It's just that those frequencies really bring out a lot of aggression in my approach.

In my touring rig, there's a pedal drawer, where I'm able to switch pedals in and out, going into the front of the amp.

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.

You have to have a certain amount of grit in your sound, and having real synths and talking certain elements outside your computer can help with this.

I'm obsessed with fuzz pedals.

When I first started experimenting with harmonics, I'd sometimes hook up two distortion boxes just to get my strings 'frying,' which helped bring out the harmonics.

As far as pedals are concerned, the test for me is if I step on it, do I seem to be playing better?

I love using lots of different pedals in the studio because you have the time to experiment with sounds. But when you're singing, fronting a rock band, and playing, you don't really want to have to think about a lot of that stuff.

I've really gotten over pedals. I can't keep up with this craze of boutique pedals that make you sound like everything but your guitar. I can't get my head around it.

I have no secrets; all of these things have been discussed at length in guitar magazines over the years but are far too elaborate to cover in one article.

All my racks are the same between Slipknot and Stone Sour. The only thing I'll do is switch out pedals in the GCX system. But it's the same heads, same wireless, same GCX.

I think I could walk into any music shop anywhere and with a guitar off the rack, a couple of basic pedals and an amp I could sound just like me. There's no devices, customized or otherwise, that give me my sound.

I'm not going for a soft sound. I ain't lookin' for a warm sound. My sound is warm, but I don't need tubes to do it. The Randall RG-100 is the best amp for what I do.

When you're first starting out, there's always the temptation to hide behind distortion because it lets you get away with murder. But, when it comes to rhythm work, you've gotta back off that gain control a bit, especially if you're playing with another guitarist.

I've always used the Peavey Mace equipment. I've got a few of them. They're kind of like Marshalls. You know, we used to use Marshalls, but Peaveys just seem to last longer and push the sound better.

Early on in my career, I was really into the volume pedal techniques that somebody like Steve Howe or Alex Lifeson would use.

I have tried every amp, distortion box, gadget etc. that has ever been made since 1967 to present and nothing has sounded like the Tonebone. It has become an incredible asset to my sound and I recommend this to anyone who is looking for that NATURAL warm sound with sustain for days and days! Buy this now!

The process of selecting the tone on the guitar is an aesthetic process like any other, so you try a lot of different things.

No two notes are ever the same volume. With the guitar, you really have to model in your mind this wider thing; you're trying to create the illusion of a bigger dynamic range.

I use Bogner amps and custom-designed Schecter guitars with Seymour Duncan Invader pickups. I beef up my tone with a Boss CS- 3 Compression Sustainer. It's kinda like my secret weapon.