Chris, we'll never escape the "experts" and their opinions that everyone should do as they do. I look at it this way, "if it sounds good, it is good." I was a guitar/cord/amp player for decades. Then about 10 years ago I began using pedals. They add variety, which means versatility. Follow your ears. There you have it, I speak of "experts" and then give you my .02 worth!
Totally agree. And I am almost 100% sure that touring artists have been using effects for maybe 40 years (or more) in concert. They used to tour with big racks of effects in the 80s. Also, pretty sure pedals and digital effects put the rack makers out of business and allowed easier transport of effects, sound to be connected to PAs in large concert halls and allowed gain and other sounds to be created without driving your neighbors crazy and the band deaf. If it sounds good it is good. Use of effects has very, very little to do with the quality of the artist.
Yeah. People don't use pedals to make them better guitarists. They use them to vary their tonal palette. I don't know how a player such as Dave Gilmour (for example) would achieve the kinds of reverb or delay sounds that he uses, without a pedal or rack. Even the overdrive sounds we ALL USE and dearly love are just an effect. Let those that are critical of effects just play "clean" and stfu.
So now it's "cheating" to use whatever you find available to get the sound you hear in your head? Chris...you rock to such an extent that your own advice to yourself about how you get those miraculous tones is about all you need to listen to.
Great video as usual Chris. I am in my 60s and saw the majority of the big 70s bands including Zep. Rory Gallagher was by far my favourite live artist at that time and I was fortunate to see him multiple times. As we know, he knew how to constantly ring out every last drop of tone from his guitar especially when playing his Strat using and changing PUP selector, volume and tone controls multiple times throughout a single song. But he was playing a certain genre, that really didn't need anything else. I know he used a few modulation effects later in his career. Radiohead are my all time favourite band. Radiohead would be a very different band if Ed just played through Rory's simple set up. The point I am trying to make is I believe the genre of music heavily influences what type of rig is appropriate. By the way, I purchased a P90 loaded Revstar primarily off the back of your frequent use and it gets played live every week love it to bits, though my Cornford is starting to gather dust (which I used to go straight into) in favour of my QC, ha ha! For the last studio album I recorded back in 1995 both the other guitarist and myself tracked all the guitars through my Mesa Boogie Trem-O-Verb with no pedal effects whatsoever, except for my Cry Baby on one track, live I did the same. Now I use loads of reverbs and delays, as I play music requiring an ambient feel. Thanks again for your great channel and consummate playing. Kind regards.
Your tone IS YOUR TONE! The tone you create for an original song is as important as the music, the vocals, the lyrics ect.... Everything you put into it is the pallet you paint with. If every song sounded like a dimed Plexi there wouldn't be a whole lot of diversity in music. DIFFERENT IS GOOD!
@@greybeard27 You've never heard a fan of a band talk about liking how a guitar sounds on a particular part? Like, how a delay sounds? Something like that? If so, you don't talk to people who get obsessive about their favorite bands.
@@greybeard27 its about how the player feels about his music. a new piece of gear can inspire new songs or creativity of a melody. new effects, amps or guitars has never been about the fans or what they hear but its about the musician and what they hear.
I have met or talked to the designers of over half the pedals I own. How many other things in my life are like that? Not my clothes. Not my car. Not my computer or phone. And I find that cool. It makes me feel connected to an artist who has contributed to my own creativity.
I’ve never really thought of it that way, that’s really interesting! I think I’ve met almost everyone who has made a pedal that is on my current board, maybe that’s WHY they are still on there? Hmm🤔. It is nice to look down and see that connection to other actual humans, and not just a faceless corporation I suppose…
Well said, I'm 60 years old and agree with you 101%, I'm also a painter, I can use a cheap pigments and my client will not notice it, but it's my art work, my painting, so I will use the best pigments that I can afford. Thanks for your music!
I love the message in this video. The magic of music can thrive in so many different ways, and the mix of your sensibilities and talent are a gift to all of us! Keep exploring & following the muse as you will!
Great video. You state that the audience certainly can't tell which effects you're using or how they're configured. While that's undoubtedly true, I think they would notice that something was different if you stopped. To them, it's a bit of magic that seems to be missing, but it would be missing nonetheless. In the end, your point that it's your show and therefore your decision is exactly right. You're the expert on being you. So keep doing you!
Such an amazingly beautiful sound, tone and feel! God I wish I was just even a 5th of a player that you are! A sound and feel that pulls on the heart strings at every tap, bend and slide is to me the ultimate goal in my learning of the most beautiful of instruments to me and most likely millions of others. Thanks Chris, keep on, never stop! 🤘🏻
I clicked for the subject matter, I stayed because of the incredible guitar playing! I went from not knowing who you are to considering you one of the most exciting guitar players out there. Great job, dude!
As a fan and a guitar player (not in the same league by FAR) I like the effects you choose for specific songs. Can I tell which pedal you use - no, but I appreciate YOUR sound. You are very distinct from the pack and killing it! I look forward to more of YOUR sound!
Even Jimi never just plugged into a Marshall Plexi, he used a few pedals cos he knew what sound he wanted. I reckon at least 50% of your sound comes from your fingers. If we gave you a plank with six strings on it, it would still sound like you. Go with what you like and just keep making yourself and therefore the rest of us happy.
To me, it boils down to 2 things: 1. What suits the music? 2. What suits the player? You use pedals that help serve the music - pedals that have been used by varioud players for many years to create a sound like Cardinal Blacks. Sure, if you were to step on stage with 5 HM2s or just a Chase Bliss Mood and an Empress Echo System, I think I'd be a bit put off and think "alright, hows he going to pull this off then?" - but you don't, you craft a toolbox with which to suit the music - and make it authentic to what came out of the studio, because nobody is able to take a real plate reverb with them on tour! And then, you have the tools that make you happy. Whether that be the Snouse Blackbox, the KOT, the Boss Space Echo... they help you make you feel like you on stage. Would it make a difference if someone replaced the Blackbox with a 'proper' Bluesbreaker? Or if someone replaced the Boss Space Echo with one of the new T-Rex one? To the sound that the audience hears, probably not! But you would know, and that might make you less confident on stage. So you must, in my opinion, be selfish in that regard - because both you and the audience want the same thing, the best performance available on that evening. Finally, you mentioned Hendrix at Woodstock, so I will say, (having grown up with my dad being a Genesis superfan) if anyone thinks pedals are cheating, go and listen to David Gilmour playing in Rome in 2007, with his absolute space ship of a pedal board, and think again; are pedals cheating? Or do they help musicians be at their best during a time of vulnerability?
Thanks. A great topic for discussion. All I know is after toiling away for 20 years with just my guitar and amp distortion the moment I got some pedals it seem to open up so many new options for me. I can be much more creative in the way I play now because I have a lot more options that I can dial in.
My favorite analogy: The diners in the restaurant don't know or care what kind of knives the chef used to prepare the meal. But you can bet it's important to the chef.
To quote Duke Ellington: “There are two types of music, good music and the other kind…” Chris, you play good music and I’m certain Duke would agree; how you do it is up to you, as it has been to all great musicians and hopefully always will. It is our privilege to listen.
Chris....just replace the H in cheating with an R. Pedals have always inspired me to create and enjoy playing guitar. Even just owning a helix at this I always have the means to create a different sound within seconds.
Great playing and great thoughts. I say any electric guitar player who is worried about "cheating" is in need of a reminder; electric guitar isn't about following rules; if anything it is far more about breaking them for fun and to see what happens.
Happy hallowed howls of heartfelt agreement! All too true! With a smile so real and still feeling my players muscles in shoulders and neck responding to sympathetic emphasis on your leads and awesome playout, I got lucky and made it here today to hear you play!!! You get me!
For you the pedal board is as much of your sound as are your right hand fingers and your pick gauges. Having a unique sound per tune is a great way for you to keep your playing fresh. Keep doing what you’re doing - I enjoy listening to your musical journey.
Awesome encapsulation. When you state, about 2/3rds of the way through, that you *could* do a CB show with just an amp and a cord, but you wouldn't *want* to, I think that is the clearest. All that said, however, including everything you said ... when you jammed out at the end, without pedals ... I gotta say it seemed like the most inspiring sound of any jam on here.
Nice playing bro! Im a 92 baby and completely agree with you on the matter of having one foot in each camp, i gig with a supro rhythm master and have a mixture of both analog and digital on my current board, merging the best of both worlds i say haha keep the videos coming! Love the content 👏
Way to go, Chris!!! Tell them “office chair Officianados” to pound sand! They’re not the one standing on those arena stages with thousands of people in the crowd!
As a 62 year old musician and visual artist I've found whatever helps you through the process to achieve the desired results are fair game. One time when my pedalboard and amplifier failed... I resorted to using a D.I. box into the P.A. & monitors. Had a great jam I'll never forget. It was a rather freeing experience. Cheers.
Chris, it’s art, there are no rules. It’s your statement and whatever it takes to make that statement is the right and only way to get that message out for you and anyone listening. The day an artist becomes subject to opinion it becomes their end. Play on.
That first song is hauntingly beautiful. And I love that you played out with a “badge” jam. You are truly a talent Chris no matter what gear your using
Love the videos! I gig as a drummer or bass player but do play guitar and work as a sound designer for games. I’m a bit older than you. Several years ago a guitar player friend whom I’ve played with since the mid 80s wanted to shootout guitar amp mics. We do a lot of recording and both of us have a variety of amps. This sent us down a crazy rabbit hole of tone searching, or researching. Once we found our favorite mic we started to shootout cables and one day we decided to see what affect stomp boxes have on guitar tone, which included in line before the amp as well as within an effects loop. My friend has hundreds of stomp boxes and rack effects. We found that not all effects processors are created equal. As a studio person there are certain things that I prefer after the mic in the signal chain, particularly delays and reverbs. I am not a fan of amp spring reverbs because they are quite boingy. Our semi methodical research led us to find that the best sound was the simplest; guitar straight into an amp, preferably with a Mogami cable with Neutrik connectors. We both always loved that combination. We found several boxes, rack included that as soon as they were added to the signal path the tone could degrade considerably. If a certain effect was desired we would only insert that box into the chain and only record with that effect active. Delays and verbs were best after the fact at the mix stage. We found significant discrepancies with modulation effects in particular. Any modulation effect with a digital chip performing the modulation, even those claiming to be high res just would not hold up to older analog modulation effects. We listened a bunch of choruses, phasers and flangers from several eras and the one we liked best was in an old Ibanez analog rack multi effects unit from around 1979 that I bought used in the 90s. It has a compressor, a phaser, an overdrive (literally the same circuit as their Tube Screamer from that era- my friend has the stomp box version and the two are identical with the same settings), a switchable stereo chorus/flanger and a loop. Each section has a knob numbered 1-5 to assign the order of the modules into any desired configuration. The phaser, chorus and flange killed any and every other box we auditioned. Some modern Leslie emulations were quite good but didn’t have the same feel, quality and depth as the Ibanez. We spend a lot of money on beautiful sounding guitars. Why muck it up with a bunch of potentially inferior circuitry before it even gets to a very nice vintage tube amp? I used to love my old MXR Distortion+ also from 1979. But now I only use amp distortion because it’s what sounds best to my ear. I’m a big Rush fan and Alex Lifeson always toured with a super sophisticated rig of stomp boxes and rack effects including a rack wah. We always wanted to emulate that, rightly or wrongly. I have been through various PODs and other Line 6 virtual processors as well as many name plugin amp sims and emulations. They work in a pinch but don’t come anywhere near pushing air from a speaker into a microphone into a nice mic pre into the recording medium. I play with another guitarist in one of my gigging bands who has a decent medium sized pedal board. There are certain things we need/desire to perform certain songs but sometimes you can hear how much it can kill the tone just being in line. Then how much noise is introduced when certain things are active. It can be a real pain. So there is a balancing act. I love toys myself. You just have to pick and choose. Back when Van Halen was coming to prominence you used to hear how he was “all effects” and somehow that was how he was “cheating” but I never heard him that way myself. Finding the balance is the key. I have heard really good sounding small rigs that sounded like studio recordings and sophisticated large rigs that sounded horrible and noisey or really thin. Ultimately if it sounds good it is good. For me that is usually straight to the amp or through one effect when recording. Using effects isn’t cheating, but it’s not always necessary either. 😊
I remember an old ads in a magazine, "Are you a guitarist or a tap dancer?" .. that made my day, I ditched every pedal and only stay with digital pedal, I mean most of us only using Clean, Reverb, Chorus, Delay and Dist or OD most of the time/gig. At least that worked for me for more than 35 years ...
Who gives a …. what people think. The most important thing I’ve discovered is that what inspires you in your creative process is where it’s at. You’re bang on. ‘It’s your gig..’ And Chris you have inspired me for a long while now… keep going.
I knew a guitarist in the Eighties, who played funk and soul music, and embraced the 'new' sounds you could create using pedals, and we said "Your pedals are masking your playing, can't you just plug into an amp and play, instead of hiding behind your effects?" So, my take is if you use effects to enhance your sound, rather than masking or over-producing it, effects are always beneficial. Also , as you rightly say, if certain pedals enhance the player's playing experience, then it doesn't matter if the audience can tell which pedal you use. Great video, as always, and great conversation starter!
Hello Chris, As a veteran guitarist, I have gravitated to a minimalist pedalboard and use it to add a little variety to my sound....and yes, it's mostly for me and the way I am inspired by the tone from my amp. My conclusion is that unless there's another player in the audience, no body notices the difference.... and I stopped playing for other guitar players long ago. Enjoy the different pallets available to you and don't worry about the guy in back with his arms crossed.
Chris, my one piece of ‘advice’ - ignore advice and criticism. Whatever you do in the moment, it works. The magic is in you and everything you use helps bring it out.
You hit the nail on the head. If you go on stage with a guitar sound which which you are not comfortable, it's going to affect your playing (and concentration) detrimentally. One has the sound in one's head. If one can't achieve it, it just results in frustration. The technology is a tool. Recording itself is an artifice - often multiple takes 'comped' together. If it's there, and it adds emotion, or feel, then use it. I'm Old School. I start with a clean sound, then add effects to taste. As long as one remember, the sound is in your hands, not in the box.
As long as you are happy with it and your audience is happy with it then it's all right. People (myself included) should be spending more time playing than making noise with their voices.
Been listening to John Scofield lately. I think noone says he is cheating when he is using effects. It’s a part of his style and sound. Very inspiring.
Absolutely - I've always thought that those that value 'vintage' tone and methods above all else totally forgot that Hendrix, The Beatles, Les Paul himself, etc etc - were always using new gear, cutting edge in many case.
I’m 51 and have been playing professionally for over 30 years. I’m in the camp that I don’t want to lug any gear that I don’t HAVE to these days. Modelers are a god-send in that regard. I can carry a primary AND a backup in a backpack for any gig anywhere in the world.
It's hard enough to just learn to play the guitar, but to learn and master all of the possibilities available with the use of all of the outboard equipment these days ...well that's a whole nother full time job. Keep doing what you're doing and you'll have me as a fan for life!
Hey Chris. Always enjoy your content, thanks. As for Jimi... I was there when he changed guitar forever. I want you to know that Jimi was often criticized for using FX back in the day. Not by fans, but other guitar players. I was born in 1949, making me 74 years old, and I too straddle the vintage and digital worlds as I continue to ROCK this world.
Whatever gives you the comfort to perform your best. That said, I've scaled down my live effects over the years to boost, wah, phaser, delay. The less to tote and go wrong, the better. And I can add more if a certain song requires something specific.
It's not what the audience notice, it's what they don't, but what still makes the difference. I remember watching a commentary on the extras on the Get Carter DVD, where the director and lightning guys discussed their craft on the scenes as you watched them. When you understood what was really happening, you realised why the scene was so good, but you didn't know why untill you were told how they did it.
Most people/audiences don't care about pedals, but part of playing is having fun and making pleasing sounds. So if it's fun and you like the sound, do it. Life's too short to quibble about the opinions of a few people.
I saw Rhett Shull in London when the TSA had trashed his pedal board. He plugged straight into a classic AC30 and would have blown the roof off the place if it had not been an open air gig. I think every musician should test themselves from time to time by stepping away from what makes them feel comfortable and trying something different but ultimately as is said in the video if the musician is having a good time chances are the audience will be too. Use what works but don't let it use you
@Michael-ty6tm I just watched Shred with Shifty where Chris Shifflet was interviewing Alex Lifeson. At one point they were discussing Alex using chorus and he admitted that he probably overused it to the extent that Geddy Lee challenged him to play without it. That is what I mean by "test themselves". Test their preconceptions. Test their assumptions. Test their reliance on anything be it an effect or a way of playing or an attitude. Stepping outside our comfort zone is a test and Alex admitted that he needed that push.
love the Hendrix bit at the end. everyone copies classic rigs, but we fall in love with risk takers and innovators. a lot of great classic rock was made with the newest technology available. tone is subjective, it’s all about perspective!
There's no cheating on guitar in my opinion. Players will recognise a good/bad player with or without effects. Pedals and all other 'gadgets' are tools, and it doesn't matter whether they're analog or digital. As long as it serves the song, whatever is fine.
There absolutely cheating on guitar, not so much live but definitely in the studio. DAWs, editing software and guitar emulation are at a level now where guitar tracks can be created without a single guitar note being played and any sloppy or poor playing can be tidied up to sound utterly fantastic.
Got to admit, I'd feel a bit naked without me effects pedals.(All 5 of em..😅)😬 But your thoughts on the subject are spot on, Chris...art is personal choice and taste. The Epi 335 sounds sublime.👍🎶🎸
I like musicians that make music just with a guitar, a cable and an amp and I like musicians that make music with a bunch of pedals regardless if it is digital or analogue. The important thing is to make music with your gear! Like your attitude Chris!!
An artist can use any amount of paint and brushes he chooses to create his art. No rules ! My minimum is a Compressor , Drive pedal , Delay, Reverb and a good clean-ish tube amp.
Do what’s best for your style and sound, music should know no limits, like painting art, paint with as many colors as the vision you imagined in your mind to be
I spent years with a Marshall 2203, Boss overdrive, DD2 and a wah, but relying on the pre amp gain control at low volumes was a weak sound. Plus I couldn't get a decent volume boost for solo's. Then went Marshall 1959 with an attenuator...awesome sound but still no volume boost. I then got an attenuator with additional volume boost, but then I was lugging around a head, cab, attenuator, pedals, extra footswitch's. This starts to become a royal pain when rushing to setup between bands on a small stage with limited space. Far easier to turn up with a combo and pedal board. With the right pedals I can now get a great rock sound at low volumes, a decent volume boost for solo's, plus a greater choice of sounds. It's far easier to turn up to a gig and practically be able to control your own mix rather than relying on a sound man who doesn't know you and when to boost the guitar.
Love your playing Chris, inspirational stuff. I'll be 60 in a couple of months, been playing since I was 12, my preferred genres are rock, metal and progressive metal. I've always embraced and experimented with a whole range of effects/multi-FX over the years (to a point - definitely not Steve Vai or Vernon Reid level). I firmly believe anything that increases your options and tonal pallette can only be a good thing, when used judiciously. Over-reliance may be what you're referring to here ? Different genres will by default have more or less scope for use of effects to a greater or lesser degree (jazz with a fuzz-face anyone ? - watch some prove me wrong now 😅). The trick, I believe, is to know if/when specific effects might enhance what you want, be that dynamics, ambience, etc., what emotion you choose to convey with particular songs or passages. Let the music dictate what you choose to use, even if that's simply the bypass switch. Like you (and also EvH, RIP) said - there are no rules. IMO, the argument around analgue vs digital is largely irrelevant, with virtually nothing to separate them now tone-wise. I would bet good money that virtually 100% of the cork-sniffers wouldn't be able to tell the difference in a true blind test - be that in either a live or in a studio situation.
It's a given that it's possible to achieve certain tones many different ways. Sometimes it's by using this or that pedal or its clone, sometimes its by using a pedal or just the guitar and amp. There are just some times that can be achieved different ways. The question is, which method is most valuable at the time, and how do you determine what the value is? Is player comfort more valuable? If the plater carrying a lucky rabbits foot makes them more comfortable and that shows in the playing, then the rabbits foot has value right? If you think, like I believe most of us do, that audience enjoyment edges out player comfort as the highest value, I think we can all also agree the two are not severable: if the artist is too uncomfortable, the playing suffers, the audience loses out. How the player achieves the tones is more a strategy arrived at over years of trying different things, being inspired in different ways. "Cheating" implies deliberately trying to be or do or achieve something you otherwise cannot... But does any serious artist ever really do that? So, no, I wouldn't call pedals cheating, or crutches. A great deal of practice goes into learning how to get the best tones from them, the same as it does getting the best tones from just guitar and amp, and does, arguably, require more effort because of the added complexity of pedal choices and range of tones. But here's a thought, @Chris: what about a Friday Fretworks episode where you contrast both methods to achieve a tone, or several? No pedals, analog pedals, and modellers? And then let listeners determine what they prefer and why? I doubt it will end the "cheater" argument (which, I agree with you, has no merit), but it would be interesting to contrast how much effort it takes to get a certain tone using the various methods. THEN, we can listen to people argue about how one method or the other is "better" because it takes more work vs how it's just smarter to use technology to get tone rather than brute force..! Just thinkin' out loud... Thanks for another terrific Friday Fretworks!
This would be an interesting topic to return to in a couple of years time if, in the meantime you did a fully acoustic set, gig or an MTV esque unplugged mini tour for example.
Dude use what you want to express the tone you here in your head and heart. That’s what makes you great your ability to convey your emotions to thousands of people.
Great response. It's your job and your tools. I played a show over the weekend and was accosted by another band for having too many pedals. We were the opening act, and I noticed a bit of feedback from my mic, I kicked on my feedback suppressor and everything went perfectly. The next 3 bands had feedback issues including the band that accosted me. My tools for my job are based on what I've experienced in the past. Also...It's just so much fun.
I've thought that very thing about Jimi before. As talented and capable as he was, he could not have gotten those sounds without effects. I think what we're experiencing right now is an extreme reaction by some to go back to basics after the flood of effects we've seen in the past 5 - 10 years. Everyone should use a few, a lot or none at all...whatever works for your music. But don't deny yourself the possibilities on principle. Cheers Chris!
I’ve never found that pedals help me play better, they just give more sound options, which makes the music more dynamic. As an audience member, I appreciate tonal variations and hope that the artists on stage have as many tools as they want to help them accomplish their goals. If anything, pedals add complexity in terms of spending money, experimenting and adjusting to match the environment. I have several pedals, but revert back to running my guitar straight to my amp out of laziness!
Have the subtleties of painting some of the masterpieces in visual art ever been known to the wide public? To me this is a similar process. Although people don’t necessarily notice the differences in tone and play style that doesn’t diminish the value of your artistic process. We are all striving to reach new heights in our field. Art is a never ending process of polishing (even where there’s little to polish sometimes) and tools always help and sometimes become a necessary condition.
You’re awesome, Chris! Couldn’t agree with your perspective more. And when you play through those dual Vintage Fenders…the tone is RIGHT! Keep it up. 👍
