Andy Summers Quotes

There is no finer sonic-producing weapon for a guitar slayer than a hand crafter Gibson masterpiece.

I still fall back a lot on my Les Paul, and there is just no getting away from a Les Paul and a hot pickup.

A wah-wah is important as well. I love it; it makes the guitar scream.

Every guitarist I would cross paths with would tell me that I should have a flashy guitar, whatever the latest fashion model was, and I used to say, 'Why? Mine works, doesn't it? It's a piece of wood and six strings, and it works.'

In OK Computer, the guitar was already moving towards a tone generator as well as a riff generator.

I keep changing my stuff. I used to play through a Marshall JCM800, and then I also had a Randy Rhoads signature amp. So before I was playing EVH, I was playing an ODB pedal. I still have my Dunlop Jerry Cantrell wah pedal because I love that.

It is the universe where all rock players live- we all use distortion, overdrive, gain and saturation. I call it 'fuzz.'

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.

I even have a Harmony Rocket and a Stratocaster with a scalloped neck back in Florida.

I mainly use Stratocasters. I like a lot of different kinds of guitars, but for what I do, it seems that a Stratocaster is the most versatile. I can pretty much get any sound out of it, and I use stock pickups.

When I got my first Marshall amp, it was so empowering. No one ever forgets their first Marshall amp if you're a guitar player pursuing a big powerful sound. I mean, no one ever forgets their first Marshall amp.

I never liked mellow sounding guitar.

You can muck around with different guitars for certain bits, but you have to have your own sound. That's your benchmark, that's your sound. I also play a Black Beauty. It sounds amazing.

Strats are my favorite electric guitars, and I've got quite a collection.

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.

There's something about a Gucci loafer kicking on a fuzz pedal.

The Marshall guitar amplifier doesn't just get louder when you turn it up. It distorts the sound to produce a whole range of new harmonics, effectively turning a plucked string instrument into a bowed one.

I'm also getting an Ovation Legend, because I like them so much.

I'm obsessed with fuzz pedals.

Lots of people think it was Jimmy Page who had the first fuzzbox. It wasn't, No! it wasn't me either.

I have a Chamberlain I bought from some surfers in Westwood many years ago. It's an early analog synthesizer; it operates on tape loops. It has 60 voices - everything from galloping horses to owls to rain to every instrument in the orchestra.

I was playing a Fender Telecaster when I first joined.

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 have an independent record label called Favored Nations on which I released an album by an artist called Johnny A, who plays an arch top Gibson through a Marshall, but the tone is all in his fingers.

The Telecaster doesn't really sound that good for the kind of rock and roll that a lot of people played.