Mark White Quotes

If you have a great-sounding guitar that's a quality instrument and a good amp, and you know how to make the guitar talk, that's the key. It starts with the guitar and knowing what it should sound and feel like.

I don't enjoy jazz guitar in general. I don't enjoy listening to a lot of it. I don't enjoy the tone. In general I've found its role in jazz to be kind of difficult.

Kenny Burrell that's the sound I'm looking for.

I never liked mellow sounding guitar.

I like guitar sounds to be a little somber.

I've discovered that sheer quantity doesn't necessarily make for a heavier sound; if anything, overdubs make guitars sound mushier.

The heavy guitars are the ones that sound good. They are not that comfortable, but they do sound great.

I always hated jazz guitar. I loved jazz saxophone but I hated jazz guitar. If I would buy an organ trio record I would make sure I'd buy one that did not have a guitar player on it. The sound was awful!

I'm on this eternal quest to get the best guitar sound in the world, but my vision of what is 'the best' changes every time I go into the studio. Sometimes my goal is to make my guitar jump out, and sometimes I want it to lay back.

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

I agree totally with Metheny regarding the sound influencing the way you play.

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

I don't believe that heavy strings make it all that much bigger-sounding. If anything, it can mess up your fingers, and you can get tendonitis, which is not cool.

In my opinion, the P-90 is the best pickup for slide - it has the right overtones.

Steve Morse is a very good guitar player, but he's American, and he's using humbucker pickups. If you ask me, those two are not good.

Vocally, I don't think analogue makes that much difference, but with guitars, it definitely makes some difference. With drums and bass, absolutely.

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. A responsible designer might try to overcome this limitation - probably the engineers at Marshall tried, too. But that sound became the sound of, among others, Jimi Hendrix. That sound is called electric guitar.

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.

I listen to anything anyone gives me. I always go back to a few basic favorites. I can always listen to Django Reinhardt and hear something I haven't heard before. I like to listen to Art Tatum and Coltrane and Charlie Parker. Those are guys who never seem to run out of ideas.

Very few guitarists play nylon-string. They don't know how to get the sound out of them. That's something I've spent a lot of time on.

I grew up listening to Barney Kessel and Wes Montgomery, Kenny Burrell, guys with blues backgrounds.

In essence, I feel I'm more jazz guitar player because I write vehicles geared for improvisation.

The last thing I do is go and listen to heavy rock music. But I love electronic music. The purity of the tones is inspiring, because it's obviously much more controlled than a guitar tone.

More than any other instrument, the relationship between an acoustic guitar and a microphone is super-important. The kind of mics that you use and your placement of the mics to the guitar can radically alter your sound.

I like music more balanced between the voice and the guitar and the percussion. I don't like heavy metal.