Dimebag Darrell Quotes

And if I would have taken lessons I probably wouldn't have done it, and what forced me to do all this weird stuff on the guitar was I couldn't afford effects pedals, I didn't have all this stuff when I was a kid so I just tried to squeeze all the weird noises I could out of the guitar, which brings me to building guitars.

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.

As you can appreciate over my lifetime I've developed a large vocabulary of sounds each requiring certain physical techniques often combined with a specific effect box.

I have been using delay and reverberation since the middle 1960s. I use them to make what is almost inaudible to the ear, audible. I do not use them to play loudly but to make the higher harmonics heard.

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.

It's been very hard for the guitar as a serious synthesizer to compete with keyboards.

I knew absolutely nothing about recording. I had this four-track recorder, and I'd plug my electric guitar right into it, which sounded real bad. I moved any fader that made a drastic change in sound. I thought that was cool - that it was communicating something. I didn't have the skills to do anything subtle. It was just like screaming.

Music turned to digital, and suddenly you had the possibility to make things louder than loudest, which boggles the mind but it's true, and what you have are all kinds of different ways of distorting your music.

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 am a sound freak. I could play around with sound forever.

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.

More recently, I used guitar synthesizer extensively on the two albums I did with Robert Fripp.

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 easiest place to get a natural harmonic on any string is at the 12th fret. All you do is lightly rest one of your left-hand fingers on a string directly above that fret and then pick 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.

As a guitar player, I've been influenced by dance music - it was Crystal Method and The Prodigy back in the day. I would listen to those textures and try to approximate them on the electric guitar.

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.

We had a simple 8-track studio set up in the record store where I worked. And just staying after work and experimenting, realizing what was possible with recording - that's why my project was called The Microphones at first. Because it wasn't even songs really. It was just sound.

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.

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

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.

I write on the acoustic guitar, I write some on the piano, but I've been messing around with these guitar pedals and drum machines, educating myself in that world.

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

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

Jeff Beck is compelled by his inner artistic drive to keep evolving the instrument. He'll use the whammy bar with the volume knob and the tone control all at the same time - creating harmonics that no human being should be able to hit.