Overdrive Quotes

Distortion pedals are just fantastic for not only rehearsing quietly but also for all those moments when you are going to play in highly compressed environments like radio, television, or recording against compressed loops.

My basic setup is my Ibanez Fireman guitars and for pedals, the TC Electronic MojoMojo is the mainstay of my board, along with a Catalinbread Calissto Chorus.

It was like I was in a tunnel. Not only the tunnel under the hotel but the whole circuit was a tunnel. I was just going and going, more and more and more and more. I was way over the limit but still able to find even more.

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.

I try to sit still for about 15 minutes each morning without making lists or running in overdrive.

The Beatles had some juice when it came to distortion, but Clapton was finally able to break through those early studio engineers' fear of overloading. He defined the sound that guitarists spend the rest of their lives trying to get.

I'm obsessed with fuzz pedals.

It's good to have certain restrictions sometimes, but it's definitely more fun to play really loud, with distortion.

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 always had this energy, which I think of as overdrive.

These days, my main guitar amps have been Magnatone. They're beautiful. Magnatones have actual tremolo, which I recently learned about guitar amps. Often what guitar amps call vibrato is really just a volume Up and Down. But Magnatone has a true vibrato, which is pitch bending. And so, it's just a lush sound.

I started many years ago using the Boss DS-1 and then graduated to the Satchurator and putting that right into that clean channel, and that sounds great. I've done many tours with that setup. Then we took the next two channels that were part of the JVM sound in channel 1 and made them a little more subtle.

Using double coil pickups kills a lot of the guitar tone - you lose the acoustic mechanics. With my single-coils driven through the Marshalls and overdrive, it sounds massive.

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.

We tune differently, and we use some tricks. There's just the two of us for much of a concert, so we want a big sound. We do use some guitar effects, distortion and delay. Playing cello with distortion sounds so good.

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

I play a Fender Jazzmaster and three stacks and a combo, two old Marshall Plexis and a Hiwatt combo and a Hiwatt combo with Marshall cabs.

I'm very aware of what, say, electric guitar recordings in the '60s sounded like.