The instrument was made by famed American luthier Kris Derigg, and is in fact not a Gibson at all, but an exact copy of one. The Les Paul replica cam with Seymour Duncan Alnico II pickups, and Slash was so enamoured with the tone that he has since used the same pickups in the majority of his solid-body humbucker-loaded guitars. For a while the guitar went everywhere with him, helping to explain the image of the Les Paul as being so interwoven with that of its player.
Or you may do what Slash does and have different delay pedals in either position for different types of delay effects. Find out more about effects loops in my Guide to the 4-Cable Method. When performing live, Slash uses a rack-based Wah with controller pedals placed on the stage. The Cry Baby SC95 above left is the more basic wah pedal tuned to a lower voicing than typical wah pedals. The Cry Baby SW95 above right adds in a distortion circuit to the wah and you can see two knobs on the side to control for volume and gain.
Learn more about wah pedals and other alternatives in my Ultimate Guide to Wah Pedals. If you only have a few pedals, this is overkill and you can get away with daisy chaining your pedals to one power supply as explained here. Find out what your core tone is, then once you find a tone you love, find ways you can enhance or shape your tone when needed. The key to sounding like Slash is to find the right balance between gain and sustain.
Aim for a low-to-medium gain setting with a cranked tube amp. Remember that Slash uses low-to-medium output pickups and the gain on his amps is set to 3.
So most of what you hear in his drive tone is the result of cranking the volume in a tube amp. Regardless of what amp you use, try to avoid the temptation to crank the gain.
Too much gain will provide you with the sustain he is known for, but it also destroys the clarity and well-rounded tone Slash achieves. Listen closely to the recordings and tweak and adjust your rig to try and work your way closer to what you hear in the recording.
Those settings may work for Slash, but you may prefer different settings. If you really want to learn in-depth about the guitar effects Slash uses or how to dial in specific guitar tones, check out my Guitar Effects Course. Study the techniques Slash uses and watch videos of him playing live to see how he plays. If you really want to sound like Slash, the more time you spend studying his playing, the easier it will be for you to get closer to his tone.
Just find a guitar that feels good and you like the look of. There are plenty of brands that build good quality Les Paul-style guitars at low prices. You can read my review of the Special II here for details. The reason I suggest a modeling guitar amp is because they allow you to access a wide range of tones as well as inbuilt effects. This means you can experiment with delay, boost, chorus, fuzz, and other effects that Slash uses without having to buy any pedals. The Marshall Code 25 is ideal if you really want the Marshall name on your amp.
Was it odd to hear your music back-to-back with Kenny G! It was a strange kind of surroundings for me! The very first guitar I ever had was a beat-up old Spanish guitar my grandmother gave me. It had one string on it, and I learned about half the cover songs I know today on that one string! I finally graduated to six strings, on a guitar I carried around for a year. I just like the feel of it. With different types of guitars, do you notice any change in your style or approach to playing?
One of the reasons the Les Paul is such a mainstay for me is because once I got that sound and feel down, it gave me license to do what I wanted.
But if I pick up a Strat, I play completely different. I will use one every so often if I want something that just really screams, but I have to go through a dozen to find the right one. Does playing with different musicians also affect your approach to the instrument? But the more you do that and the broader the span of musical styles you can adapt to, the more you grow as a musician and learn to play with other people by picking up on those nuances.
Playing with Ray Charles was one of the major events for me, where I had to play with a master, and pick it up right away. Are you ever intimidated in those situations?
A good example is the Ray Charles thing. Going into the studio with Ray was one of those things where the beats and chords changes were pretty rapid.
I asked to go home and sit with the music for a bit, sat up all night and learned it, then came back and recorded it the next day. It was pretty hard. But it would have been twice as hard to spontaneously do it live. A lot of times, when you jam live, there is no rehearsal. How do things compare? Duff was doing what he was doing, and [drummer] Matt [Sorum] was always playing previously-recorded material.
He recorded the Use Your Illusion records with us, but we had already written the songs before he joined. It was also the first time in seven years that Duff and I played together on new songs. So it was new for all of us because of all that had gone on in that seven-year period. It was exciting. Then [vocalist] Scott [Weiland] came in and gave it a voice which just turned everything into something really interesting. Scott gave it a life that fit perfectly.
We threw it all together, banged it out, and we were on the road before the album even came out! I keep a little digital recorder with me, and record stuff in hotel rooms and during breaks.
I put ideas down as they come to mind. We wrote lots of music, and we recorded everything. Then we gave bits and pieces of it to Scott. Most of the first stuff, he just went for. We also wrote a lot of new material with Scott. It was easy because we pretty much used the first stuff Scott went for. The AFD Les Paul offers a wide range of colors, and their setup is pretty much the closest thing anybody will get to the model.
It features double Alnico II humbuckers that are now known as Slash signature pickups. It also features 80s control speed knobs and a traditional Tune-O-Matic bridge, as for its neck, this Les Paul line features jungle frets to its C profile and AAA flamed maple top. During the early years and merge of the L. The guitar was last seen in a show back in January before reportedly, storing it away. However, in , there were rumors and alleged statements that this B. Finish: Cherry Red Years used: One of the most dynamic guitars in the industry for popular conception, as for Slash, one of the most annoying and despicable pieces of equipment that ever existed.
The Gibson SG was, in fact, one of the very first Les Paul models in the market, after a few years around , Les Paul himself asked for his name to be removed from the model, and engraved it into his very own design.
Either way, this model featured a fast mahogany slim-taper neck with rosewood fingerboard and featured a classic setup of 61R and 61T humbuckers. Be that as it may, the legend says that one piece of the guitar was taken to Guitars R Us.
Finish: Goldtop Years used: to According to many sources, this was his most babied guitar during the Appetite for Destruction tour until it went missing during the promotional tour for Use Your Illusion. As for its specs, Slash made sure that every Les Paul he owned sounded similar to his specified and signature set up. There was a fair share of gigs in which Slash used this guitar, and it can be distinguished by its zebra-colored Seymour Duncan pickups. The most iconic one has to be the live at the Ritz concert in New York.
After it was stolen, Slash posted an ad to look for it with a cash reward in case anyone can find it. This ad includes the guitar serial number and contact information. With a considerable amount of live appearances, this vintage guitar is also known as the one featured on the Velvet Revolver single Slither.
He kept using it for special occasions throughout the new millennium and into his legendary status as a guitar hero. Allegedly, Slash kept this guitar close to him, even closer than a few Les Paul models, it is said that he wrote the acoustic part for the ballad Patience while that may be unspecified, it is known that he recorded the track on it. Shortly after acquiring a first Guild JF, Slash decided that he would need a backup so he purchased another identical one.
These era of Guild acoustics were the main go-to in live performances and studio even through the Use Your Illusion era and tour, meaning that it had a fair share of live-action with Civil War as well. One of these guitars remains with Slash stored in his personal collection, while the second one was recently auctioned. The band got a chance to stock on whatever they pleased and so Hudson took the chance to get his hands back on one of his previously favored models, the B. C Rich Mockingbird, which he preferred over his Warlock.
This guitar is very well known to fans as the You Could Be Mine six-string and lawfully ever since the song came out as the promotional single for both the album and the Terminator sequel, Slash has been popping out this guitar when its time to play that specific tune. This B. C Rich Mockingbird some extensive action ever since it was purchased. Louis concert in In Slash auctioned a B. It can even in the latest live performance of You Could Be Mine.
Many sources point out that Slash use to carry this guitar with him at all times during the Use Your Illusion era, but there are records of the guitarist using a Martin D even earlier than the 90s. There were several reported Martin D models involved with GNR during the peak height of their career, but probably Izzy Stradlin, Duff McKagan or even Gilby Clarke could have owned a couple of them since Slash has repeatedly stated that he was a more electric oriented guitarist.
This Les Paul features a unique inlay with a snake all across the fretboard, the Snakepit logo in the lower part of the body, and a cherry red finish with black Alnico II humbuckers, which makes for a unique piece of craftsmanship. Initially, Hudson received a couple of these guitars, but they were taken from him when his apartment was burgled during the late 90s.
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