Steve jones amp setup

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Clear editor. Upload or insert images from URL. Share More sharing options Followers 1. Reply to this topic Start new topic. Prev 1 2 3 Next Page 1 of 3. Recommended Posts. Posted December 5, Link to comment Share on other sites More sharing options Replies 62 Created 15 yr Last Reply 1 yr. Top Posters In This Topic 4 5 6 3.

Popular Posts Tedddy December 14, Zen Posted December 5, High Overdrive, lots of treble, not much bass.

Originally posted by Zen. Originally posted by paul Edward Posted December 5, Originally posted by csm. Fulham Fallout Posted December 5, Originally posted by Edward. Jonesy's sound is brighter to me than the stereotypical modern LP Rawk sound -. Armitage Posted December 5, Originally posted by Armitage. J Bone Posted December 5, Originally posted by Fulham Fallout. Email Steve Jones an' ask him: jonesysjukebox indie Black Falcon Posted December 5, The rumor is that studio musicians laid down the tracks on Bullocks.

Author Members. Join the conversation You can post now and register later. Reply to this topic Insert image from URL. We did carry spare Marshall tubes, and I believe they were EL84s. We had spare Marshall and Ampeg heads and cabinets with us on tour just in case we had problems. The amps and cabinets for the Marshalls and Ampegs were right out of the box with no alterations.

He often said that he went to 48th Street in Manhattan—music row—looking for the cheapest guitar he could find. This is true, but he was also looking for something that would separate him visually from the soft-rock players of the day.

Dee Dee played white Fender Precision basses with maple necks and black pickguards for nearly his entire career. Because of his rough playing style, he went through two or three basses per tour the band routinely played nights per year.

In a mids interview, he described how he and his roadie would caulk the controls and cavities to keep out the sweat. This gear enabled the Ramones to create the prototypical punk sound: rough, raw, brutal. These are serious questions when they relate to the brief, momentous tenure of the Sex Pistols—perhaps the most notorious, infamous punk band of all time.

Starting even lower on the socio-economic scale than the Ramones, and making the Clash look like a bunch of rich kids, the Sex Pistols began as an anarchistic daydream of their manager, Malcolm McClaren—a London shopkeeper and raconteur looking for fame, money, and freedom.

He had been exposed to the nascent New York punk scene in the last days of the New York Dolls and the early days of the Ramones. In fact, he managed the Dolls for a short period.

The Sex Pistols set out from the very beginning to be revolutionary, to upset the status quo, to be outrageous and to tear down the pretensions that had poisoned rock. It was also a time of great economic and social unrest. So rather than join in celebrating the Queen, the Pistols—especially frontman Johnny Rotten— chose to illuminate the problems of the country.

Starting with, of course, the Queen. Steve Jones possessed the two greatest attributes of a punk guitarist: limited training combined with a massive will to play. Merely three months after officially taking up guitar, he played the first Sex Pistols gig. With no time to learn, Jones developed a style based on the power-chord stylings of his two heroes—Mick Ronson and Faces-era Ron Wood. In addition to his white Custom, Jones relied on one other crucial piece of gear: a silverface Fender Twin Reverb.

Jones plugged straight into the Twin for the duration of the Pistols short first chapter, and all the way until their return. Like the classic Marshalls, a Fender Twin is a watt amp. At full volume, the four 6L6 tubes in a Twin rattle walls and windows with a thick overdrive. During his time with the Pistols, Matlock played both a Rickenbacker and a sunburst Fender Precision.

Matlock used Fender Bassmans with 4x12 Fender cabinets. Not the loudest rig in the world. Vicious, perhaps the ultimate non-playing punk musician, picked up the bass only days before his first gig with the Pistols. He never achieved what we would call proficiency on the instrument, but he gained icon status through his look, his attitude, and his flameout lifestyle of drugs and violence.

Joining the group during the recording session for their one and only album, Vicious used a rig similar to his idol, Dee Dee Ramone: a white Fender Precision bass and Ampeg SVT although, possibly at Jones behest, Vicious was limited to a single 4x12 cab. The sound of the Sex Pistols influenced not only future punks, but rockers and metal players as well. While neither as hard as the Ramones nor as snotty as the Pistols, the Clash created a sound every bit as iconic. A major component of this was the dual-guitar approach of Joe Strummer and Mick Jones.

In addition, the fact that the members came from various rough neighborhoods and squats of London brought a severe political edge to their music and, by extension, to the greater punk movement. The pointed lyrics of Joe Strummer, combined with the mod-influenced music of Mick Jones, created a sound that appealed to punks but also to fans of rock and roll.

Along with this change came new gear and a new sensibility of how to use it for maximum effect. Circa and , Jones relied on a Les Paul Jr. First up was a switch to what would become his signature ax for the rest of his time with the Clash, the Gibson Les Paul.

On the road in America in , he picked up a rare all-white Gibson ES that he used for a short period. It and a new Precision for bassist Paul Simonon were gifts from Fender. Jones favored the watt Mark I in combo form. He unloaded the speaker and used it to drive a single Marshall 4x For a period he even used the Boogie to run two 4x12s, but by the end of he had added a blonde watt Mark II to drive one of the cabinets.

That dual half-stack setup would be his main rig from then on. Jones used these pieces of gear extensively, both live and in the studio, for everything from light flanging effects to deep echo. He favored Teles for their simplicity, durability, and American working-musician vibe. He also liked the cutting bite of their bridge pickup, a sound well matched to his brutal playing style—the surname Strummer was no accident though it was perhaps a bit understated.

He acquired the guitar in a typically cheeky manner: Short on cash, he married a woman looking for UK citizenship in return for the money needed to buy a the Telecaster. When the latter came around, Strummer packed up his Tele and joined the Clash. In the spirit of the times, he had friends in an automotive shop spray his sunburst Tele black with a hearty coat of grey primer. Strummer played this guitar until his death in , although he also had a backup Tele that sported a metal pickguard and had been stripped and refinished in a natural coat.

In typical Strummer fashion, this guitar would soon sport a number of decals and a black racing stripe. He used this until the end of , when he switched to a Music Man HD Those little guys in bell-bottoms. He wanted to use the amp onstage but, alas, found it too loud and too clean. Some horses can only be ridden by one rider.

As the band got more attention, Simonon acquired a Rickenbacker , which he disliked. He wanted a bass that was substantial in both weight and tone. Simonon famously smashed this bass at a show at the New York Palladium in September This moment of anger and energy was captured by photographer Pennie Smith and became the iconic cover shot of the London Calling album.

Unlike Vicious and Ramone, Simonon became quite proficient on his bass, mastering funk and reggae styles and following the creative path of the Clash all the way up the river to its ultimate breakup. Unlike the Sex Pistols and the Ramones, the Clash successfully broke past the strictures of early punk to move into new genres and eventually create a signature sound.

However, if you crank up your amp you may find the sound of the clean channel too neat and the sound of the distortion channel too hardcore. Decrease the gain of the distortion channel, halfway for example, and shape your sound with the EQ. Boosting the mids will give you a very classic sound, and the highs will dirty up everything. Finally, reducing the lows will estrange you from the metal world. If you are lucky enough to have an amp with a contour, shape or blend control, they can come in very handy: they are the ones that change the color of your sound, specially the mids.

It's up to you to find the proper dosage. If in spite all the above you still can't find THE sound which is usually the case if your amp doesn't have mids controls , you will need to add a small magic box to your arsenal. Every pedal called simply "distortion" is, in theory, capable of producing an interesting result.

However, guitarists from the "American Pie" generation may find this sound too coarse. In that case, you might want to turn to more modern distortions like the Ibanez Slam Punk , Digitech's Grunge , or even to pedals aimed for metal, considering that the California punk sound isn't too far from it.

And if despite all this you are still not fully convinced, you might need to take a better look at your instrument. Maybe you are not getting the sound you are looking for due to the pickup type: a single-coil produces a more brilliant and biting sound than a humbucker. Unfortunately, in such cases you will be forced to change at least the pickups, when not the whole instrument itself. Yes, Audiofanzine is using cookies. Since the last thing that we want is disturbing your diet with too much fat or too much sugar, you'll be glad to learn that we made them ourselves with fresh, organic and fair ingredients, and with a perfect nutritional balance.

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