THE GEAR
GT: What did you use for the recording of Liquid Quartet Live?
ML: I used a Fender Custom Shop Strat that has two Lollar Imperial humbuckers (standard wind). The main amp was a Dumble Slidewinder, which is similar to a four-input style Bassman amp with two 6L6s. The cabinet is a Kerry Wright 4x12 open back with vintage Celestion G12-65s. The second amp (used for the wet pedal board) was a Fender Hot Rod Deville ML 212.
GT: What dictates you using single coils or humbuckers?
ML: Several years ago, when I started to tour in Europe a lot, I started using a Strat with humbuckers because I couldn’t deal with the single-coil hum at the clubs I was playing. I use a lot of gain from my overdrive pedals and at times the hum was way too overbearing. I love both humbuckers and single-coils though, it just really depends on the venue and my mood. Single-coils sound and feel more immediate to me when I play with my fingers instead of a pick. It feels like there’s nothing between my fingers and the speaker if you know what I mean; the sound coming out of the amp is instant. Because of some of the frequency cancellation that naturally occurs with a humbucking pickup, humbuckers have a ‘lazier’ feel to me, and sound more ‘cloudy’ on the top end; they have a looser feel than a single-coil, but obviously humbuckers have a round, crunchy sounding midrange. Both pickups serve their purpose very well.
GT: Do you prefer overdrive pedals to amp overdrive?
This story is from the March 2021 edition of Guitar Techniques.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 9,000+ magazines and newspapers.
Already a subscriber ? Sign In
This story is from the March 2021 edition of Guitar Techniques.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 9,000+ magazines and newspapers.
Already a subscriber? Sign In
THE MOODY BLUES
This month Stuart Ryan delves into the picking style of this British prog legend whose acoustic guitar has powered many a Moody Blues song.
WAYNE KRANTZ
This issue Nick Mellor provides an insight into this brilliant jazz stylist, focusing on his approach to improvising over static chords.
OPEN G TUNING
Open tunings are great fun and can help create exciting new ideas. Simon Barnard shows how to incorporate open G tuning into your playing.
RODRIGO GOUVEIA
Last month we featured Mateus Asato, and mentioned the importance of the neo-soul style in his playing. Here we turn to his fellow Brazilian, the master of neo-soul fusion.
MARK KNOPFLER
Our topic this month is a master craftsman as both guitar player and songwriter. His style is unique and his influence spreads far and wide.
U2
Martin Cooper checks out the chiming pedal delay tones of this stadium-filling band from Dublin, Ireland, and guitarist The Edge.
LUTHER ALLISON
It’s blues with a touch of soul this month, as David Gerrish explores the dynamic, expressive style of an often overlooked Chicago bluesman.
JOHANN KASPAR MERTZ Capriccio
This month Declan Zapala explores the music of Austria at the turn of the Romantic period with a fiery caprice to level up your fingers and unlock your inner virtuoso.
THE CROSSROADS Michael Landau
John Wheatcroft explores the playing of a session ace _ and blazing blues-rock maestro who graces the top-flight m band of singer-songwriting legend, James Taylor.
VIDEO MASTERCLASS Troy Redfern
This month GT welcomes this slide guitar virtuoso. If you've been wanting to take your slide playing to the next level then this is one's for you. With Jon Bishop.
