60's , they definitely had the pure sweet tube amps because for the most part ,solid state tech was just getting rolling . I find a lot of the 60's to be like clean driven tube sound with the newly discovered fuzz pedals. Really cool sizzle . A lot of that sound bled into the early seventies. You would hear it on TV shows and cartoons like the Brady bunch & Scooby doo. It really wasn't until Sabbath that you actually heard a nasty evil pounding, percussive power metal chord progression. There really was no other band that even could be compared to them. It was the first time that guitars could sound scary! The nineties seemed to be the anti-guitar decade. Especially after Nirvana exploded and then Kurt died. 90's was very popp-ish after the grunge scene was done. Then came the Nu-Metal . Mesa Boogies! TRi-Recs. It was next level death metal . going into the new millenium.
@@margix1172 if you go off mainstream the 80s through the 90s where the birth and the haydays of the eastcost hardcore punk scene (which swapped all over to the west coast with Black Flag). A scene that’s the sole reason many fucked up kids from that time are still alive today. And I’m not talking about straight edge stuff that saved people from ODing but rather the scene giving quite a lot of those teenagers a save place where they could be who they want to be. One might think of Ian MacKaye and especially Henry Rollins what they want, but they helped bring a scene to live that played an existential role in the life of many people and was they’re only outlet for mistreatment and suppression. Of course those cornerstone where already layed by the Bad Brains and the Circlejerks, but the latter bands are what really made it into that DIY scene that was so important to many people. I know the music is not everyone’s favorite and not quite sophisticated, but it was something new and aggressive that never was before. It wasn’t for everyone and that’s the sole purpose of that kind of music. It only moves you if you are able to identify with it.
You should do BOTH! 60's because that's when distortion first became popular and the 90's because that's when it was taken to new levels with the aid of technology.
John is freakin awesome! Love seeing him start to relax and get into the Andertons video fun, compared to his first videos. Definitely need the other decades!
I think it's sacrilege the Cap' suggested Blue Oyster Cult are one hit wonders! What about Burning for You, Astronomy, or Godzilla for starters? If anyone's a one-hit wonder from the list it's Free.
Not only that but they got the gear WILDLY incorrect. Buck Dharma almost never used single coil guitars, it was all Gibson SGs and Steinbergers. For Don't Fear the Reaper he used a Gibson ES-175 through a Music Man 410 amp.
To be fair, don't fear the reaper is their only really successful song, same as smoke on the water for deep purple. Anyone who likes these bands knows there's a LOT of amazing tunes throughout their careers. That doesn't make any of those songs hits though
@@JobForAMaxboy That's not true. Burning for You is still in Radio circulation today. I just don't think you're familiar enough with the band to have a grasp on their cultural influence.
Those are the tones I'm always chasing as a 70s kid born in 72 with cool uncles and aunts of that era these tones and songs are comfort food for my ears... Great job guys!
Ed King did in fact record sweet home Alabama on a strat with a sea shell as a pick no less. He was skipping out and not touring and wasn't with the band when they went down. There's plenty of video of him showing what he played as he only passed a few years ago. Great video guys. This one was fun.
Yes . I heard that Gary & Allen were approached by Hartley Peavey and said he could build them amps that would sound like Marshalls so he made the Mace amps for Skynyryd !
@@joeyboogenz I understood that they were using Peavey Classics on the road and felt they weren't loud enough so they approached Hartley about building an amp with more wattage and he built the mighty Mace! six 6L6's and back breaking weight! I know, because I had one.
A '50s tone vid would be great. Chucky Berry, T-Bone Walker, BB King, Muddy Waters, Eddie, Scotty... the list goes one. Tough to master, too. That would be a real challenge!
Since you have moved from 80's down to 70's, please continue to the 60's. The tones were excellent, Digital John was excellent and what a great way to show off pedals, amps and guitars. Great video!
It was Ritchie Blackmore that used the reel to reel preamp to go into his Marshall Major 200 watt (modded to give 280 watts!). Also used a treble booster at some point, and probably had the fattest Strat sound going back then.
@@averyadrian1534 I have been trying to figure out how they used to do that, I am sure that nobody ever had the piles of cool gear that I have to get by with. 🤘
Can’t have a 70’s guitar tone discussion without mentioning Michael Schenker with UFO. I still listen to classic UFO all the time. The Mad Axeman had some of the best riffs in the 70s.
To me, the 70s are mainly Pink Floyd's days.. Obviously my #1 band, but their sound was so mind blowing and revolutionary.. Dark side of the Moon. Enough said.
I loved Floyd back then (still do) but the decade pretty much was spent by me grieving over the passing of Duane Allman. On my cassette player, in the park across from my high school, I'd switch tapes from Floyd, The Allman Bros, The Grateful Dead and Van Morrison. Some of the Blokes from across the pond (in England) were starting to lean too much in the direction of metal. Most metal just sounds like a school kid incessantly playing 3 chords and playing with the gain knob.
I think for the Sabbath you need a treblebooster in a cranked amp. Trebleboosters were popular in the 70s, Rory Gallagher, Brian May and maybe Jimmy Page used one at some point.
Specific treble booster circuits at that. Rangemaster is pretty specific sound by cutting bass and increasing high mids and treble in the way that it does. Then you got guys like Michael Schenker that does something similar by using a wah always on. But you also have to understand, like you said the amp has to be cranked lol so it's going to be super loud.
I’ve got a picture I took with my phone from a Lynyrd Skynyrd concert several years ago. It’s from after the show when the crew was tearing down the stage and shows one of the “Marshall stacks” from the rear, revealing that it was empty and had a Fender Hot Rod Deluxe or something similar sitting inside of it. I found it quite amusing.
I believe Gary Rossington used Peavey amps in the 70s. I remember watching an old live concert of them on YT and he was playing what looked like a Peavey Decade.
Just so many brilliant riffs from the 70s. You could literally do about 50 vids from that era and still find more. BTW how could you not know Bryan Robertson! Ace axeman! Him and Scott Gorham were epic together live. Great vid guys!
Firstly, great job John! One aspect that isn't often discussed when considering the tones of the 60s and 70s is that the major UK and US tube (valve) factories were closing down by the end of the 60s, due to the advent of the transistor. The Mullard factory in Blackburn and the RCA factory in NJ were pretty much finished by the early 70s. They were responsible for a big part of the classic Marshall and Fender tones respectively. Once the best of the tubes were gone, it was only Eastern Bloc countries producing tubes and the quality could not match that of the Golden Era and never has since.
The 70's were quite insane, with the tail end of the Beatles, zeppelin, sabbath, then a radical change with Van Halen. And so many more in between. Likely the time with the most change in rock music.
Super video... Great playing by John, nailing so many tones... the skynyrd was bang on... Early Zeppelin albums - Tele and Supro amp! No Rush? And the Deco is perfect for Rush tones...A lot of fun with this video...
70's tone is so raw. To me it originates from the way things were recorded in one go onto a record. Tonal magic happens when it's all or nothing, full send!
They still had to crank the amps in the 70s, even if they were using pedals (which, compared to now, were few and far between, and more primitive). Now most of your tone can be done with pedals, with the amp mainly providing the notes/chords more body and more volume, obviously. AC/DC used Marshall Super Leads (Angus) and Marshall Super Bass amps (Malcolm). Robin Trower cranked a Marshall Super Lead, which was distance miked. Mick Ronson used a 200 W Marshall fed by a Solasound... after 1969 Jimmy Page used a 100W Marshall sometimes fed by a Solasound... Solasound was 1960s tech but sounded great. Still does, probably.
For those of us that are now old, you really hit that mark with this one. Fun to watch. Any chance of teaming up digital John and Pete and covering some of the "dual" attack guitar bands from the 70s 80s.?
The 70s was the ultimate decade for music. Rock, Pop, Punk, Disco, New Wave, Prog, Hard Rock, Glam Rock, amazing Soul and R&B. Incredible studio innovation and everyone competing week in week out in epic chart battles. No wonder artists from the 70s still sell massively the world over because the 70s was unbeatable. I was born too late to live through it (1983) but my Mum had the greatest record collection and she taught me well.
Yup and why the second best happend in the 90’s ! Bands that grew up listening to all that ! Came out .. grunge with its mix of sabbath / zeppelin with punk overtones .. pop punk bands influenced by 70’s punk ! Etc etc .. even hip hop Dre and all them with the p funk influences !
@@brentcorkins4711 80's WAY better than 90's the 90's were the worst of the past century with garbage like Nirvana (c)rap techno and other FAKE "music"
You nailed the Aerosmith tone! BOC…had several hits by the way. Todays radio only plays one or two…😢. Great tone here too! Thin Lizzo- sooo good! Thanks for including them.
Historical interviews indicate the Skynyrd sound was primarily using several variety of Peavey in their early years until the crash. Fenders and Marshalls were used on the road, often backline, but their sound on the records were often the Mace and a couple custom Peavey's or whatever was in the studio. I saw them a few times in the 90's and they had big Marshalls and a couple old Peavey's IIRC.
There are the most popular players from the 70's, but Roger Fisher's tone with late 70's "Heart" would be my epic tone. Magic Man, Barracuda and such, not hard distortion, just sweet, sustain for days, Cuts like a knife thru butter!
I was going to say the second he switched to the Marshall with the strat it sounded much closer. But I think thats because while the fender has the jangle, it doesn't have the bite/breakup that the recordings have.
This kid has some serious chops! Friggen pisses me off, and at the same time gives me hope that maybe some new music with skills like that leading the way will be ready before I leave this planet. Great playing man.
Toni Iommi typically used the neck pickup for all the riffs and the bridge for leads. He also used a treble booster in front of his laney to get more gain and cut the bass since the 100 supergroup gets bass heavy. That said the bridge pickup with fuzz got really close.
I just saw Blue Oyster Cult perform a few weeks ago. Yep, they're still touring! Lead guitarist Buck Dharma's preferred instrument these days is a "Cheeseberger" which is a custom Steinberger shaped to look like a block of swiss cheese - lots of little round divots cut out of it. Bet you don't have one of those in your studio! They did have a few other hits (Godzilla, Burning for You) but Reaper by far the biggest.
Eddie Van Halen's guitar sound is called the ''brown'' sound because he used a Variac to reduce the mains voltage to, I think, it was 98 Volts AC. A black-out is when you lose mains power completely, but you can have situations where the mains voltage dips and things like your lights dim or flicker momentarily, this is referred to as a brown out as it's not a total power loss.
Eddie's sound is called "brown" for only one *hugely* well-documented reason: he wanted the tone of his guitar to sound like Alex's snare, and *brown* was how he himself characterised it that way. *Every* "alternative" answer - such as yours presented here - is fabulously incorrect! So There!
There is also a Latin jazz band called Brownout. They also have a side project called Brown Sabbath. If you are a Sabbath fan, you might find interesting...
The reverb in Van Halen I is also one of the reasons why the sound is so big. Also I believe he actually left the phaser always on and used it subtly except for songs like Unchained. For me I think the 70s tone actually started with Hendrix in the late 60s. I also think 80s tone started with Van Halen.
Another great video! I didn't know Brits knew about Saturday Night Live. That was cool. Also, my favorite aspect of this vid was the way D John used the fuzz. He had subtle settings into a driven British style amp. It sounded great! Last week (I think) I wrote in the comments about it and requested that fuzz be used in just this way. It almost feels like you took my request. You get hundreds of comments so I doubt this is the case but great timing for me nonetheless. Thanks again guys!
You can totally get the EVH tones out of the SV20h without an od pedal. I have been down this wormhole. I have a couple vids on my SV20H Its all about signal chain and Eddie's little re-amp trick. Fryette Power Station made my mini plexi a beast!!! bTw Eddie lowered his voltage to stop blowing amps up. Another key to the not so secret variac.
I grew up in the 70's and I saw every band on your list and more, but It was Eddie who Changed EVERYTHING. Saw them in the summer of 78 and we had never seen Anything like it before, Just BLEW our Minds. R.I.P. Eddie.
I also saw Eddie play in 78' It was not by design though . I was finally getting to see my 2nd favorite band in the World live (Zep absolute #1 ) Black Sabbath ! Just happened that the opening act was a band called Van Halen. Tickets were $8.50 General admission. Sabbath sounded terrible ,and I bought VH 's album the next day . Mind blown !
Jimmy Page's tone can be separated in eras. In early Zep, for studio, Page used small Supro combo + Telecaster + occasional Tonebender fuzz and treble booster. Live, he'd been using Hiwatt 100 watt stacks + Telecaster/Les Paul + Tonebender fuzz (as is the case of the show at the Royal Albert Hall, from Zep's DVD). After 1971, live, he mostly used his Les Pauls (in one of which the bridge PAF was swapped for a 70s Gibson t-top - whereby the quackyness of some of his tones which I always found horrible - like that heard in The Song Remains the Same concert film), accompanied by Marshalls, Echoplexes and the odd flanger/tape flanging effect. In the studio he seemed to enjoy small amps still, though, and the Tele was still very much used. By the end of Zep there was a Strat added to the studio setup, and he was mostly playing in foreign studios, so the early Supro probably wasn't heard much anymore, and the Telecaster was making a comeback. For the 80s, in the rare occasions he played live, he slung his Tele (which, at this point, had seen it's electric modified), and for the Coverdale/Page we seem to've heard the Les Paul/Telecaster duo through some Marshall. For the 2007 O2 Led Zep reunion, Page used a mix of Orange AD50 or AD30s, Marshalls and some boutique amps.
Andre’ nice reply! Great info , only chance that came through to even SEE Page live was in the 80’s with the FIRM. We had checks in the mail to see Led Zep in Detroit , when Bonzo kicked it. I think tickets were like $19 ? I know it wasn’t more than $30
I started playing guitar in 72. Got my first Fender in 77. Used an old 100 watt Sound City head. Only ever used a Colorsound fuzz. Occasionally. All you needed back then. 😎 "Alright Now" is what got me started.
Skynyrd used Peavey Amps with the Peavey Mace coming to mind, especially a favorite Gary Rossington. The Mace and the original iteration of the Peavey Classic 50 both used an op-amp, solid state preamp stage and a valve** power amp stage (2x6L6 in the original Classic 50 and 4x6L6 in the Mace as I recall). The more contemporary iteration of the Peavey Classic 50 is all valve with ECC83’s in the preamp and EL84’s in the power amp. **valve as opposed to tube because this is the Anderton Music Channel and I tend towards utilising the British vocabulary and spelling conventions as a courtesy to the hosts and to compliment their served room temperature beer and spotted dick that can be found at your favorite pub.😉🇬🇧
The Peavey Mace is 6 x 6L6. Putting out 160W! A mate had a combo and it was absolutely brutally loud, and boat anchor heavy. The magnets on the speakers were massive. Made you glad that it didn't have a valve preamp stage, otherwise it would have been even heavier.
Love it! Page is one of my absolute favorites. BTW When are you all going to give Ernie Isley some love? “Voyage to Atlantis” 1977 is AWESOME! Another gem is “Maggot Brain”. Funkadelic with Eddie Hazel jr on guitar.
Lee: The player that used a reel to reel for a preamp was Ritchie Blackmore. Had one onstage and would even record live performances with it as well. John: Skynyrd boys did use some Fender amps at times in the studio, but were known for using Peavey gear in concert performances. Gary Rossington actually liked using Peavey gear all the time. The leads in "I Ain't The One" are a Peavey with Rossington on his Les Paul. Distinctively punctuated and brassy.
My favorite sound is really the classic ZZ Top guitar sound ! Definitely also Page ,Aerosmith Joe Walsh , Thin Lizzy . Honorable mentions to Brian May with his 3 AC-30's and Elliot Easton from the Cars.(New wave )
Ed King wrote the intro to Sweet Home and played a Strat at the time. Rossington played his SG for slide and Firebird (with a P90) for most else. Allen Collins typically played his Explorer.
Good choices and quite correct assumptions regarding the original gear used! Leslie West should definitely have been mentioned, the biggest sound (including the voice) in the early 70’s! Anyway, I like this theme!
Immediately reminded me of Pete Thorn's video about treble boosters. They really seem forgotten even though they were a key effect in that mid-60s to 70s era, to the likes of: Rory Gallagher, Brian May, Iommi, Ritchie Blackmore, Marc Bolan, K. K. Downing & Glenn Tipton, Jethro Tull and more.
An old school germanium treble booster is basically a single transistor fuzz. It's not a modern style "clean" boost. I built my own range master and added a "gain" control to make it even fuzzier.
When you guys start talking and John hits a quick riff while you are talking it actually sounds better and more like what you would think of for 70's tone.
Page used the Tele on LZ 1 except for you shook me where he used a V and switched to his 1960 Les Paul for most of LZ 2 Excellent video by the way, Digital John has phenomenal ears for picking out gear and tones
talking about using odd things for a pre amp... back in the 80's we had no money for pedals. but getting an old floor model stereo or stereo/tv combination for free was super easy. the 60's/early 70's ones were all tube. they sounded great - for a while. they were heavy and bulky, and people who had them would often be happy to give them away just to avoid having to move them. that's what we used. we had a few fires, and were kicked out of a couple bars because of it. however, before they caught fire, we sounded awesome.
Lynard Skynyrd used Marshall, Wizard, and Peavey. The Peavey Mace was a popular amp with the band that was used for the majority of Gary Rossington's career.
@@matthewwhite7048 The strat is on Secret Treaties believe it or not, I only know that because I saw a photo of him in the studio with it, but even then it had humbuckers in it so it's not really a traditional strat. But you're right in that it was primarily used between 1979-1984.
I think the Black Dog riff was played on the Les Paul straight into the board with the input channel overdriven and compressed. The solo was recorded on Page's Danelectro.
The 70s was such a great time for tone. I have to persuade my students to ease of off the gain with these songs. I know I was guilty in the past of playing them with too much in the past. Running With The Devil was a Les Paul Standard. So many times, the guitars on record were not the ones they played live!
Hornby Skewes treble booster during mark II. When the new Mark III line-up began playing live in late '73, he needed an echo machine to perform the song Mistreated, so he took the Aiwa tape deck that he had (or had bought for the purpose... it's a bit unclear...) and modified it into one. He discovered that it also worked well as a booster, so the Hornby Skewes was no longer used. He would continue to use the Aiwa for many, many years, right up until he decided to become a minstrel in funny clothes with his beautiful young wife.
When i think of 70's, i think of Status Quo. For the gear they had, im still impressed with the sounds they had at the time. And im also left handed but i play right handed, and im around same age as John, but i suck ass at guitar, can i also be digital?
Hasn’t seen Song Remains the Same 🤣 I’m only 42 , born in 1980, so not that old but have been playing since I was 12 (1992) and still years before this guy was born. Wow!
John is amazing - what a cool guy - he has music in his blood and is a fantastic guitar player
Well he is a robot, so I mean he's wired to be like that
This is the first video I've seen with him and I'm instantly a fan!
Ridiculous bandana looks… well…. ridiculous. Always has, always will be! 🙄
That's DIGITAL J O H N to you.
Lee, you're so right about Paul Kossoff! So simple, and so great.
Both 60's and 90's had amazing tones. Love to see both!
60's , they definitely had the pure sweet tube amps because for the most part ,solid state tech was just getting rolling . I find a lot of the 60's to be like clean driven tube sound with the newly discovered fuzz pedals. Really cool sizzle . A lot of that sound bled into the early seventies. You would hear it on TV shows and cartoons like the Brady bunch & Scooby doo. It really wasn't until Sabbath that you actually heard a nasty evil pounding, percussive power metal chord progression. There really was no other band that even could be compared to them. It was the first time that guitars could sound scary! The nineties seemed to be the anti-guitar decade. Especially after Nirvana exploded and then Kurt died. 90's was very popp-ish after the grunge scene was done. Then came the Nu-Metal . Mesa Boogies! TRi-Recs. It was next level death metal . going into the new millenium.
😏nice
90's sucks just listen to Nirvana and you will understand why.
@@margix1172 if you go off mainstream the 80s through the 90s where the birth and the haydays of the eastcost hardcore punk scene (which swapped all over to the west coast with Black Flag).
A scene that’s the sole reason many fucked up kids from that time are still alive today.
And I’m not talking about straight edge stuff that saved people from ODing but rather the scene giving quite a lot of those teenagers a save place where they could be who they want to be.
One might think of Ian MacKaye and especially Henry Rollins what they want, but they helped bring a scene to live that played an existential role in the life of many people and was they’re only outlet for mistreatment and suppression.
Of course those cornerstone where already layed by the Bad Brains and the Circlejerks, but the latter bands are what really made it into that DIY scene that was so important to many people.
I know the music is not everyone’s favorite and not quite sophisticated, but it was something new and aggressive that never was before.
It wasn’t for everyone and that’s the sole purpose of that kind of music.
It only moves you if you are able to identify with it.
You should do BOTH! 60's because that's when distortion first became popular and the 90's because that's when it was taken to new levels with the aid of technology.
John is freakin awesome! Love seeing him start to relax and get into the Andertons video fun, compared to his first videos. Definitely need the other decades!
I bet they took him to the pub first😉
I think it's sacrilege the Cap' suggested Blue Oyster Cult are one hit wonders! What about Burning for You, Astronomy, or Godzilla for starters? If anyone's a one-hit wonder from the list it's Free.
Not only that but they got the gear WILDLY incorrect. Buck Dharma almost never used single coil guitars, it was all Gibson SGs and Steinbergers. For Don't Fear the Reaper he used a Gibson ES-175 through a Music Man 410 amp.
To be fair, don't fear the reaper is their only really successful song, same as smoke on the water for deep purple. Anyone who likes these bands knows there's a LOT of amazing tunes throughout their careers. That doesn't make any of those songs hits though
Godzilla was a pretty good song for BOC but was not a huge hit!
@@JobForAMaxboy That's not true. Burning for You is still in Radio circulation today. I just don't think you're familiar enough with the band to have a grasp on their cultural influence.
Burning for you, Veteran of a Thousand Psychic Wars, The Alchemist, Florida Man...all bangers
Those are the tones I'm always chasing as a 70s kid born in 72 with cool uncles and aunts of that era these tones and songs are comfort food for my ears... Great job guys!
Ed King did in fact record sweet home Alabama on a strat with a sea shell as a pick no less. He was skipping out and not touring and wasn't with the band when they went down. There's plenty of video of him showing what he played as he only passed a few years ago.
Great video guys. This one was fun.
facts but they used peavey amps
Yes . I heard that Gary & Allen were approached by Hartley Peavey and said he could build them amps that would sound like Marshalls so he made the Mace amps for Skynyryd !
@@joeyboogenz I understood that they were using Peavey Classics on the road and felt they weren't loud enough so they approached Hartley about building an amp with more wattage and he built the mighty Mace! six 6L6's and back breaking weight! I know, because I had one.
@@Colinshreds69 Not in the studio!
That Strat is hanging at Carter's Guitars in Nashville.
A '50s tone vid would be great. Chucky Berry, T-Bone Walker, BB King, Muddy Waters, Eddie, Scotty... the list goes one. Tough to master, too. That would be a real challenge!
Brian Robertson and Scott Gorham...that duo recorded so many good albums. Gorham never gets the respect he deserves as a guitarist either.
Brian Robertson is a nutcase to boot , those were the days
I think Thin Lizzy is greater than zeppelin, and I'll die on that hill.
He is good in thin lizzy but black star riders are shit
The duo lead thing was so great
Damn right 👍🏻
Seriously, the ‘DIGITAL JOHN’ sound clip lives in my head rent free.
Since you have moved from 80's down to 70's, please continue to the 60's. The tones were excellent, Digital John was excellent and what a great way to show off pedals, amps and guitars. Great video!
We need people like John to keep the history going. Nice job!
This was a fun vid. Will happily do my 90s impressions of the 70s anytime
It was Ritchie Blackmore that used the reel to reel preamp to go into his Marshall Major 200 watt (modded to give 280 watts!). Also used a treble booster at some point, and probably had the fattest Strat sound going back then.
Slaving amps created a more saturated tone - running amps into amps
@@averyadrian1534 I have been trying to figure out how they used to do that, I am sure that nobody ever had the piles of cool gear that I have to get by with. 🤘
I've read interviews with Ritchie where he has said exactly that, he particularly liked the saturation the tape deck gave him.
Can’t have a 70’s guitar tone discussion without mentioning Michael Schenker with UFO. I still listen to classic UFO all the time. The Mad Axeman had some of the best riffs in the 70s.
Schenker is criminally overlooked.
To me, the 70s are mainly Pink Floyd's days.. Obviously my #1 band, but their sound was so mind blowing and revolutionary.. Dark side of the Moon. Enough said.
I loved Floyd back then (still do) but the decade pretty much was spent by me grieving over the passing of Duane Allman. On my cassette player, in the park across from my high school, I'd switch tapes from Floyd, The Allman Bros, The Grateful Dead and Van Morrison. Some of the Blokes from across the pond (in England) were starting to lean too much in the direction of metal. Most metal just sounds like a school kid incessantly playing 3 chords and playing with the gain knob.
@@barryfohn4385 Totally agree.. Allman was a treasure for sure.. Sad days
ALL rock disco funk soul jazz pop from the 70's sounds are immortal and timeless
I think for the Sabbath you need a treblebooster in a cranked amp. Trebleboosters were popular in the 70s, Rory Gallagher, Brian May and maybe Jimmy Page used one at some point.
And Ritchie blackmore
Mick Ronson
Steve Howe too
Specific treble booster circuits at that. Rangemaster is pretty specific sound by cutting bass and increasing high mids and treble in the way that it does. Then you got guys like Michael Schenker that does something similar by using a wah always on. But you also have to understand, like you said the amp has to be cranked lol so it's going to be super loud.
I’ve got a picture I took with my phone from a Lynyrd Skynyrd concert several years ago. It’s from after the show when the crew was tearing down the stage and shows one of the “Marshall stacks” from the rear, revealing that it was empty and had a Fender Hot Rod Deluxe or something similar sitting inside of it. I found it quite amusing.
I believe Gary Rossington used Peavey amps in the 70s. I remember watching an old live concert of them on YT and he was playing what looked like a Peavey Decade.
@@vincesmith2081 yeah they used peavey amps back in the day.
Just so many brilliant riffs from the 70s. You could literally do about 50 vids from that era and still find more. BTW how could you not know Bryan Robertson! Ace axeman! Him and Scott Gorham were epic together live. Great vid guys!
Firstly, great job John! One aspect that isn't often discussed when considering the tones of the 60s and 70s is that the major UK and US tube (valve) factories were closing down by the end of the 60s, due to the advent of the transistor. The Mullard factory in Blackburn and the RCA factory in NJ were pretty much finished by the early 70s. They were responsible for a big part of the classic Marshall and Fender tones respectively. Once the best of the tubes were gone, it was only Eastern Bloc countries producing tubes and the quality could not match that of the Golden Era and never has since.
The 70's were quite insane, with the tail end of the Beatles, zeppelin, sabbath, then a radical change with Van Halen. And so many more in between. Likely the time with the most change in rock music.
Boston radical change before Van Halen
Super video... Great playing by John, nailing so many tones... the skynyrd was bang on... Early Zeppelin albums - Tele and Supro amp! No Rush? And the Deco is perfect for Rush tones...A lot of fun with this video...
Exactly!
70's tone is so raw. To me it originates from the way things were recorded in one go onto a record. Tonal magic happens when it's all or nothing, full send!
Will anybody do it again?
They still had to crank the amps in the 70s, even if they were using pedals (which, compared to now, were few and far between, and more primitive). Now most of your tone can be done with pedals, with the amp mainly providing the notes/chords more body and more volume, obviously. AC/DC used Marshall Super Leads (Angus) and Marshall Super Bass amps (Malcolm). Robin Trower cranked a Marshall Super Lead, which was distance miked. Mick Ronson used a 200 W Marshall fed by a Solasound... after 1969 Jimmy Page used a 100W Marshall sometimes fed by a Solasound... Solasound was 1960s tech but sounded great. Still does, probably.
For those of us that are now old, you really hit that mark with this one. Fun to watch. Any chance of teaming up digital John and Pete and covering some of the "dual" attack guitar bands from the 70s 80s.?
Digital John with the encyclopedic riff repertoire! This is so much fun. I love your channel!
The 70s was the ultimate decade for music. Rock, Pop, Punk, Disco, New Wave, Prog, Hard Rock, Glam Rock, amazing Soul and R&B. Incredible studio innovation and everyone competing week in week out in epic chart battles. No wonder artists from the 70s still sell massively the world over because the 70s was unbeatable. I was born too late to live through it (1983) but my Mum had the greatest record collection and she taught me well.
Yup and why the second best happend in the 90’s ! Bands that grew up listening to all that ! Came out .. grunge with its mix of sabbath / zeppelin with punk overtones .. pop punk bands influenced by 70’s punk ! Etc etc .. even hip hop Dre and all them with the p funk influences !
@@brentcorkins4711 80's WAY better than 90's the 90's were the worst of the past century with garbage like Nirvana (c)rap techno and other FAKE "music"
Finally, the 70s!!!
You nailed the Aerosmith tone!
BOC…had several hits by the way. Todays radio only plays one or two…😢. Great tone here too!
Thin Lizzo- sooo good! Thanks for including them.
Much bigger in America but awesome guitar tones right into the 80s.
Historical interviews indicate the Skynyrd sound was primarily using several variety of Peavey in their early years until the crash. Fenders and Marshalls were used on the road, often backline, but their sound on the records were often the Mace and a couple custom Peavey's or whatever was in the studio. I saw them a few times in the 90's and they had big Marshalls and a couple old Peavey's IIRC.
There are the most popular players from the 70's, but Roger Fisher's tone with late 70's "Heart" would be my epic tone. Magic Man, Barracuda and such, not hard distortion, just sweet, sustain for days, Cuts like a knife thru butter!
Sweet Home Alabama. It was absolutely a strat. Played by Ed King. Recorded in Muscle Shoals.
Just so so so good. Great little series - go 90’s please on the next one.
Back to the 60s makes sense so you complete the journey for understanding great sound from very limited gear.
Digital John going analog 70s mode ... 👍👍💙
So much about versatility ... great job ✅
Best Andertons video ever! More of this, please!
Digital John aka Johnny Bandana. Good to have him back.
Skynyrd used Marshall and later Peavey Marshall clones. However, Fenders we’re used in the studio on a lot of the strat tones.
I saw Skynyrd twice in the 70's and the stage was full of Peavey's so l agree. l dont think l saw a fender amp.
Yeah anytime I see a Peavey Mace I think Skynyrd
I was going to say the second he switched to the Marshall with the strat it sounded much closer. But I think thats because while the fender has the jangle, it doesn't have the bite/breakup that the recordings have.
@@iceman10129 agreed!
@@larrytrusty4770 me too!
Ed King was one of the co-writers on Sweet Home Alabama and he was a Strat guy. Allen Collins on the Explorer and Gary Rossington on the Les Paul
This kid has some serious chops! Friggen pisses me off, and at the same time gives me hope that maybe some new music with skills like that leading the way will be ready before I leave this planet. Great playing man.
Andertons has its mojo back! Hold on to this 96’ guy!
That's great! Buck Dharma recorded Don't Fear The Reaper with an Gibson Gibson ES-175 into a Music Man 410-65 combo.
KOSSOFF!!! Sounded like no one else but himself !! One of the best ever . LEGEND ...
Toni Iommi typically used the neck pickup for all the riffs and the bridge for leads. He also used a treble booster in front of his laney to get more gain and cut the bass since the 100 supergroup gets bass heavy. That said the bridge pickup with fuzz got really close.
I just saw Blue Oyster Cult perform a few weeks ago. Yep, they're still touring! Lead guitarist Buck Dharma's preferred instrument these days is a "Cheeseberger" which is a custom Steinberger shaped to look like a block of swiss cheese - lots of little round divots cut out of it. Bet you don't have one of those in your studio! They did have a few other hits (Godzilla, Burning for You) but Reaper by far the biggest.
BTW when they played Reaper they didn't even have a cowbell onstage! So disappointing.
@@jpgerlock definitely needs more cowbell
Eddie Van Halen's guitar sound is called the ''brown'' sound because he used a Variac to reduce the mains voltage to, I think, it was 98 Volts AC. A black-out is when you lose mains power completely, but you can have situations where the mains voltage dips and things like your lights dim or flicker momentarily, this is referred to as a brown out as it's not a total power loss.
Eddie's sound is called "brown" for only one *hugely* well-documented reason: he wanted the tone of his guitar to sound like Alex's snare, and *brown* was how he himself characterised it that way.
*Every* "alternative" answer - such as yours presented here - is fabulously incorrect!
So There!
@@joshuafreedman7703 you are correct - "brown" was a VH brothers term for just what was right, sound-wise.
There is also a Latin jazz band called Brownout. They also have a side project called Brown Sabbath. If you are a Sabbath fan, you might find interesting...
BOC one hit wonders?
Cities On Flame
I Love the Night
Don't Fear the Reaper
Burnin' For You
Godzilla
Possibly others too...
The reverb in Van Halen I is also one of the reasons why the sound is so big. Also I believe he actually left the phaser always on and used it subtly except for songs like Unchained.
For me I think the 70s tone actually started with Hendrix in the late 60s. I also think 80s tone started with Van Halen.
Another great video! I didn't know Brits knew about Saturday Night Live. That was cool. Also, my favorite aspect of this vid was the way D John used the fuzz. He had subtle settings into a driven British style amp. It sounded great! Last week (I think) I wrote in the comments about it and requested that fuzz be used in just this way. It almost feels like you took my request. You get hundreds of comments so I doubt this is the case but great timing for me nonetheless. Thanks again guys!
50s, 60s, 90s, 00s - do the lot, I love this series 😄
to be fair about the Eddie sound, he did use variacs to lower the voltage on his stock marshalls and that was the sound that resulted.
You can totally get the EVH tones out of the SV20h without an od pedal. I have been down this wormhole. I have a couple vids on my SV20H Its all about signal chain and Eddie's little re-amp trick. Fryette Power Station made my mini plexi a beast!!! bTw Eddie lowered his voltage to stop blowing amps up. Another key to the not so secret variac.
I grew up in the 70's and I saw every band on your list and more, but It was Eddie who Changed EVERYTHING. Saw them in the summer of 78 and we had never seen Anything like it before, Just BLEW our Minds. R.I.P. Eddie.
I started playing guitar in 1978 yes E V H changed everything and before him was Jimmy ...in 69
@@motorcyclemark2889 are you referring to jimmi Hendrix or Jimmy Page 1969
I also saw Eddie play in 78' It was not by design though . I was finally getting to see my 2nd favorite band in the World live (Zep absolute #1 ) Black Sabbath ! Just happened that the opening act was a band called Van Halen. Tickets were $8.50 General admission. Sabbath sounded terrible ,and I bought VH 's album the next day . Mind blown !
I never saw Eddie Money but I knew a few guys who played with him, I heard a few of the stories!
do what ever you feel I'm just loving these vids
Perfect!
GoodDay to You Johnny and Captain of Course!
Jimmy Page's tone can be separated in eras.
In early Zep, for studio, Page used small Supro combo + Telecaster + occasional Tonebender fuzz and treble booster. Live, he'd been using Hiwatt 100 watt stacks + Telecaster/Les Paul + Tonebender fuzz (as is the case of the show at the Royal Albert Hall, from Zep's DVD).
After 1971, live, he mostly used his Les Pauls (in one of which the bridge PAF was swapped for a 70s Gibson t-top - whereby the quackyness of some of his tones which I always found horrible - like that heard in The Song Remains the Same concert film), accompanied by Marshalls, Echoplexes and the odd flanger/tape flanging effect.
In the studio he seemed to enjoy small amps still, though, and the Tele was still very much used.
By the end of Zep there was a Strat added to the studio setup, and he was mostly playing in foreign studios, so the early Supro probably wasn't heard much anymore, and the Telecaster was making a comeback.
For the 80s, in the rare occasions he played live, he slung his Tele (which, at this point, had seen it's electric modified), and for the Coverdale/Page we seem to've heard the Les Paul/Telecaster duo through some Marshall.
For the 2007 O2 Led Zep reunion, Page used a mix of Orange AD50 or AD30s, Marshalls and some boutique amps.
Andre’ nice reply! Great info , only chance that came through to even SEE Page live was in the 80’s with the FIRM. We had checks in the mail to see Led Zep in Detroit , when Bonzo kicked it.
I think tickets were like $19 ? I know it wasn’t more than $30
I started playing guitar in 72.
Got my first Fender in 77.
Used an old 100 watt Sound City head.
Only ever used a Colorsound fuzz.
Occasionally.
All you needed back then.
😎
"Alright Now" is what got me started.
Damn! John rips! Well done!
I would enjoy all the decades of tones even into the more recent decades as well. Digital John is great
Skynyrd used Peavey Amps with the Peavey Mace coming to mind, especially a favorite Gary Rossington. The Mace and the original iteration of the Peavey Classic 50 both used an op-amp, solid state preamp stage and a valve** power amp stage (2x6L6 in the original Classic 50 and 4x6L6 in the Mace as I recall). The more contemporary iteration of the Peavey Classic 50 is all valve with ECC83’s in the preamp and EL84’s in the power amp.
**valve as opposed to tube because this is the Anderton Music Channel and I tend towards utilising the British vocabulary and spelling conventions as a courtesy to the hosts and to compliment their served room temperature beer and spotted dick that can be found at your favorite pub.😉🇬🇧
The Peavey Mace is 6 x 6L6. Putting out 160W! A mate had a combo and it was absolutely brutally loud, and boat anchor heavy. The magnets on the speakers were massive. Made you glad that it didn't have a valve preamp stage, otherwise it would have been even heavier.
Love it! Page is one of my absolute favorites. BTW When are you all going to give Ernie Isley some love? “Voyage to Atlantis” 1977 is AWESOME!
Another gem is “Maggot Brain”. Funkadelic with Eddie Hazel jr on guitar.
Earnie and Eddie, plus Michael Hampton, all icons.
Got my first two pedals back in the day; DOD 250 and an MXR Flanger. (still have them) And David Gilmore liked the Binson Echorec.
Lee: The player that used a reel to reel for a preamp was Ritchie Blackmore. Had one onstage and would even record live performances with it as well.
John: Skynyrd boys did use some Fender amps at times in the studio, but were known for using Peavey gear in concert performances. Gary Rossington actually liked using Peavey gear all the time. The leads in "I Ain't The One" are a Peavey with Rossington on his Les Paul. Distinctively punctuated and brassy.
My favorite sound is really the classic ZZ Top guitar sound ! Definitely also Page ,Aerosmith Joe Walsh , Thin Lizzy . Honorable mentions to Brian May with his 3 AC-30's and Elliot Easton from the Cars.(New wave )
Ed King wrote the intro to Sweet Home and played a Strat at the time. Rossington played his SG for slide and Firebird (with a P90) for most else. Allen Collins typically played his Explorer.
Allen played firebird and explorer. Ive only known Gary Rossington to play les pauls and sg for slide.
blackmore used an aiwa reel to reel tape machine to push the major. listen to burn 74 from cali jam. george lynch would do this in the 80s.
Good choices and quite correct assumptions regarding the original gear used! Leslie West should definitely have been mentioned, the biggest sound (including the voice) in the early 70’s! Anyway, I like this theme!
It was Ritchie Blackmore who used a awiva rr1000 to boost his Marshall major
Can't remember when but he also used to use a treble booster too.
@@andrewasch7739
thanks a lot!
I think Lynyrd used Peavey Mace valve amps in the early days
They did use Peavey on their live shows. At least when I saw them in the ‘70’s.
I think they signed the sponsorship deal with Peavey after “Pronounced”. Correct me if I’m wrong.
Loved it! Digital. john did a splendid job. I think the thin lizzy guitar player was snowy white....
Brilliant Andertons TV John is superb player thanks guys love ya all
Iommi didn't use a fuzz, it was a treble booster. Still great tones tho, great job.
Immediately reminded me of Pete Thorn's video about treble boosters. They really seem forgotten even though they were a key effect in that mid-60s to 70s era, to the likes of: Rory Gallagher, Brian May, Iommi, Ritchie Blackmore, Marc Bolan, K. K. Downing & Glenn Tipton, Jethro Tull and more.
An old school germanium treble booster is basically a single transistor fuzz. It's not a modern style "clean" boost. I built my own range master and added a "gain" control to make it even fuzzier.
@@Leo_nbd @nitewulf2020 @Nicholas all correct!
love as much a guess which pedal.
blue oyster cult also had the hit burning for you.
When you guys start talking and John hits a quick riff while you are talking it actually sounds better and more like what you would think of for 70's tone.
Would love to see both 60s and 90s
Page used the Tele on LZ 1 except for you shook me where he used a V and switched to his 1960 Les Paul for most of LZ 2
Excellent video by the way, Digital John has phenomenal ears for picking out gear and tones
talking about using odd things for a pre amp... back in the 80's we had no money for pedals. but getting an old floor model stereo or stereo/tv combination for free was super easy. the 60's/early 70's ones were all tube. they sounded great - for a while. they were heavy and bulky, and people who had them would often be happy to give them away just to avoid having to move them. that's what we used. we had a few fires, and were kicked out of a couple bars because of it. however, before they caught fire, we sounded awesome.
Black Dog was recorded in Direct Input through a console mixer + cascading preamps, with multiple overdubs.
Definitely keep this up with 60's and 90's ? Also, Try the neck pickup sometime for 70's sounds.
On Sweet Home Alabama (my home), Ed King used a Strat and Fender amp. They toured with Peavey tube amps. Enjoyed the video immensely.
Lynard Skynyrd used Marshall, Wizard, and Peavey. The Peavey Mace was a popular amp with the band that was used for the majority of Gary Rossington's career.
JP was plugged straight into the board on some parts. BOC riff was recorded with a Gibson guitar es-175 through a musicman HD 120.
Well noted, the lead on DFTR was also his SG standard. The strat didnt really make it into boc stuff until late 70s, early 80s I believe
@@matthewwhite7048 The strat is on Secret Treaties believe it or not, I only know that because I saw a photo of him in the studio with it, but even then it had humbuckers in it so it's not really a traditional strat. But you're right in that it was primarily used between 1979-1984.
Highly recommend the Bugera PS1 Attenuator, makes my AC30, SV20 VERY useable.
This is rad, thanks guys!
I think the Black Dog riff was played on the Les Paul straight into the board with the input channel overdriven and compressed. The solo was recorded on Page's Danelectro.
This is what I've always heard - straight into the board.
It was also a John Paul Jones riff.
Skynyrd used Peavey Mace amps. Solid state preamp with valve power amp.
Funny, so did Neil Schon of Journey.
I love this series! Please do more decades
John is amazing, and that epiphone les Paul sounds great!
Would love to hear John and Pete have alittle jam!
The 70s was such a great time for tone. I have to persuade my students to ease of off the gain with these songs. I know I was guilty in the past of playing them with too much in the past. Running With The Devil was a Les Paul Standard. So many times, the guitars on record were not the ones they played live!
Yeah do another one guys, loved it!
Great episode ! BRAVO !!
Blackmore used a reel to reel tape as a pre. Not too sure about if in the end of the '60s only or also in the '70s, but he used a treble booster too.
Hornby Skewes treble booster during mark II. When the new Mark III line-up began playing live in late '73, he needed an echo machine to perform the song Mistreated, so he took the Aiwa tape deck that he had (or had bought for the purpose... it's a bit unclear...) and modified it into one. He discovered that it also worked well as a booster, so the Hornby Skewes was no longer used. He would continue to use the Aiwa for many, many years, right up until he decided to become a minstrel in funny clothes with his beautiful young wife.
By the time ZEPPELIN 4 came out Jimmy was using the Les Paul in the studio. One n two were definitely the Tele
I have a 77 blonde maple neck strat, its superb. Sounds amazing with the Strymon big sky :D
I saw black sabbath in 1971 in Spartanburg sc. Iommi was playing his sg through 6 Laney 100 heads and 6 Laney 4 12 cabinets. The volume was unreal
Great vid and great playing as always! Love to see a 90s one next
When i think of 70's, i think of Status Quo. For the gear they had, im still impressed with the sounds they had at the time. And im also left handed but i play right handed, and im around same age as John, but i suck ass at guitar, can i also be digital?
On "School's Out," Glenn Buxton played a SG Custom - the 3 pickup with Bigsby one.
Hasn’t seen Song Remains the Same 🤣 I’m only 42 , born in 1980, so not that old but have been playing since I was 12 (1992) and still years before this guy was born. Wow!