READ MORE: C-V-U? Which Neck Shape Is for You? 050-is fairly close to what's available in Fender's Super 250RH Nickel-Plated Steel Strings. To counter this, the guitar’s headstock pitch was physically lowered, naturally descending the angle of the strings and maintaining the instrument’s natural (and uninterrupted) sustain, which is further enhanced by staggered tuners.įor strings, Johnson's gauge range-.010. Of course, this causes an “angle” problem in that the strings are less anchored in the nut slots. EJ felt the string tree messes with his guitar’s tone, so he had them removed. THE GUITAR: STRATS, STRATS AND MORE STRATSĪnyone who has the pleasure of playing or (even better) owning an Eric Johnson Artist model Fender Stratocaster will notice two distinct features: the ’57 hard “V” neck-refresh your knowledge of common neck shapes-and a headstock without string trees. Here, a quick primer to Johnson's gear, technique and particular brand of jaw-dropping je ne sais quoi. Johnson’s techniques are not new, but they enamored millions of fans who made his 1990 album Ah Via Musicom go platinum. Though influences such as Hendrix and Beck are clear in his music, they “dissolve” rather than melt into his sound. Somehow, he weaves elements of these genres (and a few more) into his playing, rising above predictable pentatonic scales and, instead, sailing his melodic ship into uncharted waters. Although Johnson is known for his rock instrumental/experimental fretboard gymnastics, he is also proficient in blues, soul, new-age and jazz fusion. I sort of developed this technique myself by accident, and then when I started studying his style I realized I was already doing it - in my case it came from playing saxophone, and I was used to my fingers moving up and down off the surface of the instrument rather than side to side.Few guitarists can say the name “Eric Johnson” without taking a deep breath and wondering aloud how the heck he gets his sound.
You could have all that other gear right, but if you don't have that brushing style pick attack it still won't sound right.
That's the gear side of it - but really the violin sounding attack comes from his pick technique - he picks up and down instead of side-to-side, so the pick actually brushes the string in the same way a violin bow brushes the string - so you don't get the "Clack" as much from the pick - it creates a very smooth, almost invisible attack. EQ on the lead amp is Presence OFF - treble between 0 and 3, mids 3 to 5, and bass around 5 even.ĭon't forget the tone control on the bridge pickup - muy importante.
Cliffs of dover guitar tone driver#
The "violin" tone come for a lead Marshall set to sound like Clapton's old Fresh Cream tone - the kind of sound you hear on "Sweet Wine" or "Spoonful" - then before the amp the BK Butler Tube driver with the EQ off and the gain around 10 or 11 o'clock - he also has an old Crybaby that's there for the tone sucking high roll-off almost more than to use as an actual wah (although he does use it intermitently) - throw in an Echoplex and there's a little more warmth there as well. The fuzz in on a completely different amp setup - more of a "rhythm" style Marshall or Dumble with a tone that's somewhere between the Rolling Stone's "Start Me Up" or Jimi's rhythm tone (sans fuzz.) He runs the fuzz into that for the fuzzier, almost sax-like tone.
Not exactly Louis - at least that's not how EJ does it.
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