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Asher Guitars WD Music Products Amplified Parts Mod Kits DIY Nordstarnd Pickups

"Bluesbreakers With Eric Clapton":

Discussion in 'Music to Your Ears' started by chet, Dec 22, 2008.

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  1. sixtiesreject

    sixtiesreject Tele-Holic

    Feb 3, 2005
    Hello Hello--
    Mike Vernon [producer of the Bluesbreaker session] has stated many times that NO pedals were used. The amp was turned up all the way and also [as said by someone else] the microphone placement and e.q. affected the recorded sound.
    A Treble Booster sounds COMPLETELY different through that amp then what you get on the recording...

  2. gmann

    gmann Friend of Leo's

    May 7, 2008
    Okinawa, Japan
    Loud but not necessarily deafening. That model # 1962 Marshall is basically a JTM45 which actually only puts out about 38 watts more or less. I used to have one and cranked with a Les Paul It's not hard to get that sound. Adjusting the guitars volume easily accounts for what you're hearing on All Your Love. One of the best amps I've ever had, the only downside is it's heavier than a Twin. Obviously I don't know what he used, I just know what he says he used and it's fairly easy to replicate the sound.

  3. gmann

    gmann Friend of Leo's

    May 7, 2008
    Okinawa, Japan
    What he lost in Greece was the Bluesbreaker Amp!

  4. Telemarkman

    Telemarkman Doctor of Teleocity Ad Free Member

    Dec 6, 2005
    You're perfectly right of course, but I guess it takes more to convince some of those who are too young to have been around at the time :oops: ...

  5. Breen

    Breen Friend of Leo's

    Mar 4, 2009
    I think there was no fuzz, just to go back to Chet's original postings. I don't hear it. It sounds like a good to honest overdriven loud sonafabiatch. His sustain in All My Love is no Dallas Arbiter.

  6. tazzboy

    tazzboy Former Member

    May 5, 2005

  7. stantheman

    stantheman Doctor of Teleocity

    Jun 10, 2003
    White Mountains
    It's the Genelex "Gold Lion" KT-66's.
    A variation on the 6L6/5881 Tube.
    The Amp is simply CRANKED.

    Clapton didn't discover the Rangemaster Treble Boost until Cream.

    Chet, Marshall "cheapen'd" the later Reissues of The Bluesbreaker with a narrower depth Cabinet. The KT-66's will probably not fit into a "current" Reissue because of this.
    Talking to Nik at Ceriatone is the best advice I can give ASIDE from doing the smart thing and asking Nik to build You a 1974x which is LOUD enough to use virtually anyplace DI'd or Mic'd. :cool:

  8. jglenn

    jglenn Tele-Afflicted

    Feb 26, 2010
    everett wa
    dont think you can pull out a power tube on a bluesbreaker type amp?only has two power tubes,you have to pull in pairs,so you have to start with four tubes,pull two inside or two outside pairs.

  9. suave eddie

    suave eddie Tele-Holic

    Feb 28, 2009
    Great White North
    Here is a quote from page 72-73 from his autobiography:

    “Because the album was recorded so quickly, it had a raw edgy quality that made it special. It was almost like a live performance. I insisted on having the mike exactly where I wanted it to be during the recording, which was not too close to my amplifier, so that I could play through it and get the same sound that I had onstage. The result was the sound that came to be associated with me. It had really come about accidentally, when I was trying to emulate the sharp, thin sound that Freddy King got out of his Gibson Les Paul, and I ended up with something quite different, a sound that was a lot fatter than Freddy’s. The Les Paul has two pickups, one at the end of the neck, giving the guitar a kind of round jazz sound, and the other next to the bridge, giving you the treble, most often used for the thin, typically rock ‘n’ roll sound.

    What I would do was use the bridge pickup with all of the bass turned up, so the sound was very thick and on the edge of distortion. I also always used amps that would overload. I would have the amp on full, with the volume on the guitar also turned up full, so everything was on full volume and overloading. I would hit a note, hold it, and give it some vibrato with my fingers, until it sustained, and then the distortion would turn into feedback. It was all of these things, plus the distortion, that created what I suppose you could call my sound.”

    He was specifically talking about the Bluesbreaker album.

    I was lucky enough to see him perform with Cream '69 or ' pedals except wah.....SG plugged straight into stack of Marshalls.
    Last edited: May 16, 2010

  10. gitold

    gitold Friend of Leo's

    Mar 25, 2009
    Greeley Co.
    All I know is that untill I played through a Range Master I could never get that tone.Even through a Twin the rangemaster will give you that tone.Eric likes Fender tones better then his classic tones anyways so what the heck does he know.

  11. chezdeluxe

    chezdeluxe Poster Extraordinaire Gold Supporter

    Dec 29, 2007
    Brisbane Australia
    Freddy King used an early Les Paul with single coil pickups. No wonder EC's Humbuckers sounded fatter.

  12. Del Pickup

    Del Pickup Poster Extraordinaire

    Mar 24, 2008
    New Zealand
    I love these threads where everyone gets real sh**ty with one another arguing the point about something that no-one other than someone who was in the studio at the time can confirm or deny!!

    Let's face it, I can use my Clapton strat plugged into my Fender Tweed Twin and I'll still never get exactly the tone that EC can get with the same set up. None of us know how an amp has been set, exactly what pedals may or may not have been used, what was involved in the actual recording process in order to achieve the tone in question.

    So, for goodness sake, take a deep breath everyone and assume that whatever EC or anyone who was involved in the session has said about it is actually what happened. As far as I can tell, EC isn't a BS artist like Billy Gibbons who seems to enjoy spinning little stories for the sheer hell of it!!

  13. Valvey

    Valvey Tele-Holic

    Apr 5, 2007
    morgantown wv
    I have an LP Custom that could produce a nice Beano tone when it was seriously in need of a fret job. When I got the work done on it some of that phasey tone quality was lost. Maybe a little fret buzz contributed to the distinctive sound of EC's LP.

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