Adrian Conner (second from left) Belles Bent for Leather (Judas Priest Tribute)
Gibson SG Standard, Fender Stratocaster, Marshall JCM 2000. If you want a seminar on classic-rock guitar tone, it’s
Adrian Conner (second from left) Belles Bent for Leather (Judas Priest Tribute)
Gibson SG Standard, Fender Stratocaster, Marshall JCM 2000.
If you want a seminar on classic-rock guitar tone, it’s probably as close as your local watering hole, where the nightly entertainment is presented by cover and tribute bands simulating the experience of classic-rock bands performing live. To truly provide audiences with the vibe, thrills, and sense memories of grooving to Alice Cooper, Led Zeppelin, Van Halen, Journey, and other such heavies, the guitarists paying tribute to these iconic bands must weave their spells with spot-on tones, riffs, licks, and solos. Or do they?
In order to determine exactly how cover artists approach their “emulative endeavors,” I put out a Facebook call asking them to divulge tips, conceptual advice, and tone strategies. These men and women love stepping into the musical shoes of their heroes, and the depth of study they often undertake to do their jobs well and attract audience support is likely no less grueling that of original artists striving to develop unique and commercial voices. Here’s a compendium of their shared wisdom…
How precisely does the typical audience expect you to emulate the parts and tones on the hits you cover?
Martina FasanoEyes of Alice (Alice Cooper tribute)
Ibanez S670QM, Ibanez RG350QMZ, BOSS GT-100, Seymour Duncan Power- Stage 170, Peavey 4x12 cab.
Martina “Chaos” Fasano (Eyes of Alice): For the most part, the audience wants to hear the songs they love played the way they remember them on the original, recorded versions. They’re not there to hear your heavy-metal djent version of “No More Mr. Nice Guy.” But I’ve found that if you play the songs close enough to the originals, people are happy. Very few audience members are going to get caught