It looks like you're new here. If you want to get involved, click one of these buttons!
Subscribe to our Patreon, and get image uploads with no ads on the site!
Base theme by DesignModo & ported to Powered by Vanilla by Chris Ireland, modified by the "theFB" team.
Comments
around suede days he used a boss turbo distortion & rat for dirt, crybaby wah & the flangers/phasers may have been boss but have never really heard much about those. anything would do as he's not maxing them out beyond what anything decent would cover.
for amps he's totally vox ac30 & when he records he sticks a mic in the space in the back of the cab, as well as the usual speaker&amb mics. if you're doing it on a budget then get one of those ac-tone amp-in-a-pedal things. joyo do one sub£30.
i'm a big bernard fan & first two suede albums have some killer guitar work wrapped up in some very ronson-esque tones.
because he's such a sweet&quiet gets-on-with-it guy he gets unfairly overlooked by punters chasing the next big personality face. but among players i think he gets the respect he deserves. he deserves a lot.
________________________________________________
Telecaster American Deluxe, Cornell Romany amp, without the talent to use them properly
bertie was prowling around all sweaty & athletic, & bernard was manic, thrashing&strangling every note out. they were driven & sweaty in the flesh, not fey like they were on totp.
& lots of feedback & delay too. their singles always sounded tinny & compressed.
i think i ended up being able to play the spacious moodier songs on the debut album (pills/breakdown/nextlife) but wasn't mad about the singles (mickey/nitrate/etc). too pop.
good luck with getting it out there. i don't know about the modulation. try suede fan sites or youtube suede guitar covers that list gear.
maybe that's why bernard left. he was clearly on a mission & maybe not into chasing the blur market.
Totally agree with you - I think he's an incredible guitarist and the moodier stuff on Suede and Dog Man Star are gorgeous. Loved DMS when it came out and still listen to it now. The weaving guitar lines he created that sort of sprawl out all over the place are great.
Been learning Asphalt World, and now trying to get the right sound for We Are The Pigs before rehearsal tomorrow. Recently bought a Rat but still trying to get the distortion and filter settings right. (Not in a Suede covers band, just doing WATP with a bunch of other stuff.)
Thanks for all your advice!
________________________________________________
Telecaster American Deluxe, Cornell Romany amp, without the talent to use them properly
________________________________________________
Telecaster American Deluxe, Cornell Romany amp, without the talent to use them properly
Bernard is one of the reasons I first picked up the guitar, and he's such a nice guy too, so I won't tell my neighbours its his fault.
Same here. I idolised BB when I first started playing guitar, trying to learn the whole of the first album.
Guitar. : Les Paul, baby. Or more accurately a 1981 Gibson Les Paul Heritage Elite 80.
http://www.pressreader.com/australia/guitarist/20140307/281505044158987
I think the Les Paul he had before that, the one Justine lent him the cash to get, was the one he described in a different Guitarist interview as crap. Pretty sure that's the one he has here in 1992 at the Boardwalk (watch The Drowners and you'll see it well).
Effects: really basic. Turbo Distortion and Rats. When he was in the Tears, he had two Turbo Rats and a normal Rat on his board.
https://s-media-cache-ak0.pinimg.com/originals/14/f2/8a/14f28afe7f52e156afeca8ea0e4d1372.jpg
Flanger and phaser obviously for the first record. I've also seen shots of him using a Yamaha pedalboard of the type which could be connected to stuff like the Yamaha FX-500 and SPX-90. You can see this Yammie board just by his head in the shot below which was taken from a Vox interview not long before he left Suede.
https://s-media-cache-ak0.pinimg.com/736x/34/4e/89/344e89b04251637b32b8714aaace7ade.jpg
Amps: Vox and Selmer.
Pedalboard from 2014 is pretty much what I could see at the McAlmont & Butler gig last year in Bristol.
http://content.sitezoogle.com/u/143781/d7dab9cceb730029edb9e96ac63ac19e4ad0ecdc/photo/2655730.jpg?1422034841
Is that a Timeline on his 2014 board?
One post from someone who talked to Bernard in 1994 from TGP:
"I met Bernard at his home in 1994 and at the time he told me was using the one AC30 and a Boogie set much cleaner and brighter, a Turbo Rat, a Boss DS-2 and 'a little Yamaha processor that I've set up to give little level changes and a slapback delay and a little flanging - nothing radical.' He had his second red ES355 (the first one was stolen in Canada) and though he stuck to Varitone position 1 live, he would sometimes use 2 and 3 for recording. Suede had just recorded 'Stay Together', one of the last (the last?) thing he recorded with the band: that song started with a Martin 12-string through a Leslie cab then went to the 355 playing feedback through the AC30 via a Boss DS-2, main riff on 355/Boogie, rhythm on a J-200, fuzz in chorus section on 355 or possibly Les Paul, second verse parts on a Fender XII... and the mini plastic Fender Bassman was used at some points. A lovely guy and very honest and straightforward."
That confirms the use of the Yamaha unit. Description of it being little and the type of floorboard pictured above suggests it was the FX-500.
I have to say, hats off to Richard Oakes too - a great player, and form him to hold his nerve at that age to tour Dog Man Star, and then co-write Coming Up was incredible. I remember reading a cover feature he did for one of the guitar mags after Coming Up. He used a Marshall JMP-1 pre-amp for most of that album as I recall.
Both great guitarists, saw suede with Richard at teeside uni when I was there
There's a fantastic Suede biography called Love and Poison with some great insight into the band. Worth a read...
Feedback