90'ernes bedste guitarist?

[dreamz]

Instruktøren Davis Guggenheim er biografaktuel med filmen ”It Might Get Loud”, hvor tre guitarister, som med rette kan kaldes de største inden for hver deres årti, portrætteres:

Jimmy Page i 70’erne
The Edge i 80’erne
Jack White i 00’erne

Jeg er udmærket klar over, at der kan være delte meninger om, hvorvidt disse tre nu også er de bedste eller mest nyskabende og banebrydende i de pågældende årtier. Men mit ærinde er også et andet: Hvem var 90’ernes bedste guitarist?

Guitaren fik jo en revival i 90’erne bl.a. med grunge, men hvilken solist har markeret sig i sådan grad, at vedkommende er sit årtis største?

/dreamz

[Raskolnikov]

Kurt Cobain eller Tom Morello ville være mit bud.

[Jan Post]

John Petrucci (Dream Theater)

[a2zinck]

Tom Morello er et godt bud.

Morello is famed for his guitar style, which consists of heavy metal/punk hybrid riffs and hip hop-inspiredsounds. His guitar playing is also characterized by heavy use of guitar effects, such as delay, modulation, wah, harmonizers, distortion, feedback, and others in unique ways and combinations. The most recognizable effect in Morello's arsenal is the Digitech Whammy, which helps him create many of his sounds. Matthew Bellamy of the English band Muse has cited Morello as an influence, which can be heard in his use of pitch-shifting in solos.

To produce his alien guitar sounds, Morello chooses various effects pedals. During his tenure in RATM, he used a Dunlop Cry Baby, a Digitech WH-1 Whammy, a Boss DD-2 Digital Delay, a DOD EQ pedal (set flat and just used to boost the
volume during guitar solos or particular rocking moments), and an
Ibanez DFL Flanger. Around the time of The Battle of Los Angeles
he added a Boss TR-2 Tremolo pedal (which can be heard on "Guerrilla
Radio"). For Audioslave, Morello replaced the Ibanez Flanger with a MXR Phase 90. His amplifier of choice has always been a 50-watt Marshall JCM 800 2205 and a Peavey 4x12 cabinet. Though the Marshall is his amp of choice with Rage
Against the Machine, he used a Vox AC30 combo amplifier for multiple
overdubs on Audioslave's 'Revelations' album. While the Marshall
amplifier has two channels, he only uses the overdrive channel, and
simply turns down the volume on his guitar to get cleaner sounds.

In the studio, Morello uses the same setup for the bulk of the guitar tracks. For The Battle of Los Angeles, he also used a few other amps, such as a Line 6 as heard on the clean, spacey intro of "Mic Check", plus a Pignose mini-amp and a MusicMan "Twin" style amp. During the recording of Audioslave's last album Revelations
Morello experimented with different amplifier setups. For the title
track's solo he split his signal to his standard Marshall 2205 head and
Peavey cabinet and a 100 watt Fender Bassman head and an Orange cabinet.
With delay sent to one while the other is unaffected the sound is being
"ping-ponged" between the two amplifiers. He also borrowed a VOX AC30 amplifier from producer Brendan O’Brien for some tracks.

[Thethe]

***

[LA MOTTA]

Dimebag, RIP

[ZIG]

Der er jo et hav af guitarister, men mit bud vil være den unge Kenny Wayne Shepherd. Han havde to ud af tre rigtig gode plader. Siden er det gået ned ad bakke med ham.



og



Zig

[Kim Olsen]

Jeg må springe på vognen og sige Morello, hans måde at håndterer en guitar fremstår som noget af det tydeligste musikminde jeg har om 90'erne