下面文字是從 http://www.custom-sounds.com/eric_johnson.htm 偷來的，也許不少人已經讀過，但還是頗值得參考： ====================================== ERIC JOHNSON: (page is under work) GUITARS: The Strat's bridge pickup is Dimarzio HS-2 wired to a tone pot and rolled back about 1/3 of the way.All 5 springs on tremolo, set flush. Cherry Gibson ES-335. AMPS: 2000: Late-'60s 50-watt Marshall Super Tremolo (modified for 6L6 power tubes) used for a distorted rhythm sound. Only the first channel is used. Two Deluxe Reverbs or Fender Vibroverb or a Vibrolux for clean tone and 50w Marshall head with either through a 4x12 or 2x12 cabinet for lead tone. He uses two A/B box's to choose between the amps. Eric has this custom-built power supply to keep his tone consistent from gig to gig. Eric told about smaller Fenders: " I actually find them a little sweeter than the Twin. The Twin has a certain treble edge to it that I never could get rid of, so I started experimenting with the smaller Fenders, and I'm kind of digging that." For "S.R.V." Eric used a Fender Twin and Pro Reverb and a '65 Rosewood Strat. EJ's Marshall is dialed in on the dark side and cranked up. Low treble settings and Presence off. For clean stuff, Eric used to have two BF Fender Twins chopped down to heads into Marshall cabs wired in stereo. An Echoplex is a huge part of his clean sound and you hear it all over his albums. Dumble for rhythm and Marshall 100W for lead. PEDALS: Eric has this custom-built power supply to keep his tone consistent from gig to gig. Effects are: Echoplex and t.c. electronic chorus/flanger that runs in stereo to 2 Deluxes. Cry Baby Wah wah and a Dallas Arbiter Fuzz Face (silicon) to rhythm Marshall. Chandler Tube Driver and another Echoplex to lead Marshall. His A/B boxes are passive and made with Carling DPDT switches and there are no LED's on them, I guess Eric can hear what amps are on After the rhythm Marshall is miked, it is processed through this early-'80s MXR 1500 Digital Delay. The volume pedal adjusts the amount of delay mixed into the house and EJ's monitors. On "Pavilion," there is a Gibson ES-335 into a Tube Driver into a Marshall head into a cabinet. Effects are a t.c. electronics 2290 delay and a Lexicon PCM reverb. Eric also uses Echoplex with Marshall amps mostly. For the distortion Hendrixy-type distortion it was a MXR digital delay into a Fender Twin, Marshall or a Dumble. Eric has also used The Yardbox and The Experience Pedal by Prescription Electronics. PEDAL SETTINGS: EJ's settings for Tube Driver are: Out level: 1,5 Hi EQ: 0, Lo EQ:0 Tube Drive: 3,5 So not much boost or distortion from here.. E.J. :"It's a tube pre amp from the early '80s. The tone will vary greatly depending on the tube you use." Echoplex is set: Sustain:4 Volume: 2,5 Echo Delay: 23 T.C. Chorus: Speed: 2 WIDTH: 2 MODE: Chorus INTENSITY: 4 His t.c. electronics chorus is now a new one, not a 80’s model like before. BATTERIES: CABLES: George L's TONE: "It's also a bunch of stuff I've been working on with my equipment, too. Like I've been getting into polarity with the stuff I use: guitars, amps, cords...even the way the studio is wired." "At NASA, they do the same thing with thermodynamics. There's a relationship between the elements, such that if you take apart something you put that screw back in its place, not another one that might be identical. It's crazy stuff, but if you add it up to a hundred parts, it makes a difference, so I've been looking at cords, jacks, switches, metal parts-that slowed me down too, but it helps with the distortion tone particularly. It's so hard to get a consistent distortion tone. " " I've found myself getting a more velvet, violin-like sound. By purifying my signal, I've found that the pick attack disappears and I get the pure tone, rather than this glitchy, raspy tone." Eric Johnson started it all with the talk about batteries having an effect on the tone and so on... Now everybody is careful about what batteries to use on vintage pedals, here are some more tips and rumors from EJ tone bag: -Pre-amp tubes for Marshall and other three pre-amp tube amps (Bassman..): First Yugoslavian EI 7025 then 2 Chinese 12ax7's (neither is made anymore). -Cables don’t sound the same both ways!!! Take your guitar chord and plug it into your amp and listen to it with your guitar's volume all the way up (doesn't matter what the amp volume is, but it should be to where it is clear), then take the chord, plug the end that was in your guitar into your amp and vice/versa and you will notice the VERY ANNOYING FACT THAT IT DOESN'T SOUND THE SAME!!!!! I wish they'd never told me that..... (thanks Rick) -Fuzz Face: If you take the bottom screw out from the Fuzz Face you get a better tone, EJ had the bottom of his Fuzz Face tied with rubber-bands on ALC summer tour!! (now it’s also on Guitar Player but you read it here first .) -Marshall Cabs: EJ switch the screw-places on the back panel of his Marshall Cabs when recording, for a better tone?? Now E-J. has changed to smaller (not that powerful) rig with two Deluxe Reverbs (22w each) for clean and two 50W vintage Marshall heads for dirty rhythm and lead. No more 100W Plexi’s, loud Dumbles and 80W Twins!!! I wish his tone is still with him. E.J. also has changed from tube Echoplex to a solid-state EP-3 that was made in early 70’s. I have two of those and they are wonderful!! EVH and Jimmy page also used them, so they can’t be that bad..... Hint: prices will go up pretty soon, now they are cheaper than some digital echo's!! What's the Tube Driver? Brett Butler and Paul Chandler made it. It's a tube pre amp from the early '80s. The tone will vary greatly depending on the tube you use, but it's a very consistent sounding unit-unlike the Fuzz Faces, where I have to go through 40 of them to find one I like. More info coming soon + some photos
我覺得比較奇怪的是，如果用 HS-2 還要用 tone 調鈕減損一部份的高頻，那為何不直接用高頻略少一些的 pickup 不是方便些？而 Eric Johnson 去掉 picking attack 的方法不知如何做到，他似乎沒有用到 compressor。不過 picking 的 attack 其實很自然，反而對表情有幫助。另外關於導線前後接的方向不一樣還會讓音色不一樣的說法聽起來很難相信，不過玩高級音響的人似乎也有此傳聞，又高級的 Monster Cable 好像也有分方向。找一天來試試，看倒底有差別否。 值得一提的是，有一回去聽 Eric Johnson 的演奏會，發現音色不如唱片上的 (或許是那一次不是很好)，特別是在 high gain 時，他的吉他常 feedback，有點惱人。
文章中 HS-2 wire to tone 的意思，應該是直接將 HS-2 的出力由 Tone 來控制.... I Guess.... 當 pick-up 出力調小的時候，會造成兩個效果: 1. 中頻變多，但是當 Touch 變重的時候，原來 pickup 的高頻特色還是會出現...這是 2. 變相的 Compress，可以得到比較 Smooth 的效果 我覺得，Eric Johnson 的 Delay 很難在 Live 中得到很好的效果。我在 LA 的 HOB 看的時候，也有場地問題的感覺，不過還不錯就是了。 And, Monster Jazz 的線是有指向性的，Monster Rock 就沒有.....
<BLOCKQUOTE>quote:</font><HR>原留言人 tOnY: 文章中 HS-2 wire to tone 的意思，應該是直接將 HS-2 的出力由 Tone 來控制.... I Guess.... 當 pick-up 出力調小的時候，會造成兩個效果: 1. 中頻變多，但是當 Touch 變重的時候，原來 pickup 的高頻特色還是會出現...這是 2. 變相的 Compress，可以得到比較 Smooth 的效果 <HR></BLOCKQUOTE> 請問"將 HS-2 的出力由 Tone 來控制"是什麼意思啊??? tone不就是控制音色變亮變暗嗎? 怎麼又說是控制出力呢?
就是 Tone 鈕不再是 Tone 鈕，只是借用它的 Pot 位置，變成 Volume 控制.... I Guess.... 不過我對 Eric Johnson 的 Setting 不熟，所以不確定是不是這樣.......。我記得以前日本人的雜誌常介紹它的 Tone 及 Setting ex:相關 web 1 or 美國的 virtual guitar 相關 web 2 我有一個日本朋友非常熟它的 Tone 設定，不過我就不是很了了。