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Jeff Beck is in all likelihood the most uncompromising rock guitar player – highly unique, versatile, and non-commercial. He dismisses guitar picks because they are in the way of the unfeigned guitar tone, normally doesn’t use effects and surprises (and confuses) his listeners with radical changes in stylistic direction. His use of the vibrato bar is unique, his use of tone and volume pots masterful. He many times turns down the tone pot completely and compensates the lack of treble through increased distortion, creating his unique, singing lead tone. Just with his fingers, vibrato bar and the use of tone and volume pot he may construct closely effect-like tones. No other guitarist is so in control of the guitar. Jeff Beck is the master of self-expression. In terms of instrumentation Jeff goes through assorted interesting stages. During his ‘Yardbird’ days he’d normally rely on early 60′s Telecaster models, normally with rosewood fingerboard. He likewise employed a ’52-Mapleneck Tele, modded by Seymour Duncan with Gibson Humbuckers. Around that time Seymour likewise devised his frequent SH-4 Jeff Beck Humbucker. Then Beck moved on to Gibson Les Pauls to record his legendary Jazzrock albums ‘Blow By Blow’ and ‘Wired’. After meeting Hendrix and his explosive music he contemplates his approach and already on the recordings to ‘Wired’ he is experimenting with the Fender Stratocaster. This will from now on be his main type of guitar. In the 80′s Jeff flirts with a Jackson ‘Super-Strat-Style’ guitar only to return to Fender, when they launch the ‘Strat Plus’. In 1991 Fender comes out with the Jeff Beck Signature Stratocaster and in the later altered model Fender slimmed down the super-chunky neck (which a good deal of guitarists found unpractical) and put a set of ‘noiseless’ Pickups in. Ampwise, Jeff Beck is always straight forward. During his stint with the ‘Yardbirds’ a Vox AC-30 is the only amp available. But for his own music he wants a louder and more aggressive tone. So he gets his original Marshall Full-stack. Over time, he replaces his Plexi Marshalls with the JCM-2000. From now on he uses a 50-watt top and two 4×12″ cabinets to fabricate his colourful tone. Only twice he uses dissimilar equipment: for the movie soundtrack ‘Frankie’s House’ he plays his Strat and Tele into a Digitech GSP-21 Legend direct into the mixing desk. For ‘Crazy Legs’, a tribute to his idol Cliff Gallup he uses a ’56 Gretsch Duo Jet and assorted vintage Fender Combos (Tremolux, Tweed Bassman, Concert & 2×12″ Cab and Fender Twin) to recreate the typical Gallup sound. |
