- lemg
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Vintage Ultra utilisateur
ALLAN HOLDSWORTH
matériel actuel :
2004 :
“Gear is important, but its purpose is to fine-tune your sound, not to make your sound,” says Holdsworth. “That comes from the hands.”
These days, Holdsworth is using a pair of Yamaha DG80 112 digital modeling amps loaded with Celestion Vintage 30s. “I use one amp for my clean sound, and one for my lead tone,” he explains. “For the clean sound, I actually use a Crunch preset, but I have the Gain set very low, and the Master volume set really high. If I hit the guitar hard there’s a little growl in there. Then, I have two or three different EQ variations of that sound for different rooms. For the lead sound, I just use the Lead One preset, and I have five different patches with varying degrees of gain that I’ll cycle through on any given night.”
As identifiable as Holdsworth’s reedy lead tone is, his expansive clean tone is just as much a signature. However, his legendary chorusing—which used to be the product of racks upon racks of single-ended delay units—proved to be too much trouble. “Doing it that way, I had a huge amount of control—not just over the delay time, but the stereo image as well,” he relates. “But I eventually realized I was using this ridiculous amount of stuff to do something that most people aren’t even going to hear! So I approached Yamaha with an idea about putting a rack full of delays into a little box.” The result is the Yamaha UD Stomp—a pedal that houses eight separate delay units and affords Holdsworth all of the required tweezability. “I use a pair of UD Stomps and that’s it. I throw them in a suitcase, and off I go.”
Although Holdsworth is pictured in All Night Wrong with his custom headless guitar built by luthier Bill DeLap, he still relies on his signature model Carvin Fatboy. “When we travel to Japan, I often take the headless guitar because of size limitations. Now, Carvin and I are in the process of making a headless version of my signature model, because I really like the way the headless guitar hangs on me. It’s so balanced.” Holdsworth strings the DeLap with a LaBella .008 set, and his Carvin with a .009 set. His pick is a 1mm Dunlop.
matériel actuel :
2004 :
“Gear is important, but its purpose is to fine-tune your sound, not to make your sound,” says Holdsworth. “That comes from the hands.”
These days, Holdsworth is using a pair of Yamaha DG80 112 digital modeling amps loaded with Celestion Vintage 30s. “I use one amp for my clean sound, and one for my lead tone,” he explains. “For the clean sound, I actually use a Crunch preset, but I have the Gain set very low, and the Master volume set really high. If I hit the guitar hard there’s a little growl in there. Then, I have two or three different EQ variations of that sound for different rooms. For the lead sound, I just use the Lead One preset, and I have five different patches with varying degrees of gain that I’ll cycle through on any given night.”
As identifiable as Holdsworth’s reedy lead tone is, his expansive clean tone is just as much a signature. However, his legendary chorusing—which used to be the product of racks upon racks of single-ended delay units—proved to be too much trouble. “Doing it that way, I had a huge amount of control—not just over the delay time, but the stereo image as well,” he relates. “But I eventually realized I was using this ridiculous amount of stuff to do something that most people aren’t even going to hear! So I approached Yamaha with an idea about putting a rack full of delays into a little box.” The result is the Yamaha UD Stomp—a pedal that houses eight separate delay units and affords Holdsworth all of the required tweezability. “I use a pair of UD Stomps and that’s it. I throw them in a suitcase, and off I go.”
Although Holdsworth is pictured in All Night Wrong with his custom headless guitar built by luthier Bill DeLap, he still relies on his signature model Carvin Fatboy. “When we travel to Japan, I often take the headless guitar because of size limitations. Now, Carvin and I are in the process of making a headless version of my signature model, because I really like the way the headless guitar hangs on me. It’s so balanced.” Holdsworth strings the DeLap with a LaBella .008 set, and his Carvin with a .009 set. His pick is a 1mm Dunlop.
