"The standards for what constitutes a 'good' guitar tone have experienced significant shifts over the past decade, leading to the question: Is there such a thing as a 'bad' guitar tone anymore?"
In the world of electric guitar music, the pursuit of the perfect tone is a never-ending journey. From stadiums to studios, musicians are constantly pushing the boundaries of sound, reinventing and redefining what makes a great guitar tone.
Mark Speer, a member of the band Khruangbin, is known for running a wah pedal all the time to create his dreamy sounds. Meanwhile, Boss Katanas are making their mark in stadiums, proving that solid-state amplifiers are no longer the underdogs they once were.
Fender, a legend in the guitar industry, is remaking its classic combos as new digital offerings, catering to the evolving preferences of modern musicians. The quest for affordable yet studio-worthy tones has led many to cheap amp modelers, making professional sound accessible to all.
One piece of equipment that has seen a surprising resurgence is the Peavey Decade. Once derided, it has now become a sought-after tone after being revealed as Josh Homme's 'secret weapon'. Peavey has capitalized on this revival, releasing a signature combo and its own stompbox version of the Peavey Decade.
Different tones can greatly influence the way a musician plays. For instance, St. Vincent and Matt Bellamy are die-hard fans of the sound of fuzz pedals straight into the board. Conversely, guitar tones that sound best in isolation often don't work in a mix, but 'bad' tones can burst out of the speakers in the best/worst way.
Eric Clapton has given plaudits to Mk.gee's tone, known for running a baritone-strung Fender Jaguar into a Tascam 424 and cranking it into the red for a splatty overdrive. John Mayer, on the other hand, plays direct into Akai MPC samplers, letting producers decide what the tone should be. Recently, Mayer even ditched his tube amp and plugged directly into JHS Pedals' latest offering, designed to sound like a Tascam Portastudio.
The 424 Gain Stage and Peavey Decade are now not just acceptable but downright desirable, indicating a full-circle moment for the way we perceive the sound of the electric guitar. This shift is also reflected in the actions of prominent musicians like Mark Knopfler, John Mayer, and Ed O'Brien, who have popularized the use of solid-state amplifiers in recent years.
Even young guitarists nowadays function as producers, recording their playing from day one. Emi Grace, with over 200,000 followers, amassed her popularity through her 'Trashy Tone Thursdays' video series. Stu MacKenzie, from King Gizzard and the Lizard Wizard, snapped up $10 transistor amps for their latest record.
Multiple pedal companies have been rushing to bring their own take on the 424 circuit to market, demonstrating the growing demand for these unique tones. As the landscape of electric guitar tones continues to evolve, one thing remains clear: the pursuit of the perfect tone is a journey that never ends.
