I recently caught up with Steve for a chat in which he graciously shared his thoughts on guitar playing, creating a unique voice, making a name for yourself, and never giving up.Wampler by Glenn Huffman Download PDF EPUB FB2īrian Wampler is one of those cool guys to know, and I met him through another book. Plus, with so many incredible players using their fingers (like Tosin Abasi, Derek Trucks, Jeff Beck, and Mark Knopfler), you might end up loving the tone and ditch your pick altogether! Each of the examples showcases his clever composing style and innovative classical approach which will help expand your arsenal of guitar tricks.Įven if you're a devotee of using a pick and never tried playing fingerstyle before, adding classical techniques and approaches to your rock playing can open new doors and help you evolve into a more adventurous and confident musician.

Below, I've touched on a few examples in the style of some of Morse's more well-known songs, both with the Dregs and his namesake trio. The classical influence of Morse's playing is where I want to focus. This means that none of the lower bass frequencies are being boosted and/or clipped in the Tubescreamer.Ĭasual fans know Steve as a powerful rock guitarist, who has added his fiery, chromatic-laced lead work, tasty rhythm, and atmospheric tones to rock royalty Deep Purple, Flying Colors, and Kansas, along with his own projects-most notably the Dixie Dregs. To contrast, a Tubescreamer only lets frequencies above 728 hz clip. In this case all frequencies above 33hz is being clipped. The resistor value of R13 and the capacitor value of C8 basically provide a frequency range where the signal is made to clip. R13 and C8 are part of this 'non-inverting' opamp circuit which provides negative feedback to ground. The first stage clipping is still occurring and as a result, the pedal doesn't sound as clear and articulate as many would like. When it's turned down, it allows lower frequencies in – giving it a muddy sound since the signal is clipped beforehand through the transistor gain circuits, then clipped again when the distortion control is turned down.

The gain control is set up this way to enable the clipping of higher frequencies as you turn the distortion up. R11 controls the gain in combination with the distortion knob, R13 and C8. This opamp is used in a unique way to clip the signal. The signal then goes out through C5 into the opamp.

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