Buddy Whittington is possibly the most underappreciated blues guitarist in the world. He is tasteful, versatile, and an excellent band leader (as well as a humble band member who allows others to solo and shine). I saw him last night (probably for the fifteenth time) at the Bedford (Texas) Blues and BBQ Festival, and was once again impressed by his playing, stage presence and general virtuosity.

His work with the Sidemen, John Mayall’s Bluesbreakers and his current band would garner worldwide superstardom a la Clapton, Jimmie Vaughan or SRV, but for the fact that he looks like a plumber instead of a guitar god…(he even comments on his status in the humorous “Second Banana”)…add to that, he is an excellent vocalist. I urge everyone to visit his website (see below) and check out his work.

http://www.buddywhittington.com/

The main reason for this thread, however, is this:

Many times I have stressed the fact that a player’s tone is in his/her hands; that is, in their attack, touch and “feel”. While the fantabulous Mr. Whittington has his own tone, he referenced several other players last night, both within cover songs as well his own originals. I heard shades of Duane Allman (he played slide and harmony parts in standard tuning on a killer version of “Whipping Post”, led by co-guitarist Mouse Mays), pre-Stratocaster Clapton and Freddie King (on a Freddie King song), Robert Cray (on a self-penned “social conscience” song about how the system is broken), Billy Gibbons (just during a song) Bonnie Raitt (once again, playing slide in standard tuning) and Stevie Ray (on the song “Stevie Rave On”). All along, and in each of these songs, he still sounded just like himself, even while referencing and/or sounding like each of those artists. It seemed he would start the solo or rhythm as himself, sonically refer to the other artist(s), and go back to himself

The reason this was so amazing? His signal chain consisted of (1) his beloved dead-stock ’63 Stratocaster, (2) a cord, (3) a small Dr. Z amplifier…ok, I lied, he also had a tuner pedal somewhere in there, because he touched up his tuning during one of Mouse May’s solos.

How many threads have we seen, read, contributed to, or started that was regarding getting a particular artist’s tone through certain equipment (guitar, pickups, tone wood, neck size, fret size, amplifier, type of tube in said amplifier, pedal or combination of pedals, by removing paint & finish in a particular pattern, etc.); many/most of these are regarding Stevie Ray Vaughan or Jimi Hendrix. Admittedly, it is easier to get near an artists’ sound by using similar equipment, and using an octave pedal, wah, etc. will also help to get in the ballpark sonically (especially for Hendrix).

But as Mr. Whittington so aptly demonstrated last night, the way a person plays a guitar will more greatly affect the tone than the equipment used…he sounded like he was playing a Les Paul, an SG, a 355, and couple of different types of Strat players, without ever changing a single setting on his amp, stepping on a pedal, or changing guitars.

I'm a gear hound and use quite a few pedals and different types of guitars (even Mr. Whittington uses other axes, depending on his mood or inclination), but it has always been in search of my own voice and chasing a sound in my head, not to try to sound like someone else.

_________________
Good Vibes To Y'all!



Screamin' Armadillos
Texas Roadhouse Music
Guitar/Slide Guitar/Harp/Vocals

Tone certainly is in the hands you could have 5 different guitarists play the same riff through the same guitar and amp and get 5 completely different tonesEven though it may be the same riff some may sound sterile and lifeless and others may be filled with depth and soul-yes it really is all in the hands-and the soul plays a big part too.

_________________
'65 Strat,65 Mustang,65 Jaguar,4 more Strats,3 vintage Vox guitars,5 Vox amps,'69 Bassman with a '68 2-15 Bassman cab,36 guitars total-15asst'd amps total,2 vintage '60s Hammond organs & a myriad of effects-with a few rare vintage ones.

That's a pretty good rant you got going there, Tex.

I think pretty much the same thing when I see threads talking about how stock pickups suc. I wonder how bad they would suc if you handed the guitar to Jeff Beck.

Glue joints in strat bodies is my personal favorite. Do you need a one piece body so the glue joints won't ruin your tone? Two? Are you a good enough player to overcome a THREE PIECE BODY?

Good advise guys. Don't be afraid to use the little things called tuning knobs to get your own sound. So many folks want an instant answer on how to set their gear to get a sound. Do it yourself. It will make you a better player. You'll know your gear better, and yourself too.

Great post. I am a gear hound! But when I play live...amp,cord, guitar! I hate how guys will buy a guitar and even before they have played it they order new pups etc. Just learn how to play! Ok, sorry for the rant.
ABS

How right you are ABS,far too many people dump on some pickups without trying hard enough to get a good tone from them.I'm constantly adjusting the tone contrrols on my guitars and amps trying out all the possible tones that I can get from a guitar and amp.

_________________
'65 Strat,65 Mustang,65 Jaguar,4 more Strats,3 vintage Vox guitars,5 Vox amps,'69 Bassman with a '68 2-15 Bassman cab,36 guitars total-15asst'd amps total,2 vintage '60s Hammond organs & a myriad of effects-with a few rare vintage ones.

I like 2nd Banana thanks for the link SA.