# Billy Gibbons tone?



## hollowbody (Jan 15, 2008)

I'm thinking of swapping out the bridge pickup in my Les Paul for something a little less polite-sounding.

Right now, I have a set of Seymour Duncan Alnico II's in there, and I like the pickups, but I find the bridge doesn't quite do it for me, so I'm just using the guitar to record these days, which is a shame.

I'll probably keep the SD II in the neck and just get something for the bridge. I know SD makes the Pearly Gates, which is supposed to be THE pickup for the BG tone (according to SD), but I have no direct experience with it personally.

Is the Pearly Gates what I'm looking for, or should I look at something like a JB? Anything else that springs to mind? I'm looking specifically for the sort of dirt you hear on Legs, Tush, etc.


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## dwagar (Mar 6, 2006)

Billy seems to sound like Billy no matter what guitar he picks up. It may have more to do with the rest of the sound chain (pedals, amps), or that Mexican Peso he uses for a pick 
Or simply that he is one of the coolest players out there.

Since SD makes a specific pickup to match Pearly, I'd guess that'd be the one to get.


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## Todd68 (Mar 7, 2008)

Call the SD Custom Shop and ask for the same pickups that were put into the Gibson Custom Shop "Pearly Gates" Les Pauls. They'll cost more, but they are deadly sounding pickups. These are not the regular production Pearly gates pickups that Duncan does. I called about a year ago and priced them out. I moved on to other things, but they are being made (about $350 if I remember correctly).


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## Cdn_Cracker (Oct 7, 2006)

If you are looking for the Reverend's tone, then definitely look at the Seymour Duncan PGs. Even the uber expensive Gibson Custom Shop Pearly Gates come with the SD PGs in the bridge. I was fortunate enough to play a PG Lester and it was the most amazing LP I have ever played - without exception. 

Of course, Billy's tone is also significantly helped out by his Expandoras.... but you are definitely headed in the right direction. An alternate for the Seymour's might be the Burstbucker Pros (or so I have heard).


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## hollowbody (Jan 15, 2008)

Cdn_Cracker said:


> If you are looking for the Reverend's tone, then definitely look at the Seymour Duncan PGs. Even the uber expensive Gibson Custom Shop Pearly Gates come with the SD PGs in the bridge. I was fortunate enough to play a PG Lester and it was the most amazing LP I have ever played - without exception.
> 
> Of course, Billy's tone is also significantly helped out by his Expandoras.... but you are definitely headed in the right direction. An alternate for the Seymour's might be the Burstbucker Pros (or so I have heard).


Nah, I had a set of BB Pros and I didn't really dig them. I'll definitely give the PGs a go, since they're pretty inexpensive and easy to find, but I just wanted to see if there were any boo-teek pickups out there built specifically for this sound that I wasn't aware of.


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## Cdn_Cracker (Oct 7, 2006)

Todd68 said:


> Call the SD Custom Shop and ask for the same pickups that were put into the Gibson Custom Shop "Pearly Gates" Les Pauls. They'll cost more, but they are deadly sounding pickups. These are not the regular production Pearly gates pickups that Duncan does. I called about a year ago and priced them out. I moved on to other things, but they are being made (about $350 if I remember correctly).


A quick check on musiciansfriend.com has the PG for about $100 a pop.


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## Cdn_Cracker (Oct 7, 2006)

hollowbody said:


> Nah, I had a set of BB Pros and I didn't really dig them. I'll definitely give the PGs a go, since they're pretty inexpensive and easy to find, but I just wanted to see if there were any boo-teek pickups out there built specifically for this sound that I wasn't aware of.


If you are going with some expensive handmade boos, call Jason Lollar - and he can point you in the right direction or build you exactly what you want. He is an awesome guy to deal with and is the godfather of hand-wound pickups. I have a set of Imperials in my Larrivee RS-4, and will be putting some singles into one of my strats. They are very pricey though.


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## washburned (Oct 13, 2006)

And I think the beard and the hat have something to do with it!


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## smorgdonkey (Jun 23, 2008)

Cdn_Cracker said:


> Jason Lollar - and he can point you in the right direction or build you exactly what you want. He is an awesome guy to deal with and is the godfather of hand-wound pickups.


Yes. Guru indeed.


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## mhammer (Nov 30, 2007)

I've always found that a nicely tweaked parametric EQ, placed _ahead_ of an overdrive or distortion, gets me a lot closer than you'd imagine.


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## greco (Jul 15, 2007)

mhammer said:


> I've always found that a nicely tweaked parametric EQ, placed _ahead_ of an overdrive or distortion, gets me a lot closer than you'd imagine.


Not wishing to derail this thread, just wondering which *parametric EQ* you would choose that doesn't require that one gets a second mortgage but is reliable and with decent specs.

Thanks

Dave


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## hollowbody (Jan 15, 2008)

greco said:


> Not wishing to derail this thread, just wondering which *parametric EQ* you would choose that doesn't require that one gets a second mortgage but is reliable and with decent specs.
> 
> Thanks
> 
> Dave


Hey, no worries Dave, I'm interested too.

I'm not big on getting more pedals. I've managed to whittle down my pedalboard to an EHX DMM, a TT200 tuner and a Boss FSL to switch between rhythm and lead settings on my UA and I want to keep it that way, but I would definitely be interested in using something like that at home while recording. 

I've been doing a lot of recording through my Tech 21 British pedal and with a LP I can get in the general ballpark of the classic Gibbons tone, but I'd like to get closer. That's always been the benchmark tone for me when it comes to LPs. Some of that Billy G stuff is hard to capture on this setup because sometimes he used old Fenders, but Marshalls are all over the place on his discs and Marshall tend to be what he uses live. I've got my Tech 21 pedal setup to emulate my JTM45 as best as I can and it's pretty close. I know Billy doesn't use a JTM45, but a cranked JTM45 is (for me) the best tone out there. It has a distinct vintage feel, but can also deal with more modern music as well with a slightly hotter pickup. 

I read here that Billy uses a couple of Digitech Mono 28 EQs set to basically EQ every guitar he plays live to sound like Pearly, so Mark, looks like you're definitely on to something, but would a para EQ be better here, or a big graphic EQ?

I think I'll look for a PG pickup to drop into my LP and go from there. I'm certainly not going to lug a rack with big-assed EQs in it live, but I might be silly enough to get some rack gear for home use.


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## mhammer (Nov 30, 2007)

I used a DIY single-band thing, but it doesn't have to be anything in particular. You could use a graphic *or* a parametric. The idea is that one be able to introduce a semi-wide peak somewhere in the spectrum, such that the signal is a bit closer to serious overdrive when you dig in....for that part of the spectrum. What happens is that you can introduce wolf-tones on demand; instant gronkiness and an important part of the very Reverend's signature.

So why is this not the same as simply using a cocked-wah or circuit equivalent? Easy. Wahs are bandpass filters, which means that content above and below the centre-frequency is attenuated. A parametric will leave everything else as is, and introduce a bump/hump in the spectrum without affecting everything else.

What is the difference between using a parametric and a graphic? Parametrics allow for a resonant boost to be quite broad or narrow. Graphics have a fixed width per band. If you have 15 or more bands on the graphic, then it is possible to mimic a broad resonant boost on a parametric by adjusting multiple bands as if they were one big hump. I wouldn't recommend trying it with a 6 or 7 band, though. In that instance, a single-band parametric would likely be better.


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## GTmaker (Apr 24, 2006)

Hi,
Just thought I would jump in on this thread as I have a fully loaded pickguard from my '96 Lonestar Strat that includes the special alnico 3 SD Pearly gates pickup for sale.
pictures are located at the bottom on this page.
VOX Continental Organ model V301E

price is negotiable so let me know if your interested.
thanks
I realy should not break up this set so selling the Pearly on its own is not a good option.
The other 2 pickups are Texas Specials.


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## greco (Jul 15, 2007)

mhammer said:


> I used a DIY single-band thing, but it doesn't have to be anything in particular. You could use a graphic *or* a parametric. The idea is that one be able to introduce a semi-wide peak somewhere in the spectrum, such that the signal is a bit closer to serious overdrive when you dig in....for that part of the spectrum. What happens is that you can introduce wolf-tones on demand; instant gronkiness and an important part of the very Reverend's signature.
> 
> So why is this not the same as simply using a cocked-wah or circuit equivalent? Easy. Wahs are bandpass filters, which means that content above and below the centre-frequency is attenuated. A parametric will leave everything else as is, and introduce a bump/hump in the spectrum without affecting everything else.
> 
> What is the difference between using a parametric and a graphic? Parametrics allow for a resonant boost to be quite broad or narrow. Graphics have a fixed width per band. *If you have 15 or more bands on the graphic, then it is possible to mimic a broad resonant boost on a parametric by adjusting multiple bands as if they were one big hump.* I wouldn't recommend trying it with a 6 or 7 band, though. In that instance, a single-band parametric would likely be better.


Thanks for the response and explanation. If I understand you correctly, one should be able to adjust the settings on a graphic EQ of 15 bands (or more) to achieve the desired tonal results...or very close? I ask this specifically, as graphic EQ's seem easier to find at reasonable prices and the selection is quite varied with many brands being available. 

If you were to suggest a graphic EQ, which brand and configuration (i.e., 2 x 15 band, 1 x 31 band, etc) would you personally select?

I am becoming more convinced that an EQ will help me to tweek the signal to my amp to help me to get the specific jazz tone I am looking for....especially after seeing that this concept is used in the Henriksen jazz amps.











Thanks

Dave


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## smorgdonkey (Jun 23, 2008)

Dudes...get a rackmount EQ...many, many bands.

I have the Samson S-Curve 231. It is overkill for this application but it cost about the same as a new stomp box.








There is a mono one as well:


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## TubeStack (Jul 16, 2009)

hollowbody said:


> ... I'm looking specifically for the sort of dirt you hear on Legs, Tush, etc.


Legs and Tush (two very nice things...) are two very different dirt tones. One is a solid state amp with pedals, etc, the other is more of a vintage, cranked tube amp sound.


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## hollowbody (Jan 15, 2008)

TubeStack said:


> Legs and Tush (two very nice things...) are two very different dirt tones. One is a solid state amp with pedals, etc, the other is more of a vintage, cranked tube amp sound.


Well, yeah, but honestly, I'd be happy with pretty much any of the Rev's tones since he always sounds so darned good no matter what he's using. 

I'm definitely more interested in his early tones, since I'm a cranked tube amp kinda guy too, although Eliminator was recorded on a hybrid amp using a tube preamp and a SS power amp section. But I'm not looking at nailing it exactly, I just want to be in the ballpark.


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## Sneaky (Feb 14, 2006)

Six Expandoras and a tweed champ will get you close.


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## hollowbody (Jan 15, 2008)

Sneaky said:


> Six Expandoras and a tweed champ will get you close.


haha, yeah, I've seen pics of this Expandoras before, but honestly, every time I've heard this pedal I've felt that it sounds tinny and kind annoying. I'd rather have a Rat or something like that.


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## Slowfinger (Jan 1, 2011)

Hi folks. First post in this great friendly forum. I happen to know from a Billy G. interview that the amp used on virtually all of the Eliminator album was a 50 watt Legend. I used to jam in the 1980's with a guy that had one. Nice wood finger-joined cabinet. Loud as heck and a real tone monster. I don't think they were true boutique amps, but smaller run productions. The dude sold it and I regret not buying it. If I could find one today it would be mine. I believe one of the guitar mags out there has a column of great garage sale finds, and they featured this amp a couple years ago.
Bruce


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## xbolt (Jan 1, 2008)

I remember playing a hybrid Legend amp at one point or other....tube pre/SS power


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## Steve Adams (Dec 31, 2009)

best way to do it is a hand transplant...ha ha.


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