From Wild Nights to Iconic Sounds: Stevie Ray Vaughan Reveals His Legendary Strat, Dumble Amps, and Unforgettable Gig Tales!
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This article first appeared in the October 1984 edition of Guitar Player.
Backstage Moments with Stevie Ray Vaughan
Hours before taking the stage,Stevie Ray Vaughan finds himself on a worn-out couch in his dressing room,deeply engrossed in his beloved,albeit battered,Stratocaster. Clad in a traditional Japanese happi coat, a wide-brimmed black gaucho hat, black trousers, and pointed shoes, Vaughan stretches and exchanges firm handshakes with the occasional visitor, engaging in brief conversations. Despite the familiarity of this routine, the wiry Texan still shows signs of pre-show jitters.
The Transformation on Stage
However, once he steps onto the stage, a different side of Stevie Ray Vaughan emerges-self-assured, vibrant, and a touch audacious. Before the audience can finish applauding the opening instrumental, Testify (from his debut album, Texas Flood), he and his rhythm section, Double Trouble (bassist Tommy Shannon and drummer Chris Layton), dive into Jimi Hendrix’s Voodoo Chile (from their acclaimed follow-up, Couldn’t Stand the Weather).
Unmatched Intensity and Passion
For the next hour and a half, Vaughan delivers every vocal line and guitar solo with relentless energy. Even during the quieter moments of his performance in the somber Tin Pan Alley, his intensity remains unwavering. He doesn’t merely play his guitar; he attacks it, as evidenced by the deep scratches and worn finish on his vintage ’59 Fender Strat.
As the set concludes with Hendrix’s explosive Third Stone From The Sun, Vaughan showcases his flair by playing the guitar behind his head, off his shoulder like a violin, and even on the floor, all while expertly manipulating the vibrato bar with one hand.
Reviving the Blues genre
Stevie Ray Vaughan has breathed new life into the blues genre, captivating audiences and guitar enthusiasts alike. His rise to fame began with his contributions to David Bowie’s critically acclaimed album Let’s Dance, which prominently featured vaughan’s fiery guitar work. At just 30 years old, he has consistently acknowledged the blues legends who paved the way for him.
“I’m thrilled to see the blues finally getting the recognition it deserves,” Vaughan has stated repeatedly.
From Local Hero to International Star
After his stint with Bowie, Vaughan returned to his roots in Austin, texas, reuniting with Double Trouble and collaborating with A&R icon John Hammond to produce Texas Flood, which won Guitar Player’s 1983 Readers Poll for Best Guitar Album.
In that same poll, Vaughan dominated the New Talent category and narrowly beat out Eric Clapton for Best Electric Blues Player, becoming the first artist since Jeff Beck in 1976 to achieve a triple crown.
With Texas Flood still performing well in sales, Double Trouble released Couldn’t Stand The Weather, which debuted on the Billboard pop chart at number 144 on June 13, quickly climbing to 63 in its second week and reaching 31 shortly thereafter. “What’s happened is that we’ve transitioned from playing clubs to filling 5,000-seat venues,” Vaughan reflects. “We’ve put in a lot of hard work.”
Stevie Ray Vaughan: A Unique Legacy
vaughan’s ascent in the music world is as remarkable as his guitar skills. While many blues-influenced rock musicians have transitioned to mainstream rock-like Clapton and Jimi Hendrix-Vaughan has remained true to the blues, making a name for himself in the major leagues.
His music videos for Love Struck Baby, Couldn’t Stand the Weather, and Cold Shot are frequently featured on MTV, and Pride and Joy has garnered critically important airplay on FM radio. He even collaborated with George Thorogood for a Chuck Berry tribute at the Grammy Awards and made appearances on shows like Solid Gold.
Most fans first encountered Vaughan’s blistering solos through Bowie’s Let’s Dance. Although the material differed from the R&B he had played in Texas bars for over a decade, Vaughan’s sharp leads were unmistakably blues, heavily influenced by Albert King.
Texas Flood showcased his respect for blues legends such as Jimmy Reed, Magic sam, and Buddy Guy, paying homage with fervor.Opening for major acts like Men At Work and The Police,Vaughan captivated audiences with his passionate renditions of Hendrix classics,including Voodoo Chile and Little Wing.
Mastering the Art of Guitar
While many guitarists have drawn inspiration from Hendrix’s innovative style, few have dared to cover his songs. Vaughan shares several traits with the late guitar icon-both led trios, mastered feedback and volume control with minimal effects, and had vocal abilities that complemented their guitar prowess. What distinguishes Vaughan is his capacity to simultaneously play lead and rhythm, unleashing a torrent of chords, licks, and unique techniques that leave listeners in awe.
Stevie Ray vaughan – Little wing (07/11/1983) – YouTube
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Stevie Ray Vaughan: A Legacy of Texas Blues
Instrumentals like Rude Mood from Texas Flood and Scuttle Buttin’ from Couldn’t Stand the Weather exemplify the high-octane style that Vaughan is renowned for. Meanwhile, lenny echoes the tender ballads of Hendrix, and Stang’s Swang showcases influences from organ-trio guitarists such as kenny Burrell, Grant Green, and early George Benson.
Authenticity in the Studio
Unlike many guitar trios, Double Trouble opts for minimal overdubbing in the studio, ensuring that their vinyl records are true representations of their live performances. Since their formation in 1978, following vaughan’s earlier gigs with the Cobras and Triple Threat revue, they have maintained a consistent sound that resonates with audiences.
Couldn’t Stand The Weather features contributions from Vaughan’s Texas friends, including saxophonist Stan Harrison, drummer Fran Christina from the fabulous Thunderbirds, and his brother Jimmie Vaughan. As of the latest updates, Stevie is preparing for a significant performance at Carnegie Hall in new York this October, which will be recorded for a potential live album and video. This concert is expected to include special guests like Jimmie Vaughan, organ legend booker T. Jones, and the Tower of Power horn section.
Insights from the Artist
Since his last feature in the August ’83 issue of guitar Player, Vaughan has experienced significant growth. In this interview, he shares insights into his techniques, influences, his cherished collection of Stratocasters, and the soul that defines Double Trouble’s sound.
(Image credit: Clayton Call/Redferns)
The texas Guitar Tradition
There seems to be a long-standing tradition of guitarists from Texas.
“Absolutely. I can’t quite explain it, but it’s something in the atmosphere,” Vaughan reflects.
Does the friendly competition among musicians elevate their skills?
“Definately. For some reason, everyone retains the essence of the music. Similar to many musicians in San Francisco, there are artists in Texas who genuinely support one another. This camaraderie fosters a tighter community and keeps the music heartfelt, which substantially influences your playing.”
Austin’s music scene is known for its strong sense of community, even with diverse genres like Western swing from Asleep At The Wheel and blues from the Fabulous Thunderbirds.
“It doesn’t matter; collaboration is key.”
can you identify a Texas guitarist just by their sound?
“Oh, absolutely. I can hear it instantly-maybe it’s the water!” he laughs.
The Vibrant Blues Scene in Austin
What’s the blues scene like in Austin?
“There are some wild jam sessions happening. Hubert Sumlin, Mel Brown, and Lonnie Mack are all around.Buddy Guy often visits for weeks at a time.”
“These legends frequently perform together. Mel Brown is an incredible Hammond B-3 player. Antone’s usually closes at 2:00 AM, but it’s not unusual for the last set to wrap up around 4:30 AM after starting at midnight. A four-hour set is quite common.”
Stevie Ray Vaughan with Lonnie Mack – Wham – YouTube
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I’ve heard tales about a memorable jam session at Antone’s featuring B.B. King, yourself, and luther Tucker.
“absolutely! That night, B.B. played rhythm for me while sitting on his amp for about four songs. Then he stood up and played a single note-[[[[picks up an acoustic guitar and plays a high, expressive vibrato]. you know, one of those B.B. notes that just makes you go, ‘Wow!’”
What you just played sounded remarkably like B.B. Did you practice that a lot?
“Not really, I just listened.”
When you first picked up the guitar, was it the blues that drew you in?
“Definitely, largely because of my brother Jimmie. He would bring home records from B.B. and Buddy Guy. He also introduced me to Lonnie Mack; the first record I ever bought was The Wham Of That Memphis Man. When Jimmie brought home a hendrix album, I was blown away. I’ll never forget that moment.”
Did Jimmie teach you how to play, or did you learn by listening to him?
“Initially, he showed me a few things, but then he taught me how to teach myself, which is the best way to learn.”
your brother was influenced by another Texas blues legend, Freddie King. Did that style influence you as well?
“Absolutely. I had his instrumental album, Let’s Hide Away And Dance Away. Jimmie knew him quite well,but Freddie was hesitant to be seen with me in public. I guess being a young white boy made him uncomfortable[[[[laughs]. I did get to play with him once when no one else was around.”
(from left) B.B. King,Stevie Ray Vaughan,and Albert Collins perform at the New Orleans Jazz & Heritage Festival on April 22,1988 (Image credit: David Redfern/Redferns)
What specific techniques did you learn from various musicians?
“I picked up many of my fast licks from Lonnie Mack,especially the phrasing. For instance, in scuttle Buttin’,[[[[plays a series of intricate chicken-picked pull-offs]. That style is dedicated to him. I also learned a lot of turnarounds from Freddie King.”
Who were the key blues artists you listened to growing up?
“Let’s list them: Buddy Guy, Muddy Waters, and all the guitarists who played with him, including Jimmy Rogers and Pat Hare, Hubert Sumlin, Lonnie Mack, B.B. King, Albert King, Freddie King, albert Collins, and Guitar Slim-who always cranked up the volume. I can just picture people asking,’Slim,why do you play so loud?’ ‘Because it sounds like this!'[[[[laughs].”
“We earned $90 a night each,but as we were nocturnal,there was no chance to spend it.”
Influences and Early Connections
Johnny Winter was the first prominent white blues musician from Texas. Did he have a significant impact on your music?
“Absolutely, though I wasn’t very familiar with his work at the time. My main influences were artists like Albert Collins, Albert king, Freddie King, and Johnny Guitar Watson. However, around 1971 or 1972, I had the possibility to jam with Johnny at Tommy Shannon’s house, shortly after his rise to fame.”
Meeting the Bandmates
How did you come to know Tommy Shannon and Chris Layton?
“I’ve known Tommy for many years, dating back to around 1969. I was performing at an after-hours venue in Dallas called the Fog when he walked in after leaving Johnny Winter’s band. he claims he was surprised to see a young kid playing guitar[[[[laughs]. I was only about 15 and technically not allowed in that club.”
“Since then, we’ve played together in various bands. I met Chris about six years ago through Joe Sublett from the Cobras, as they were roommates. I visited their house one day and found Chris in the kitchen, jamming on the drums with his headphones on. After he finished, I mentioned I needed a drummer, and he left his band to join me.”
Was Chris primarily a blues drummer when you discovered him?
“Not initially, but he had the ability to adapt quickly. It took him about 15 minutes to master the rub shuffle. Much of it came naturally to him.”
Stevie Ray Vaughan – Texas Flood (Live at the El Mocambo) – YouTube
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performing in Dallas Before Austin
Did you perform in clubs in Dallas before relocating to Austin?
“Yes, I could earn a decent income playing at the Cellar, but it wasn’t the kind of venue you’d want to linger in. It was the only place that allowed me to express myself musically because no one really cared about the atmosphere. There were strippers and crabs everywhere[[[[laughs]. If you wanted to play, they would let you. A few times,things got heated,and people would start shooting at the stage. You had to duck and keep playing[[[[laughs].”
“I played there from the age of 14 until I turned 18. There were Cellars in both Dallas and Fort Worth. We would perform two sets in one city, then drive to the other and do two more. We earned $90 a night each, and as we were always asleep during the day, there was no way to spend it.”
“I aimed to stay true to this genre of music,but I also went through a phase of cranking up Marshalls to 10 and embracing my teenage years. I remember playing some Allman Brothers songs, which I enjoyed at the time, while also incorporating Buddy Guy and B.B. King into our sets.”
Connecting with Diverse Audiences
Have you faced challenges playing blues as an opening act for major rock bands?
“Not at all; the audiences have responded positively. I think many people on the Moody Blues tour were familiar with our music. When we performed with Men At Work, it was still enjoyable, but the crowd was mostly teenagers, and a few of them even knew how to slingshot dimes, you know[[[[laughs]. Surprisingly, many of those kids really connected with our performance, even if they weren’t expecting it.”
(Image credit: Larry Hulst/Michael Ochs Archives/Getty Images)
Musical Evolution and Influences
Your performance on Let’s Dance differs from your work on Texas Flood; it leans more towards Albert King’s style.
“I wanted to explore how much of albert King’s style I could incorporate, and it always fits seamlessly. I have immense respect for him. When the album was released, Albert heard it and jokingly said, ‘[[[[sneering]Yeah, I heard you doing all my stuff on there. I’m coming up there to do some of yours!'[[[[laughs].”
“We were filming a TV show near Toronto-Hamilton, I believe-and during lunch, Albert was looking for an emery board.I thoght nothing of it. When we got to the last song, Outskirts Of Town, he called out, ‘Get it, Stevie!’ I started my solo, and I glanced over to see him filing his nails with that emery board, giving me a sly look[[[[laughs].”
“I loved it! He was looking at me like, ‘Uh-huh, I’ve got you swinging by your toes.’ He’s a heavy cat.”
Do you ever use your thumb to achieve an Albert King sound?
“I typically play with a pick and a finger. I also use the rounded end of the pick, which helps prevent breakage and tangling in the strings. Sometimes I combine both techniques, or I’ll palm the pick and use my fingers, or even play ‘Hubert-style’ [like hubert Sumlin] with just my bare fingers.”
Is this technique aimed at achieving a variety of tones?
“Absolutely, different tones create different moods. It all depends on how the amps are performing that night,the condition of the strings,how well I can hear,and my overall vibe.”
On Cold Shot, did you use a Leslie speaker to create that underwater effect?
“no, I used a Fender Vibratone, which functions similarly to a Leslie. It features a 10″ speaker with a Styrofoam rotor in front. The speaker remains stationary while a drum with a slit rotates, and we mic it from both sides.”
Did you record the lead and rhythm parts simultaneously, or did you layer them?
“In some instances, I played the guitar parts first and added the vocals later. This can sometimes lead to mismatches, as the phrasing of the guitar licks may not align with the vocal delivery. Most of the solos were recorded live, but I had to redo one line in Voodoo because my amplifier malfunctioned. The punch-in didn’t come out quite right; it still doesn’t sound perfect to me.”
It seems like Texas Flood has very few overdubs.
“That’s correct. The only time we used overdubs was if I broke a string or something similar.”
So you performed both the lead and rhythm parts in one take rather of recording a rhythm track and then soloing over it?
“Exactly. We did re-record some vocals, but many were captured live as well.The re-recording was mainly to clarify any unclear words or to improve the vocal sound.I don’t consider that cheating.”
“Currently, I use a Howard Dumble 150-watt amp. He refers to it as the Steel String Singer; I call it the King Tone Consoul – that’s s-o-u-l.”
Studio Setup and Recording Environment
Do you set up your studio the same way you do on stage, or do you use isolation booths and headphones?
“For the first album, we set up similarly to how we perform live, but we did have some baffles between us. We used headphones, but only on one ear. The control room was at the far end of the studio, separated by a lot of equipment and no window. I really liked that setup.”
“That was at Jackson Browne’s rehearsal space called Downtown in los Angeles. For Couldn’t Stand The Weather, we recorded at the Power Station in New York, where all the walls between the rooms were glass. This allowed us to see each other while playing, so I could really crank up the volume.”
Do you typically record at high volumes?
“Sometimes I do,but other times I keep it quiet,like on Tin Pan Alley.”
And what about Voodoo Chile?
“I had it cranked up as loud as possible, and I was in the same room with it.”
(Image credit: Clayton Call/Redferns)
Amplifiers and Equipment Choices
Do you use the same amplifiers in the studio as you do on stage?
“Yes, I use two Fender Vibroverbs, which were produced in ’63; they are the fifth and sixth units off the assembly line, but I acquired them at different times and locations.”
“they are essentially like a Super Reverb but with a 15-inch speaker and a shorter cabinet, and they lack a midrange knob-it’s preset at around 4. My preferred setup used to involve two Vibroverbs and two Supers stacked together, allowing the Vibroverbs to handle the lower frequencies.One Super was set clean, while the other was adjustable for varying levels.”
Are you no longer using the Super Reverbs?
“Currently, I’m using a Howard Dumble 150-watt amp. He refers to it as the Steel String Singer, but I like to call it the king Tone Consoul[[[[laughs]-that’s s-o-u-l. It’s similar to an oversized Fender tube amp. Some Dumbles, like the Overdrive special, require a certain level of expertise to handle, as they can easily overpower you.”
Was John Hammond present during the recording of your first album?
“No, he was only there for the mixing and mastering. This time,he was much more involved in the recording process.”
“you just keep listening and trying to find the sound, because it’s in your hands as much as anything. It’s the way you play.”
Guitar Collection and Preferences
Do you own any guitars outside of the Stratocaster family?
“Yes,I have a 1958 Gibson dot-neck ES-335 and a ’48 Airline,which is slightly smaller but has a similar shape to a Barney Kessel Kay. It features three pickups with a four-position toggle switch-bass, middle, treble, or all three. I also have an old Rickenbacker prototype with a flat top that I plan to give to Hubert [Sumlin]. Additionally, I possess a 1928 National guitar that belonged to Blind Boy fuller, which was gifted to me by my guitar roadie, Byron Barr.”
“Sometimes I’ll pull it out at the end of a set to play Rude Mood or some slide guitar. I intended to use it on the last album, but we got sidetracked and never got around to it.”
Do you play slide guitar in open tuning?
“I typically just tune the G string up to ab and leave everything else in standard tuning.”
Stevie Ray Vaughan Hideaway/Rude mood Live In Montreux 1080P – YouTube
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Recording Techniques and Challenges
Did you record the lead and rhythm parts simultaneously occurring, or did you layer them separately?
“In certain specific cases, I played the guitar parts first and added the vocals later. This can sometimes lead to inconsistencies, as the phrasing of the guitar licks may not align with the vocal delivery. Most of the solos were recorded live,but I had to redo one line in Voodoo because my amp malfunctioned. The punch-in didn’t come out quite right; it still doesn’t sound perfect to me.”
It seems like Texas Flood has very few overdubs.
“That’s correct. The only time we used overdubs was if I broke a string or something similar.”
So you performed both the lead and rhythm parts in one take instead of recording a rhythm track and then soloing over it?
“Exactly.We did re-record some vocals, but many were captured live as well. The re-recording was mainly to clarify any unclear words or to improve the vocal sound. I don’t consider that cheating.”
“Currently,I use a Howard Dumble 150-watt amp. He refers to it as the Steel String Singer; I call it the King Tone Consoul – that’s s-o-u-l.”
Studio Setup and Recording Environment
Do you set up your studio the same way you do on stage, or do you use isolation booths and headphones?
“For the first album, we set up similarly to how we perform live, but we did have some baffles between us. We used headphones, but only on one ear. The control room was at the far end of the studio, separated by a lot of equipment and no window. I really liked that setup.”
“That was at Jackson Browne’s rehearsal space called Downtown in Los Angeles. For Couldn’t Stand The Weather, we recorded at the Power Station in new York, where all the walls between the rooms were glass. This allowed us to see each other while playing, so I could really crank up the volume.”
Do you typically record at high volumes?
“Sometimes I do, but other times I keep it quiet, like on Tin Pan Alley.”
And what about Voodoo Chile?
“I had it cranked up as loud as possible, and I was in the same room with it.”
(Image credit: Clayton Call/Redferns)
Amplifiers and Equipment Choices
Do you use the same amplifiers in the studio as you do on stage?
“Yes, I use two Fender Vibroverbs, which were produced in ’63; they are the fifth and sixth units off the assembly line, but I acquired them at different times and locations.”
“They are essentially like a Super Reverb but with a 15-inch speaker and a shorter cabinet, and they lack a midrange knob-it’s preset at around 4. My preferred setup used to involve two Vibroverbs and two Supers stacked together,allowing the Vibroverbs to handle the lower frequencies. One Super was set clean, while the other was adjustable for varying levels.”
Are you no longer using the Super Reverbs?
“Currently, I’m using a Howard Dumble 150-watt amp. He refers to it as the Steel String Singer, but I like to call it the King Tone consoul[[[[laughs]-that’s s-o-u-l. It’s similar to an oversized Fender tube amp. Some Dumbles, like the Overdrive Special, require a certain level of expertise to handle, as they can easily overpower you.”
Was John Hammond present during the recording of your first album?
“No, he was only there for the mixing and mastering. This time, he was much more involved in the recording process.”
“You just keep listening and trying to find the sound, because it’s in your hands as much as anything. It’s the way you play.”
Guitar Collection and Preferences
Do you own any guitars outside of the Stratocaster family?
“Yes, I have a 1958 Gibson dot-neck ES-335 and a ’48 Airline, which is slightly smaller but has a similar shape to a Barney Kessel Kay. It features three pickups with a four-position toggle switch-bass, middle, treble, or all three.I also have an old Rickenbacker prototype with a flat top that I plan to give to Hubert [Sumlin]. Additionally, I possess a 1928 National guitar that belonged to Blind Boy fuller, which was gifted to me by my guitar roadie, Byron Barr.”
“Sometimes I’ll pull it out at the end of a set to play Rude Mood or some slide guitar. I intended to use it on the last album, but we got sidetracked and never got around to it.”
Do you play slide guitar in open tuning?
“I typically just tune the G string up to Ab and leave everything else in standard tuning.”
Stevie Ray Vaughan Hideaway/Rude mood Live in Montreux 1080P – YouTube
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Exploring Guitar Techniques and Styles
How did you go about recreating the sounds you heard on Hendrix’s records?
“You just keep listening and trying to find the sound, because it’s in your hands as much as anything.It’s the way you play. There are different techniques to playing everybody’s styles, and it’s not just necessarily the amp or the guitar. It’s the way you pick,the way you hold the guitar.”
“For instance, T-Bone [Walker] played like this most of the time[[[[holds guitar horizontally, away from his body], and the tone is different when you play that way. Can you hear the difference?[[[[Holds guitar against his body and plays the same licks – gets a bassier tone]. It’s the way your fingers hit the strings, and your more prone to pick closer to the neck when you hold the guitar like T-Bone.”
Your ’59 Strat has the vibrato bar anchored off the bass side of the bridge. Did you set it up that way because Jimi Hendrix’s guitar bodies were upside down?
“Well, I started listening to people and noticed that when Otis Rush used one, he had it on the top – he played upside-down. And Hendrix had the guitar upside-down, except he strung it regular. it seemed to me that the people who did that the best had it on top, so I moved mine. Sometimes it does get in the way. I’ve had it tear my sleeve halfway off.”
So instead of working it with the little finger of your picking hand, it lays right in the middle of your palm.
“Yeah,and I’ve got the springs set up so I couldn’t move it with my little finger anyway. It’s pretty tight, with four springs tightened all the way up. That’s how I can do Third Stone From The Sun and still be in tune. See, I have my old Strat set up where it won’t go up at all. On my newer Strats, the vibrato handles are on the bottom, in the regular place. The orange one and Lenny,the brown one,both of their vibratos will go pretty far up and down as well,and they’re set up a lot lighter.”
All the guitars have personalities of their own and feel completely different. They each have different sounds. Like the brown one sounds real good for jazzy-type things or Lenny. It’s a ’63 or ’64 that my wife, whose name is Lenny, found for me.
(image credit: Clayton Call/Redferns)
Guitar Techniques and Performance style
What about the old beat-up one?
“That’s my first wife[[[[laughs]. The new one with my name on the fretboard, I call Main, for main guitar. It’s a Hamiltone, built by James Hamilton of Buffalo, New York. It’s basically Strat-shaped but a little thicker, and the construction of the neck is pretty much like a [Gibson] Super 400, except it goes all the way through the body. So the vibrato is on the neck, basically – dead center right there. You can pop the low E string, and the whole guitar has this reverb you can hear even without an amp, because of the springs being in the neck.”
“It’s got an ebony fretboard that’s the same width as my beat-up ’59, and then they added binding on the outside of that, because I have big hands and I always play barre chords with my thumb wrapped around.What happens a lot of times is my thumb will end up pushing the low E string accidentally. So the wider neck keeps me from doing that.”
“The pickups in there now are EMGs with a little computer chip preamp in them, so there’s a battery in the guitar, of course. I like that a lot. they say that the battery will last six months, but I can hear it going down – you can hear it in the tone; it gets fuzzier, like it’s straining. when it’s got a brand-new battery in there, it sounds clear as a bell, and smooth. It’ll sing to you.”
“I prefer rosewood necks because, for one thing, when you sweat, you don’t get blisters. The finish on a maple neck tends to get hotter and creates more friction.”
Guitar Modifications and Preferences
You’ve also got a white Strat with three Danelectro ”lipstick tube” pickups.
“That was assembled by Charley Wirz at Charley’s guitar Shop in Dallas, Texas. He also gave me the yellow one with the pickup in the bass position. That one is hollowed out from the neck to the bridge, because the guy from Vanilla Fudge had put four humbucking pickups in there. It’s got a pretty cool tone. Charley then came up with the design for the white one with the Danelectros. He also found me the orange 1960.”
Do you string all the strats the same?
“Yeah, I use a .013, a .015, or .016 depending on what shape my fingers are in,.019 plain, .028,.038, .060 or .056. If I go down to an .018 on the G string, it feels like a rubber band to me.”
Do you have 3-way or 5-way switches on the Strats?
“5-way. I use all the positions for different tones.”
With the amount of amplification you use, do you still pick fairly hard with your right hand?
“Yeah, terribly. That’s just how I play. Sometimes I literally pull the strings off. I can deaden a set of strings completely after one set,because I play ’em hard and do a lot of this -[[[[snaps bass string]- to get bottom notes,like Albert Collins. Sometimes, though, I play really soft. That’s probably the best Albert King tone I can get.”
When you got the ’59 Strat, was it as beat-up as it looks now?
“[[[[Laughs]It wasn’t in real good shape. You could still get a jar of model car paint and go around the edges to make it look decent, but that continued to wear off. You asked if I pick hard – well, look at the top of the guitar [which is worn away a good 1/4″]. That’s from picking.”
“It’s gradually sounding different,because I let it dry out too much. I bet if I start oiling it up,it’ll start fattening up some. the body is a ’59, but the neck is a ’62, I believe. In the body, it says, ‘LF.59.’ I came to find out that was Louis Fuentes, not Leo Fender. But Louis Fuentes was a good cat. You never heard a Stratocaster sound real meaty like that one.”
Maintaining Blues Integrity
The tendency on the part of most white blues-rock artists has been to eventually drift more towards mainstream rock.
“We try to keep it going in both directions. There’s no reason for us to leave behind what we’ve got, you know, but there is a good reason to expand on it.I’d like to keep it as a trio,maintain that identity,but I have nothing against collaborating with great horn players,keyboardists,or even other guitarists – or more than one drummer,even.”
“I just look for things that sound right.”
Exploring New Musical Directions
Stang’s Swang is still blues, but it’s a departure from the type of stuff you’re known for.
“I wrote that four or five years ago. I really admire artists like Kenny Burrell and Grant Green. I also have a deep recognition for Django Reinhardt and, of course, Wes Montgomery.”
What’s the turnaround on that song - IIVs?
“I don’t know. Sometimes I lose track of what key I’m in. I just try to listen.”
Are you completely self-taught when it comes to any theoretical vocabulary?
“I don’t know any of that stuff.”
What about the chord voicings you use?
“I just look for things that sound right.”
So if you’re playing something like, say, a diminished 7th…
“I don’t know it. I almost learned how to read chord charts doing some of those Bowie things. But as soon as I learned how to read the charts, they took the charts away. Most of the time, I’d listen to a couple of run-throughs while he was doing his vocals, to get an idea of where the song was going. Then I’d figure out in my head where this Albert King lick or that Albert King lick would fit[[[[laughs].”
From Wild Nights to Iconic Sounds: Stevie Ray Vaughan Reveals His Legendary Strat, Dumble Amps, and Unforgettable Gig tales!
From Wild Nights to Iconic Sounds: Stevie Ray Vaughan Reveals His Legendary Strat, Dumble Amps, and Unforgettable Gig Tales!
The Legendary Stratocaster: Vaughan’s Guitar of Choice
Stevie ray Vaughan’s Fender Stratocaster is more than just an instrument; it’s a symbol of his musical legacy. Known for its distinctive sound and playability, Vaughan’s Strat has become iconic in the world of blues and rock music.
Features of the Legendary strat
Model: 1959 Fender Stratocaster
Color: Sunburst finish
Pickups: Custom single-coil pickups for a rich, warm tone
Neck: Maple neck for smooth playability
Why the Stratocaster?
The Stratocaster’s versatility allowed Vaughan to explore various musical styles, from blues to rock. its lightweight design and agreeable body shape made it ideal for long performances. Vaughan’s unique setup, including a modified vibrato system, contributed to his signature sound.
Dumble Amps: The Heart of Vaughan’s Sound
Vaughan’s choice of amplifier played a crucial role in shaping his tone. He famously used Dumble amplifiers, known for their extraordinary sound quality and dynamic range.
Key Features of Dumble Amps
Power: 150 watts for powerful sound projection
Customizable Settings: Allows for a wide range of tonal options
Unique Circuitry: Provides a warm, tube-driven sound
Benefits of Using Dumble Amps
Using Dumble amps, Vaughan achieved a tone that was both powerful and nuanced. The amps allowed him to express his musicality fully,whether he was playing soft ballads or high-energy rock anthems.
Unforgettable Gig Tales: The Wild Nights of Stevie Ray Vaughan
Vaughan’s live performances were legendary,often filled with wild energy and unforgettable moments. His ability to connect with the audience made each show a unique experience.
Memorable Performances
Date
Venue
Highlight
August 19, 1983
Keystone Berkeley
Iconic performance of “Pride and Joy”
April 22, 1988
New Orleans Jazz & Heritage Festival
Collaboration with B.B. King
1985
Montreux Jazz Festival
live recording of “texas flood”
Wild Stories from the Road
Vaughan’s tours were filled with wild nights, often involving late-night jam sessions and unexpected encounters with fellow musicians. One memorable story involves a performance where the energy was so intense that audience members began shooting at the stage,prompting Vaughan to duck and continue playing without missing a beat.
Practical Tips for Aspiring Musicians
For those looking to emulate Vaughan’s iconic sound and stage presence,here are some practical tips:
Invest in quality Gear: A good guitar and amplifier are essential for achieving a professional sound.
Practice Regularly: Consistent practice helps develop your unique style and technique.
play Live: Gain experience by performing at local venues to build confidence and stage presence.
Collaborate: Work with other musicians to expand your musical horizons and learn new techniques.
Case Studies: Influences on Vaughan’s Music
Vaughan drew inspiration from various artists throughout his career, including:
Albert King: His expressive playing style and use of vibrato influenced Vaughan’s guitar techniques.
Jimi Hendrix: Vaughan admired Hendrix’s innovative approach to guitar playing and stage performance.
Buddy Guy: Guy’s raw energy and emotional delivery resonated with Vaughan’s own performance style.
First-Hand Experience: Insights from Vaughan
Vaughan frequently enough spoke about the importance of staying true to one’s musical roots while also exploring new directions. He believed that the essence of blues music lies in its ability to convey emotion and connect with the audience.
Join the Beatbounty Community
If you’re inspired by Stevie Ray Vaughan’s journey and want to share your own musical experiences,consider creating an account on the Beatbounty platform.Submit an ad to connect with fellow musicians and showcase your talent!
