Help in getting STP tone.

[BurnoutBright]

I am trying to get the guitar tone of Stone Temple Pilots when he plays the signature lick from the intro to the song Interstate Love Song. Here is the link to their live version

http://www.youtube.com/watch?v=gw5J3yfvos0 (http://www.youtube.com/watch?v=gw5J3yfvos0)

Here is my version

http://www.youtube.com/watch?v=Gmbu5pdsKsc (http://www.youtube.com/watch?v=Gmbu5pdsKsc)

My guitar tone is so tiny when I kick in the distortion and his tone, sounds like 3 guitars playing all at once. Any suggestions to get that signature lick to fatten up.

Thanks.

[Bryan T]

For one, play the lick correctly. You're leaving out a lot of open strings and doing different voicings of the chords. Secondly, some more gain (not too much, but definitely more) will help. Third, play with a little more authority - that's going to come from the right hand and has a lot to do with the feel of the part.

Bryan

[The Tone Snob]

What are you using for amps/effects?

[Greggy]

I am trying to get the guitar tone of Stone Temple Pilots when he plays the signature lick from the intro to the song Interstate Love Song. Here is the link to their live version

http://www.youtube.com/watch?v=gw5J3yfvos0 (http://www.youtube.com/watch?v=gw5J3yfvos0)

Here is my version

http://www.youtube.com/watch?v=Gmbu5pdsKsc (http://www.youtube.com/watch?v=Gmbu5pdsKsc)

My guitar tone is so tiny when I kick in the distortion and his tone, sounds like 3 guitars playing all at once. Any suggestions to get that signature lick to fatten up.

Thanks.

You may have partially answered your own question when you referred to his tone sounding like 3 guitars playing at once. He may have layered tracks in the studio, or live may be triggering backup tracks or using some signal splitting to multiple amps or some such trickery.

[wakkawakka]

My take on that tone is that it's got some good clean chime in it, so it's more of an overdrive than distortion. Speakers like Celestion V30's can get the crispy distortion aspects of the sound.

The easy to find local overdrives I'd look into are the Sparkle Drive (blends some clean tone), Boss OD3 (cleanish), or Digitech Bad Monkey (versatile eq). You don't want a true tube screamer, too much mids. You want something with lotsa bass.

[Rollo Timbre]

It sounds like he's really pushing those amps. That's a big part of his sound right there. Frankly, your tone before you kicked on the distortion seemed bigger, like you were trying not to over power you bandmates with the distortion pedal. Maybe just to see, try putting your amp in another room and crank both it and the pedal up, and see if it gets you closer.

[ScottB]

For the studio version:

P90's ideally (I like middle here too). (If you recall in the music video he was playing an old LP Special or junior)

Or "PAF" ouput humbuckers in the middle position work for me.

Not real high gain. I hear a lot of people cover this with way too much gain. You still have to have it clean enough where it's articulate. I used to toggle my gain; higher for the verses and lower for the chorus, but now I use the lower of the two for the whole thing. I think the key is having a sound that has "tonal balls" without being overly driven. P90's and middle settings help here to give that combination of jangle and tonal complexity that makes it "fuller".

Can't watch the youtubes here at work, but I'll try to remember to check them later.

[statusfoe27]

+1 on playing the riff correctly, you need those open strings in there and you have to play the riff with conviction. You gotta wail on those strings with your right hand like you mean it. Just follow how powerful he plays it in that live clip. P.S. this is one of my favorite songs from one of my favorite bands what an amazing player! Keep it up dude, good to see people playin this stuff

[Phil M]

For one, play the lick correctly. You're leaving out a lot of open strings and doing different voicings of the chords. Secondly, some more gain (not too much, but definitely more) will help. Third, play with a little more authority - that's going to come from the right hand and has a lot to do with the feel of the part.

Bryan

Exactly, changing what you're playing and the way you're playing it will make a big difference. I know what you mean though, this is sometimes easier said than done. I think if you and the drummer throw some attitude at it, you hit those open strings where they belong, the rest of the band will follow--and suddenly it will all sound more "right" to you.

Rather than stomping a pedal I'd have my rhythm sound all set up and roll my guitar volume back to 4 or 5 for the intro--then bring it up and CRUSH that riff.

As for amps, Dean DeLeo likes Marshalls and small EL84 amps cranked way up.

[ScottB]

http://www.musictoyz.com/articles/chopdean.php

A little more than halfway down, reference to TV yellow LP special used on Interstate. In the pic up top it looks like the selector is in the middle position as well...

[Bryan T]

Anyone know what amps were used in the studio for that track? I remember from interviews around that time that he was using a lot of small amps for recording, but don't remember what they were.

Bryan

[Phil M]

The first time I ever heard someone talking about 18 and 20 watt Marshalls, it was him. That might've been a few years later when he did that Talkshow album though. Not sure if that's what he used on this studio recording, but it could've been. Sounds Voxy too.

The closest I've come to this sound was a Les Paul w/humbuckers, a CRANKED Tophat Club Royale and a Time Machine boost (the germanium side. Don't remember if it was "1966" or "1973").

Still, it comes down at least as much to the attack.

[Bryan T]

The first time I ever heard someone talking about 18 and 20 watt Marshalls, it was him. That might've been a few years later when he did that Talkshow album though. Not sure if that's what he used on this studio recording, but it could've been. Sounds Voxy too.

I seem to remember that the amps were smaller than that . . . Champ size, maybe, but funky off-brands. I'll do some googling.

Bryan

[GasMask]

FYI... check out "Guitar Player" magazine- Aug. 2007, page 121.

[BurnoutBright]

+1 on playing the riff correctly, you need those open strings in there and you have to play the riff with conviction. You gotta wail on those strings with your right hand like you mean it. Just follow how powerful he plays it in that live clip. P.S. this is one of my favorite songs from one of my favorite bands what an amazing player! Keep it up dude, good to see people playin this stuff

I listened to it again, and you are right, it sounds like the B and E string are constantly ringing. I will give this a try.

And yeah, I love this song.

[BurnoutBright]

FYI... check out "Guitar Player" magazine- Aug. 2007, page 121.
Hi GasMask, I don't have access to Guitar Player, can you give us a summary on how he got the tone? Thanks.

[BurnoutBright]

What are you using for amps/effects?
I have a 50watt Peavey Valveking. I have slight delay from a DD20 in the effects loop. I am on the clean channel on the amp and I kick in a Skreddy Mayo for the signature lick, the Mayo is just barely on.

[BurnoutBright]

http://www.musictoyz.com/articles/chopdean.php

A little more than halfway down, reference to TV yellow LP special used on Interstate. In the pic up top it looks like the selector is in the middle position as well...

Thanks for the info, here is what I got from that article.

"The Varidrive is heard only on the intro to ‘Interstate Love Song.’"
"Rounding out the Les Paul complement is a lovely TV yellow ’57 Special that Dean uses on "Interstate Love Song" and "Regeneration."

[JamonGrande]

are you playing the song in G for the singer's sake? if you wanted to play the riff "the same" then you would need to at least put a capo at the 3rd fret for the open ringing notes. that will make possibly also make some of the chord voicings closer to the original as well.

in terms of tone, it sounds like you have the mayo set pretty low volume wise, I say open it up more and then roll back the guitar volume for the verses/chorus to get out of the singer's way. the chords are harmonically thick enough that the loss in gain won't matter as much.

best of luck
joe

[The Tone Snob]

I have a 50watt Peavey Valveking. I have slight delay from a DD20 in the effects loop. I am on the clean channel on the amp and I kick in a Skreddy Mayo for the signature lick, the Mayo is just barely on.

My advice - add those open strings to the riff and crank up the gain a bit more to get some more sustain. Isn't the Mayo more a a fuzz type pedal? You might wanna try a different kind of OD as well, slamming your dirty channel instead of using the clean channel.

[BurnoutBright]

are you playing the song in G for the singer's sake? if you wanted to play the riff "the same" then you would need to at least put a capo at the 3rd fret for the open ringing notes. that will make possibly also make some of the chord voicings closer to the original as well.

in terms of tone, it sounds like you have the mayo set pretty low volume wise, I say open it up more and then roll back the guitar volume for the verses/chorus to get out of the singer's way. the chords are harmonically thick enough that the loss in gain won't matter as much.

Good ear. We did several takes in E and G, primarily to get it into the singer's range. The take on the video was on the key on G. I personally hate using capo but might be tough to get that open string in the key of G without one.

The Mayo's volume is a little bit low, need to be hotter. I am very conscious of overpowering the singer. From where I am standing, it sounds like my amp is barely on, but from the camera's mic point of view, I can clearly hear my amp.

[BurnoutBright]

My advice - add those open strings to the riff and crank up the gain a bit more to get some more sustain. Isn't the Mayo more a a fuzz type pedal? You might wanna try a different kind of OD as well, slamming your dirty channel instead of using the clean channel.

The dirty channel of the valveking sounds too compress and thin to me when I start to push it. So I usually just use pedals on the clean channel. I tried a crunchbox but I seem to like the fat sound of the Mayo.

[dosmun]

Playing the riff correctly will get you 98% of the way there. I wouldn't worry about gear until you get the playing down.

[MarcFord]

amen... case solved and closed.... take it to the shed, then return.

Best of Luck...

M

[GasMask]

Hi GasMask, I don't have access to Guitar Player, can you give us a summary on how he got the tone? Thanks.

GP apparently does not yet have the Aug. issue on their website, but they should soon. Look under "lessons" in the Aug. issue when they get it online. It will have the chord voicings for the song. Here's a little quote:

"It has to do with finding the sweet spot on your amp where you have saturation, but not over-saturation," says DeLeo, who often simultaneously runs a second amp crystal clean that the mix engineer can blend in as needed for added clarity. "It also involves how hard you attack the strings, and how close to the bridge you pick."

Check for the chord charts in a few days on the GP website. I miss STP!!!! What a FANTASTIC band. Army of Anyone rocks too though! I recommend their debut album for any fans of STP. :AOK

[Rex Nomad]

Playing the riff right will help a lot. But also...this is a rock song with a power and feel. Play with attitude. Play with feel. Make the song rock! Turn up a little and get loose. There's a little bit of slop when STP plays it but it's loud and proud - it sells the song. And tell your drummer to hit those things like he means it.

[Randy Van Sykes]

I nailed that tone with an AC30 amp (Korg reissue with Weber alnico Silver Bell speakers) driven by an S.I.B. Varidrive pedal.
Nice thick mid-gain tone....great for chording. Of course you need a nice sounding guitar as well.
Add a lush stereo chorus and you are basically there.

[Lolaviola]

"It has to do with finding the sweet spot on your amp where you have saturation, but not over-saturation," says DeLeo, who often simultaneously runs a second amp crystal clean that the mix engineer can blend in as needed for added clarity.

This is what I recall from a magazine article back in the day. It's how he tracks his guitars, and gets that "phasey" speaker sound. Multiple amps. Also known as the "Keith Richards trick"

[philbarnes]

I have read alot of stuff about the STP tone over the years, and seen them live and close many times. Basically, the recipe is an AC30 blended with a Marshall Preamp through a power amp pushing the 4 x12 cab. In other words, a Marshall tone sweetened with some Voxy chime. As I remember, only one of the AC30s and one of the 4 x 12s was actually used. He used many combinations of pedals as well. Oh, and the amps are VERY loud.

[ScottB]

I think this gets pretty close without a lot of hoopla.

Mild gain, but no pedals. This is all amp, a Zinky Superfly specifically but I think any decent master volume amp could dial in to a similar level.

Middle position on my R9 with a WCR Darkburst/Crossroads set. A little delay on the intro, but otherwise dry (a touch of amp reverb, and a pretty good room sound). This is another clip from our El Conquistador set last summer. I posted White Room from this same show a while back...

I don't think I have any recordings of me doing this with P90's, but I do remember having "nailed it!" moments!

http://swampcoolermusic.com/download/Tucson/Interstate0610.mp3

[BurnoutBright]

I think this gets pretty close without a lot of hoopla.

Mild gain, but no pedals. This is all amp, a Zinky Superfly specifically but I think any decent master volume amp could dial in to a similar level.

Middle position on my R9 with a WCR Darkburst/Crossroads set. A little delay on the intro, but otherwise dry (a touch of amp reverb, and a pretty good room sound). This is another clip from our El Conquistador set last summer. I posted White Room from this same show a while back...

I don't think I have any recordings of me doing this with P90's, but I do remember having "nailed it!" moments!

http://swampcoolermusic.com/download/Tucson/Interstate0610.mp3

Oh yeah! That is what I am looking for. Are you using the volume of your guitar to clean it up in the opening lines and then max it for the signature lick? Are you letting the E and B string ring during the signature lick? :dude

[that_brianm_guy]

The Mayo's volume is a little bit low, need to be hotter. I am very conscious of overpowering the singer. From where I am standing, it sounds like my amp is barely on, but from the camera's mic point of view, I can clearly hear my amp.

A couple of thoughts: more output, less gain from the pedal.

Don't worry about overpowering the singer in the intro - the singer's not singing at that point :) If you're worried about overpowering the singer, well, the singer's in the PA and the monitors, and can be turned up there :)

If you can't hear your amp, then it needs to be repositioned. At rehearsal the other guitarist and I stand in front of each other's amps - that way, we can hear the amp at our ankles (the other guy) while standing 6 feet away from our own amps. Maybe you could put your amp off to one side, aimed at you, and not aimed at the camera?

BTW, my band covers this song, and we're in E - I play the lick in the first position, and am hitting multiple strings. I have the toggle in the middle or on the neck pickup on my McCarty. Through a Vox AC15, you can get real close to that tone...

[BurnoutBright]

A couple of thoughts: more output, less gain from the pedal.

Don't worry about overpowering the singer in the intro - the singer's not singing at that point :) If you're worried about overpowering the singer, well, the singer's in the PA and the monitors, and can be turned up there :)

If you can't hear your amp, then it needs to be repositioned. At rehearsal the other guitarist and I stand in front of each other's amps - that way, we can hear the amp at our ankles (the other guy) while standing 6 feet away from our own amps. Maybe you could put your amp off to one side, aimed at you, and not aimed at the camera?

BTW, my band covers this song, and we're in E - I play the lick in the first position, and am hitting multiple strings. I have the toggle in thye middle or on the neck pickup on my McCarty. Through a Vox AC15, you can get real close to that tone...

Thanks for the suggestions. Sounds like hitting the open strings is the key.
Where you using pedals infront of the Vox or just using the dirt from the Vox?

[ScottB]

Oh yeah! That is what I am looking for. Are you using the volume of your guitar to clean it up in the opening lines and then max it for the signature lick? Are you letting the E and B string ring during the signature lick? :dude

Actually one thing I didn't add is I use a cleaner setting for the opening solo. The Superfly is kind of like an "infinite" channel switching amp. It's all tubes but with a digital memory for the settings, so you can call up tone and gain structures with the touch of a midi patch.

This track isn't the smoothest I've ever done it certainly, and you can hear the channel switch pretty clearly while I'm holding that last note of the intro. Actually a volume knob swell would serve the same purpose and probably sound more authentic (the STP album version definitely has that swell, I love that), but hey, I'm lazy!

E rings the whole time. The way I do the signature riff, It's all pretty much at the nut. It looks to me like that's what he's doing, too. If you watch the video at about 0:25, his left hand is anchored at the nut.

Basically I start with my second finger on the B 2nd fret (C#) but immediately start bending up 1/2 step to the D, keeping the high E ringing the whole time. Then bring it back down and then release to the open B+E, then the Esus4 - E stuff with the B+E ringing the whole time.

This isn't what I've been doing, but it looks like what he does at the very end of the opening is E - Esus4 - E then:

E

0
0
2
4
0 (maybe x)
0

0
0
4
6
7
0

The chords in the verse (at least the way I do it) are:

C#m

4
5
6
6
4
x

Some kind of C (Cm#5 add5 or G#C M7)

3
4
5
6
3
x

B6sus2b5

x
2
1
3
2
x

A#m7b5

x
2
1
2
1
x

A

then that same thing as above at the end of the intro.

These chords could have any number of redundant naming conventions, but I put this in the perspective of a descending bass line C# - C - B - A#.

Maybe not perfect but it gets me by. I'm definitely going to incorporate that E Esus4 E voicing as above going forward. That's pretty cool and that part of it always bothered me.

edit:

for that B chord I was doing

x
2
3
1
2
x

but I've been doing some research and listening tonight and I believe the above is correct, but it's damn hard to hear. Honestly I think the one I've been doing flows better...

I love these kinds of threads. It's good to rethink how you do things sometimes! There was a Stray Cat Strut thread that I learned a lot from/because of awhile back.

also: corrected upside down guitar chord charts

[ScottB]

btw

I used this page to get the names of those chords:

http://jguitar.com/chordname

[Benlevy]

Thanks for pointing that out in Guitar Player, I missed it, and have been playing one of the chords wrong. It's 121 in my issue...

[that_brianm_guy]

Thanks for the suggestions. Sounds like hitting the open strings is the key.
Where you using pedals infront of the Vox or just using the dirt from the Vox?


Just dirt from the Vox - it's a master volume amp, yet cleans up fairly well with the guitar's volume.

I played through the tune tonight, and noticed I was plucking the high E with my middle finger while playing that lick.

[BurnoutBright]

btw

I used this page to get the names of those chords:

http://jguitar.com/chordname

Hi ScottB,

I PM you.

And thanks for taking the time and posting the tab. I will take a look tonight.

I tried using the open string E and B and hitting the strings a little bit more aggressive and it is sounding good already.

[Bryan T]

I tried using the open string E and B and hitting the strings a little bit more aggressive and it is sounding good already.

Glad to hear it . . . those open strings are crucial to the sound of that part.

Bryan

[Csapo]

Any updates on suggestions to get the STP "Interstate Love Song" tone from a current pedal?

[Csapo]

How about the Catalinbread DLS (ver. 2)?

[Csapo]

Hipkitty Oxblood?

[geoangus]

I'm a big fan of many of STP guitar tracks. WAY back, I had an ART multifx pre-amp that really nailed Plush. I just wish I knew what the effects were in that patch. Now that I have individual pedals, I'm struggling to reproduce it (not to mention 10+ years of idle playing).

[freaksho]

Any updates on suggestions to get the STP "Interstate Love Song" tone from a current pedal?

i think the key is bright pickups (single coils, P90, or even vintage output HB's). after that i bet just about any brighter gainy amp or OD pedal will get you there. but that's just my guess.

i think where the OP mostly went wrong was that he wasn't playing it right at all. bending with open drone strings is how that opening lick is done. plus his OD pedal is one of the buzziest i've heard - yuck.

[that_brianm_guy]

i think the key is bright pickups (single coils, P90, or even vintage output HB's). after that i bet just about any brighter gainy amp or OD pedal will get you there. but that's just my guess.


I'd agree... I play it with reverb on the opening lick, and the bendy lick, any bright gainy tone will do - a dirty vox or marshall works well. Low output pickups for sure...