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Wayne Krantz

bbrozzoski

Member
Messages
4
Does anyone out there know how Wayne Krantz sets his 2553 Silver Jubilee Head? Not so much the EQ, but the Output Master/Lead Master/Input Gain. And does he use the push pull pots? I have the same head and want to capture a similar tone, but am having a hard time finding any info. He said at one point that he sets it to "Rhythm Crunch", but I'm not sure what that even means. If anyone has any info I'd greatly appreciate it. Thank you.
 

Nordberg

Member
Messages
198
"Why would a grown man try to sound like another grown man" - Wayne Krantz

On topic, last time I saw/talked to him he set his amps pretty clean. He used a twin for a while and he had it pretty cranked, so think slightly to the point of breakup. But in his own words, Wayne has never been a "gear whore".
 

mjm59

Member
Messages
1,833
See if you can find any pictures of his pedal board, he does have a couple of drives/distortions in his arsenal. The two times I've seen him he has gotten stellar cleans, so I wouldn't think the amp is set beyond more than crunch at full guitar volume.
 

bbrozzoski

Member
Messages
4
I'd just like to use his tone as as a starting off point for something I'm doing, then tweak it from there. I e-mailed him and he said he cranks the output master, but I'm just not sure how he sets the push/pull pots. I think he pulls the Input Gain, but I'm not exactly certain.
 

TNJ

Gold Supporting Member
Messages
28,862
"Why would a grown man try to sound like another grown man" - Wayne Krantz

.
I think that's pretty harsh, maybe even a little elitist...and, yes, I'm a fan of WK.

Great Tone is great no matter where/who it comes from, IMO.


S.
j
 

kingsleyd

Frikkin genyus
Platinum Supporting Member
Messages
8,097
I think that's pretty harsh, maybe even a little elitist...and, yes, I'm a fan of WK.
No, it's just Wayne's perspective. It's an artist's perspective: it's more important to be yourself than to fit into some pre-existing category. BTW, Wayne is on record as saying this is the hard road, and not for everyone. It's clear (at least to me) that Wayne would be the first one to say that everyone needs to follow their own path -- whether that means going through what Wayne did in order to find out what it was that is uniquely Wayne, or simply finding a place where you are comfortable and fit in, even if it's on a relatively well-blazed trail.

Great Tone is great no matter where/who it comes from, IMO.
Great tone is a means to an end, not an end in and of itself. To paraphrase R. Fripp.
 

TNJ

Gold Supporting Member
Messages
28,862
Yeah,
I get that.
It just the tone of the statement I don't get. ;)

S.
j
 

slippyknees

Silver Supporting Member
Messages
1,056
Yeah,

I get that.

It just the tone of the statement I don't get. ;)



S.

j

If you heard it in context it would probably come off differently. It's taken from a doc you can find on YouTube where Wayne is giving a master class.

He's talking about how he developed his style. He talks about his love of bebop and how, while great, that stuff has already been done - what would he be adding by continuing to play that style? It's someone else's vocabulary - hence - why would a grown man want to sound like another grown man? He wanted to uncover something new so he left behind what he really loved to try and find something new.

To me, it's a funny view of a very honest and deep search to find his own music. Far from elitist I think.
 

TNJ

Gold Supporting Member
Messages
28,862
Ok,
The tone of my above statement was firmly tongue in cheek...apparently emoticons don't always work.
I'm a huge fan of a lot of WK's music (although I wish he'd give the Mooger Fooger a bit of a rest). Really, I'm much more into his earlier stuff, like Signals...Long to be Loose...2 Drink Minimum. I could be happy with just those CDs. I'm only a TGPer with an opinion about tone, that differs from one of his heroes. I don't have to agree with everything the man says to appreciate his music, right? His playing is awesome, and his take on comping and soloing is unique. He's a jazzer through and through. I suspect he's also a bit of a maverick, with the personal quirkiness that goes along with that. Nothing wrong with any of it, to me. The elitist comment was a bit overboard, but I tend to get a little defensive if I think somebody is talking down to me on something I'm also passionate about. But some of you know that about me anyways.
It's late and I'm done here.

Peace,

S.
j
 

Average Joe

Member
Messages
12,066
It's an interesting quote, especially since I don't think it's the tone that make him individual. Take his sound on 2 Drink Minimum which I absolutely love - you could take that same tone and play a whole heap of pop and rock covers without changing a thing. Now couple that fairly run of the mill tone with Krantz' amazing musicianship and very individual voice and you have something. But it aint about the tone imho
 

blueworm

Member
Messages
3,220
He's talking about how he developed his style. He talks about his love of bebop and how, while great, that stuff has already been done - what would he be adding by continuing to play that style? It's someone else's vocabulary - hence - why would a grown man want to sound like another grown man? He wanted to uncover something new so he left behind what he really loved to try and find something new.
This I think:
http://youtu.be/WE4TCD4MFF4

I love when he says about improvisation something like "truth of the moment..."

On a side note I find it intriguing how his clean tone is VERY organ-like here.
 

slippyknees

Silver Supporting Member
Messages
1,056
Ok,
The tone of my above statement was firmly tongue in cheek...apparently emoticons don't always work.
I'm a huge fan of a lot of WK's music (although I wish he'd give the Mooger Fooger a bit of a rest). Really, I'm much more into his earlier stuff, like Signals...Long to be Loose...2 Drink Minimum. I could be happy with just those CDs. I'm only a TGPer with an opinion about tone, that differs from one of his heroes. I don't have to agree with everything the man says to appreciate his music, right? His playing is awesome, and his take on comping and soloing is unique. He's a jazzer through and through. I suspect he's also a bit of a maverick, with the personal quirkiness that goes along with that. Nothing wrong with any of it, to me. The elitist comment was a bit overboard, but I tend to get a little defensive if I think somebody is talking down to me on something I'm also passionate about. But some of you know that about me anyways.
It's late and I'm done here.

Peace,

S.
j

No man, you're just wrong!!

I keed.

Totally hear you and no need to defend yourself - TGP gets on people a little too much, no? I just was saying that it sounds different in context and was pointing out that documentary. It's a really cool watch as a bonus.
 

bbrozzoski

Member
Messages
4
Kind of interesting how this started as me simply being interested as how he sets his Marshall head and has turned into a forum being flooded with opinions on Wayne Krantz himself. Ha ha, but in regards to everything it's not a grown man wanting to sound like another grown man. It's simply my interest in a guitarist who I've enjoyed for quite some time and respect and was simply wondering if anyone has any insight into how he sets his head because I use the same one. I'm simply curious.
 

catpeople

Senior Member
Messages
3,178
I don't see what's "elitist" about encouraging people to find their own voice, or wondering why anyone wouldn't do that.
 

TNJ

Gold Supporting Member
Messages
28,862
It was the 'grown man' comment I took umbrage with.
I felt he was saying that players like me (who do strive for certain tones of other players as part of my thing) arent grown men.
Looking down on those of us who differ from his opinion, so to speak.

Savvy?

S.
j
 




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