Brian May's Tone

[Ashurbanipal]

Re: Brian May's Tone

I find it fascinating how something tangible, such as a piece of metal or wood, when put to a specific use makes something that is so affective on an abstract level of understanding or emotion. Flicking a pickup out of phase has a drastic effect on sound and the way the guitar interacts the amplifier etc. We can explain these things to an extent in physics or mathematical equations, but the way it affects us intellectually is something else, though it drives us to understand why. Yet technicalities cannot explain the pleasure I feel in listening to the roar of the RS's neck pickup on "Brighton Rock" from Sheer Heart Attack.

The RS mythos is perhaps one of the most remarkable in rock guitar history, and its singularity has led me to follow the stories and information, which compliments rather nicely with my propensity towards the guitar in general . The RS represents a particular musical vision - a guitar that would musically feedback a note indefinitely under high volume, have a wide travel trem that stayed in tune, and single coil/humbucking options. And this was envisioned by a 16 year old (with the help of his father) at a time when British beat groups and surf music were the thing in the mainstream.

This is one of the things that makes it a compelling instrument for me, though I am by no means an expert; there are others who have more intimate knowledge of the technicalities.

In a nutshell, I read a fair bit and store it away in the old brain-box .

 

[Pink Unicorn Horsey]

Re: Brian May's Tone

Nice brain-box, m'man!

 

[LesStrat]

Re: Brian May's Tone

:werd:

 

[Ashurbanipal]

Re: Brian May's Tone

Another piece of gear out there I forgot to mention is, of course, the signature Vox AC-30 BM. It's basically a single channel (single input) amp with a volume knob, based on Brian's customized AC-30s - the normal channel from an AC-30 made more robust to handle road abuse. Still has those Celestion Blue clones which the BM disciples are not that impressed with - there's a clip on YouTube (http://www.youtube.com/watch?v=cAQfmJ7dmRk) where one of them did a comparison of the clones with the UK made ones at unattenuated volume (using an AC-30 BM). The first half of the clip is the UK made speakers.

 

[jerryjg]

Re: Brian May's Tone

so then the Burns pickups are critical? The OP had asked whether a hot wound single like a P90 could get into the range of Mays tone. I was alo thinking about that cause ive got some fat hot singles on my old hagstrom, but havent tried gettting the Queen sound.

 

[stevie_bees]

Re: Brian May's Tone

Single coil pickups in series can get you close, but there is something specific about the Tri-sonics that make a difference.

 

[Ashurbanipal]

Re: Brian May's Tone

so then the Burns pickups are critical? The OP had asked whether a hot wound single like a P90 could get into the range of Mays tone. I was alo thinking about that cause ive got some fat hot singles on my old hagstrom, but havent tried gettting the Queen sound.

Single coil pickups in series can get you close, but there is something specific about the Tri-sonics that make a difference.

Tri-Sonics are fairly low output pickups (around 6-7k I think), so a hot P-90 probably wouldn't do it. Obviously when you put them in series, the signal is boosted and you get fairly close t

 

[Mr 9finger]

Re: Brian May's Tone

Tri-Sonics are fairly low output pickups (around 6-7k I think), so a hot P-90 probably wouldn't do it. Obviously when you put them in series, the signal is boosted and you get fairly close to a modern type 'bucker sound. The metal cover would have an effect on the sound, and the magnets they use are ceramic. I'd imagine that if you were putting them on a scale they'd sit somewhere between a Fender style single and a P-90.

Adeson has a new 'bucker out that aims to replicate the tone of Tri-Sonics, for those who want the type of sound in a humbucker guitar. He also offered Tri-Sonics in Fender s/c size, but doesn't seem to mention it on his website anymore.

I've been checking out his website since you mentioned it the other day. I really think I might give some of his pickups a whirl in the near future.

 

[Ashurbanipal]

Re: Brian May's Tone

I've been checking out his website since you mentioned it the other day. I really think I might give some of his pickups a whirl in the near future.

Yeah, me too, provided the exchange rate improves! They look classy too, though the "Lucifer" logo on the Lucifer pickups is a bit lame, but I think you can order them without it.

I've dug up some more info from the "archive", feeling that I'd missed something in my previous posts. It is the BMG Super which has the custom made pickups like the Guyton replica; the standard BMG has the BM signature Burns Tri-Sonics.

This thread needs some pics. These are limited edition colours of the Kz Jr. shortly before production finished and Kz went to work with BMG. I like the natural one meself, reminds me of the John Birch copy Brian had.

 

[guitarded]

Re: Brian May's Tone

I have this for several years. The quality is outstanding for an 800.00 guitar. It is fatter and creamier sounding than a Les Paul when the pups are activated in series. Very warm guitar and is also very well intonated. On the minus side, the short scale can be really hard to play on the upper registers. Almost feels like a guitar made for kids as the space between frets is so narrow. Access is excellent though. OTOH I can achieve a pretty good spread in the middle of the neck

Someone posted the Burns PUPs are Korean.... I will double check but I am pretty sure Burns London was engraved on my trisonics.

I was listenning to the sound clips of Brian May a/b'ing his new Burns signature guitar against his actual Red Special.... and no joke, they sound almost identical, you would be able to tell the difference if you weren't told which was which.

It's amongst the cheapest signature guitars around too... so i would consider that.

Also, Vox have released a Brian May signature amp which is a replica of the 'Deacy' amp that May used for all the guitar harmonies on pretty much every album... the amp comes with a replica of the homemade 'Treble Booster' too. It's the size of a practice amp, it's maybe 15w, and it's really cheap... 'bout $100 i assume.

The cheapest way then to achieve his tone would be to buy a Red Special and the Vox amp....

Also, if you can get hold of a used POD, you can use the Vox models on that, which are very good. Put the Vox practice amp between your guitar and POD and you've nailed it.

On a side note... the pickups in his original guitar are Burns Trisonics. The signature guitar also contains burns trisonics but they are korean made... don't let this fool you, they are exceptionally good pickups. Seymour Duncan also created a Brian May signature pup... but production plans fell through, though it's still available via the custom shop. The same goes for Dimarzio... they made a model too that might be available through the custom shop. Guild also made a signature Brian May model, but production plans never went ahead, the guitar would have been very expensive, and the Burns is better anyway.

According to an interview, 80% of May's tones came from the Bridge and Middle pickups being wired in Series. I would best describe May's tone as a cool mixture between a Vintage Stack/Rails Middle and a Quarter Pounder Bridge. So if you want a versitile Strat, consider a QP bridge and VR middle, with some switch to get them in Series.

 

[guitarded]

Re: Brian May's Tone

I would say a Trisionic by itself is similar to a P90. I don't know what would happen with P90's in series. The Trisonics in series is more or less the signature sound of this guitar.

so then the Burns pickups are critical? The OP had asked whether a hot wound single like a P90 could get into the range of Mays tone. I was alo thinking about that cause ive got some fat hot singles on my old hagstrom, but havent tried gettting the Queen sound.

 

[guitarded]

Re: Brian May's Tone

M I D R A N G E and more M I D R A N G E...

Single coil pickups in series can get you close, but there is something specific about the Tri-sonics that make a difference.

 

[jmcorey]

Re: Brian May's Tone

Tech 21 Liverpool pedal.

No Joke. Give it a listen.

Wait till the end of this video. http://www.youtube.com/watch?v=8r3zbmwSwoo With a strat no less.

Samples 2 and 4 on this video. http://www.youtube.com/watch?v=a8Qn_rNuvn8&

 

[Pink Unicorn Horsey]

Re: Brian May's Tone

Tech 21 Liverpool pedal.

No Joke. Give it a listen.

Wait till the end of this video. http://www.youtube.com/watch?v=8r3zbmwSwoo With a strat no less.

Samples 2 and 4 on this video. http://www.youtube.com/watch?v=a8Qn_rNuvn8&

Interesting clips. That second one gives a little better demo, IMO.

Never heard of this pedal till you mentioned it. Thanks for sharing!

- Keith

 

[jmcorey]

Re: Brian May's Tone

When I saw that no one else had mentioned it, I thought I had to say something, given that it is a $150 solution that will also give you the Edge, the Beatles, and the Birds.

I am debating picking one up myself.

 

[guitarded]

Re: Brian May's Tone

I can vouch for that the Burns flavor of the Red Special is a great sounding, great playing, well built and great looking guitar. Prob the most bang for my buck on a guitar purchase to date. I can't say enough good things about it.

I was listenning to the sound clips of Brian May a/b'ing his new Burns signature guitar against his actual Red Special.... and no joke, they sound almost identical, you would be able to tell the difference if you weren't told which was which.

It's amongst the cheapest signature guitars around too... so i would consider that.

Also, Vox have released a Brian May signature amp which is a replica of the 'Deacy' amp that May used for all the guitar harmonies on pretty much every album... the amp comes with a replica of the homemade 'Treble Booster' too. It's the size of a practice amp, it's maybe 15w, and it's really cheap... 'bout $100 i assume.

The cheapest way then to achieve his tone would be to buy a Red Special and the Vox amp....

Also, if you can get hold of a used POD, you can use the Vox models on that, which are very good. Put the Vox practice amp between your guitar and POD and you've nailed it.

On a side note... the pickups in his original guitar are Burns Trisonics. The signature guitar also contains burns trisonics but they are korean made... don't let this fool you, they are exceptionally good pickups. Seymour Duncan also created a Brian May signature pup... but production plans fell through, though it's still available via the custom shop. The same goes for Dimarzio... they made a model too that might be available through the custom shop. Guild also made a signature Brian May model, but production plans never went ahead, the guitar would have been very expensive, and the Burns is better anyway.

According to an interview, 80% of May's tones came from the Bridge and Middle pickups being wired in Series. I would best describe May's tone as a cool mixture between a Vintage Stack/Rails Middle and a Quarter Pounder Bridge. So if you want a versitile Strat, consider a QP bridge and VR middle, with some switch to get them in Series.

 

[Ashurbanipal]

Re: Brian May's Tone

Interesting pedal, it seems to have quite a wide range of tone.

Nice axe, guitarded. I take it yours is an early run BMG? I'm going by the black switches and Point Technologies trem. How do you have it set up? It's nice to see someone getting past the Queen vibe and enjoying the inherent idiosyncracies for their own benefit.

I think it's too bad that the current run BMGs has aesthetically displeasing (for me, at least) colour combinations - bit gaudy with the gold, perloid and tortoiseshell bits.

Another interesting bit of trivia: most people would imagine that having, for instance, the middle out of phase with the neck or the neck out of phase with the middle would make no difference, certainly, it doesn't electronically. But supposedly there is a slight difference in tone, especially when playing at high volumes, in terms of the way the guitar responds to particular harmonic overtones. RS enthusiasts have noticed this with their own home-mades and commercial replicas like the Kz, all of which tend to use the Adeson pickups. I wonder if anyone here who's got a RS style guitar can comment on this. I'm curious because there's often been talk of the stock Burns pickups (don't know about the new signature ones) having less sensitivity and contrast in this respect, e.g. less scream on the out of phase settings (granted, you need full volume to appreciate these settings to their potential) and what I've mentioned above.

 

[guitarded]

Re: Brian May's Tone

I have an early Burns model. I have 10's on it, and I maxed out the trem spring. Other than that is pretty much stock. I'd say 98 percent of the time I am using the bridge and middle pups in phase. I don't really have much use for the out of phase sounds. I think the scratch plate near the trem on the newer models appears a bit cheesey.... I wouldn't bother to include it unless you are gonna go all the way and use the same trem mechanism as the real one.

The white switches resumed when Brian personally took over production from Burns. As far as colors, I think the burst model looks sharp...

Interesting pedal, it seems to have quite a wide range of tone.

Nice axe, guitarded. I take it yours is an early run BMG? I'm going by the black switches and Point Technologies trem. How do you have it set up? It's nice to see someone getting past the Queen vibe and enjoying the inherent idiosyncracies for their own benefit.

I think it's too bad that the current run BMGs has aesthetically displeasing (for me, at least) colour combinations - bit gaudy with the gold, perloid and tortoiseshell bits.

Another interesting bit of trivia: most people would imagine that having, for instance, the middle out of phase with the neck or the neck out of phase with the middle would make no difference, certainly, it doesn't electronically. But supposedly there is a slight difference in tone, especially when playing at high volumes, in terms of the way the guitar responds to particular harmonic overtones. RS enthusiasts have noticed this with their own home-mades and commercial replicas like the Kz, all of which tend to use the Adeson pickups. I wonder if anyone here who's got a RS style guitar can comment on this. I'm curious because there's often been talk of the stock Burns pickups (don't know about the new signature ones) having less sensitivity and contrast in this respect, e.g. less scream on the out of phase settings (granted, you need full volume to appreciate these settings to their potential) and what I've mentioned above.

 

[Ashurbanipal]

Re: Brian May's Tone

I have an early Burns model. I have 10's on it, and I maxed out the trem spring. Other than that is pretty much stock. I'd say 98 percent of the time I am using the bridge and middle pups in phase. I don't really have much use for the out of phase sounds. I think the scratch plate near the trem on the newer models appears a bit cheesey.... I wouldn't bother to include it unless you are gonna go all the way and use the same trem mechanism as the real one.

The white switches resumed when Brian personally took over production from Burns. As far as colors, I think the burst model looks sharp...

Thanks for the info. I assumed it was a BMG because it doesn't have a Burns logo on the headstock. I suppose using 10s gives you just enough firmness for the short scale. I still can't believe that BM used 8s back in the day! These days he uses 9s. I agree about the pseudo trem cover, though on the new revised version (with the Wilkinson trem and signature pickups) it is smaller; still stupid . The scratchplate around the cutaways on the new ones is also "meh" - I prefer the way it is on yours and the official web page.

I like the burst models too but hate the pearloid and the cream, and did I mention gold hardware . Still, it's good that they offer different colours, so when people see it they don't immediately think one is a Queen geek.

 

[guitarded]

Re: Brian May's Tone

Mine only has Brian's signature on the headstock. Not completely sure if that makes it an older one or newer one. Just saw it hanging on the wall at a guitar shop one day, tried it and was sold immediately...... Of course the sales person insisted I try it through an AC-30 That almost worked for him

Even 10's feel a little too slinky for me, but the guitar is more geared to be played with a light touch. If you ever watch a closeup of Brian playing, it is like he is doing surgery on the strings... Very light. But I will tell you there is NOTHING I have ever played that sounds as sweet overdriven as two trinsonics in series thougha cranked tube amp. Three is even creamier but just a little too much fat. Good for lead work only.

As far as colors, I thought the green one was pretty neat when it was still Burns. I have been toying with the idea of putting a cream colored scratch plate on it so I can take it out more without people expecting to hear Bohemian Rhapsody. I love Queen but trust me when I say the guitar can do a lot more than Queen covers.

Thanks for the info. I assumed it was a BMG because it doesn't have a Burns logo on the headstock. I suppose using 10s gives you just enough firmness for the short scale. I still can't believe that BM used 8s back in the day! These days he uses 9s. I agree about the pseudo trem cover, though on the new revised version (with the Wilkinson trem and signature pickups) it is smaller; still stupid . The scratchplate around the cutaways on the new ones is also "meh" - I prefer the way it is on yours and the official web page.

I like the burst models too but hate the pearloid and the cream, and did I mention gold hardware . Still, it's good that they offer different colours, so when people see it they don't immediately think one is a Queen geek.