In the twilight of his career, Jeff Beck embarked on a quest to master the nuances of volume control. Once a proponent of ground-shaking volumes during his days with The Yardbirds and his early solo ventures, Beck’s maturing musical taste drove him to finesse his sound. He realized that intensity didn’t necessarily mean turning the amplifiers to their maximum.
“Utilizing the P.A. system as it’s meant to be – to play at a subtle volume, harnessing distortion and other elements, but ensuring it’s not louder than the stage monitors – can create a powerful impact. I’ve experienced it,” Beck shared with Guitar Player in 2010.
“I once toured using a Fender Twin, while Stevie Ray Vaughan deployed a mammoth setup that seemed like it housed the power of a mini sun,” he reminisced. “Stevie queried, ‘What are you playing on? Are your amps hidden beneath the stage?’ To which I responded, ‘That’s all me right there.’ [Chuckles.] But we invested considerable effort in perfecting that sound, eliminating any unwanted noises. Step by step, we’d increase the volume, fine-tune it, and then push it up a notch. It’s astonishing what you can extract from a modest 20-watt amp.”
The 1989 ‘The Fire Meets The Fury Tour’ saw Beck and Vaughan sharing the stage. Throughout the concert, they’d join each other for special numbers. Beck would pull Vaughan up for Freddie King’s ‘Going Down’, and in return, Vaughan would treat the audience with Stevie Wonders’ ‘Superstition’, a track with Beck’s influential touch.
“Billy Gibbons seems to be following a similar path, playing through a compact setup now,” noted Beck. “It’s essential to synchronize with your amp, and the choice is often influenced by the nature of the tune. Riff-heavy tracks might demand a heftier amp to prevent the sound from thinning out. Yet, most times, a pair of Champs—one pristine and another distorted—coupled with the clean for clarity does the trick.”
“I once jammed with an 18-piece ensemble, thinking a Marshall would be apt. Surprisingly, a Pignose was what the situation demanded,” Beck mused. “Despite the blaring brass, the guitar’s distinct sharp notes effortlessly stood out.”
