HOW DO YOU WANT TO SOUND?

The ultimate question for any musician. Strings are as important as any other part of your signal chain when it comes to your overall sound, and once you figure out what you want to sound like, they should be part of your mission to craft your perfect tone. Do you want to sound like Eddie Van Halen or Joe Bonamassa? Do you want to accentuate the tone of your Telecaster or balance out the tone of your Les Paul?

Light gauges offer brightness and clarity with a more focused low end while heavy gauges offer fundamental and resonance with a wider, fuller bottom. Whether you should choose one or the other depends on what sound you’re trying to get and with what equipment. If you want big, thick power chords, using a heavier set such as 11-52 is the way to go. On the other hand, if you’re trying to pull off ripping solos, and you want each and every note to pop, a lighter set such as 9-42 will be a big help. If you want to accentuate the brightness of a guitar or add some clarity to a darker sounding guitar, go with a lighter gauge—and vice versa.

Keep in mind that many variables are at play when it comes to your tone. A thinner string doesn’t necessarily mean a thinner sound depending on how the vibrations respond to the wood of your instrument, its scale length, or the EQ of your rig. Plenty of legends famous for huge tones—from Jimi Hendrix and Billy Gibbons to Tony Iommi and Eddie Van Halen—have made incredible use of light sets. The Rev. Billy once used 13s, but now he uses 7s and 8s, and he sounds as great as ever.

WHAT’S YOUR PLAYING STYLE?

You have an ideal sound that you want to achieve, but for the most rewarding playing experience, you need to achieve it in a way that fits with what feels right for you.

Light gauges are much easier on your hands, especially when hitting those ripping solos with epic bends. Lower tension means that you don’t have to apply as much force, which is really nice during an extended streaming or recording session. We mentioned above that Billy Gibbons switched from 13s to 7s and 8s, and when we asked him why, he said, “Why work so hard?” That said, light gauges require more finesse to play in tune. If you muscle your way across a set of 8s, you’ll be hitting sharp notes all night long, and too heavy of an attack might obliterate your notes all together. If you think this end of the range fits in with your technique, try out our 8-38, 9-42, or 9-46 sets.

Heavy gauges are made to stand up to a sustained barrage of heavy, hard-charging pick strokes. Check out James Hetfield’s monstrous attack and how tight his riffs still sound, and you’ll understand why he needs a thicker set of strings. If you aspire to that level of riff mastery, then start with the heaviest gauge that feels comfortable to play—we recommend 10-52, 11-52, or 11-56.

A fantastic compromise between light and heavy sets is our 9.5-44 set. Lighter treble strings provide the brightness and lower tension you need to pull off killer solos, while the bass strings provide the thicker sound and higher tension that you need to dish out heavy rhythms.

TUNING DOWN

Players who tune below E Standard often reach for higher gauges because the higher tension helps to prevent buzzing and intonation issues, but that doesn’t necessarily mean you should grab the heaviest set you can find and string up. In general, you should try to find the lightest heavy gauge possible that will feel comfortable to play while ensuring that the lowest notes sound clear and defined.

There are reasons you might stick with super light gauges when tuning down, though. As mentioned above, Tony Iommi used light gauges—8s and 9s—throughout his career, and he’s tuned as low as C#. He’s famous for his stoic stage presence, but part of that is because both his fretwork and his pick attack are are very light and controlled. He was able to create his own sound and feel just by working within his personal playing style and choosing the right gear make it pop.

The Performance + line features several sets designed specifically for players who tune down, including all-new sets for the downright doomy Drop B and Drop C. The Dunlop Strings team put these sets together based on what our own artists are using, featuring the same gauge range but with different gauges in between that have been specifically chosen to provide the best tone and feel at those particular tunings.

We know what you’re thinking—what the heck is this thing? How are you even supposed to hold it? Well, now, there lies the method amongst the madness. You can hold the Fin Pick any way you darn well please—its three different sides each provide a different tonal and tactile experience, and they all work for both acoustic and electric guitars. The sharp point will make your solos more articulate and brighten up strummed chords, while the rounded edge provides a warmer, fatter tone—perfect for singer-songwriters who want their voice to stand out over a rich backing guitar sound. The serrated edge adds an aggressive texture to your attack and allows you to pull off an absolutely monstrous pick scrape down the length of your strings. Throw in some reverb or delay into the mix, and you’ll have a heck of a sound.

Stubby Picks are on the heavier side of the gauge range, providing a nice heft and excellent control over both your strings and your tone, while their sharp tips give you a bright clarity usually found in thinner picks. It’s pretty much the best of both worlds. They’re made from polycarbonate, which balances out the top end for a soft, forgiving attack that sounds like it has just a touch of compression.

The teardrop shape was the pick of choice for jazzers and shredders before the Jazz III hit the scene, and some players still prefer its simple shape and design. In fact, you could say the teardrop occupies the middle ground between the Jazz III and the standard 351 shape—the teardrop is small in profile for easier maneuvering when playing fast and intricate passages, and their tips are narrow without quite coming to a sharp point. The small teardrop has a tip that’s more akin to the Jazz III, but it’s streamlined profile allows you to choke up like no other pick. Add the bright, snappy attack and textured surface of Tortex Picks into the mix, and you’ll get an experience that’s both familiar and unique at the same time.

Poly Picks are as versatile as they are underrated, and they hold their shape for a really long time. They have a nice percussive attack and a beveled edge for easy transitions from note to note, and their textured surface makes it super easy to keep hold when digging in.

At 2mm thick, JD Jazztone Picks bring some serious mass and seriously round, warm tone. Made from polycarbonate with a textured surface, they come in five different shapes, so they’re suited to just about any playing style. JD Jazztone Picks are particularly great for playing fast thanks to their rigid structure and contoured edge. If you’re lucky enough to have a Jazzbox and some flatwound strings, get ready to lose yourself on a tonal trip for hours.

If you want a bright tone and an absolutely cutting, laser-hot attack, then try Stainless Steel Picks. They aren’t for the faint of heart, but many players swear by them because of just how much they make your notes pop. Plus, they’ll just about last forever.

The moral of this story? Don’t be constrained by conventions—checking out that odd piece of gear might just uncover the missing element you’ve been searching for.

Can you tell us about the amplifiers that the Dookie Drive Pedal is based on?

Bryan Kehoe: The Dookie Drive Pedal is based on Billie Joe’s two trusty amplifiers, which he’s christened Pete and Meat. They’re both Marshall 100 Watt Super Lead heads, and each has been heavily modified to have its own voice. Both amps had a master volume control added, while Pete was modified to have a smooth midrange peak, and Meat was modified for higher gain and a scooped midrange.

How did you create the sounds of those amps in pedal form?

Bob Cedro: Once we had Pete and Meat here at the shop, we plugged in and had a great time playing under a number of different conditions to really feel them out. We used our ears and our scopes to measure each amp’s distortion characteristics and tonal response individually and when combined, which is the magic behind the Dookie guitar sound.

From there, we got to work on the circuit design, and created a prototype that we compared with the amplifiers. We all agreed that we wanted this pedal to sound amazing through just about anything you play it through—not just the expensive stuff—so Billie Joe gave the prototype a run-through using a number of popular combo amps.  

He used an outboard EQ to sculpt some final adjustments to the prototype’s sonic profile, and the sound of the album really came to life in pedal form.

This is the second time that you have built a pedal based on the sound of an amplifier. How difficult of a process is that compared to the average overdrive or distortion pedal?

Bob: Both design projects have their particular challenges. With an amp-based pedal, you have the advantage of knowing what the end result is supposed to sound like. The hard work is in achieving it—you either nail the sound, or you don’t. 

In other cases, the way an overdrive or distortion circuit should sound is very subjective by nature. Pleasing everyone is impossible, and if you think that tone-chasing is time-consuming for the average guitar player, just imagine what that’s like for a guitar player who’s also an engineer!

How does this pedal work?

Bryan: Think of it like having the two separate amplifiers—Pete and Meat—like Billie Joe does when recording or when he’s on tour. On the front of the pedal, you can adjust the intensity of the Meat signal, which we call the High Gain signal, and you can also set the ratio of the two signals, adjust the overall output signal and tone, and use the Scoop switch to cut the midrange out for thicker, heavier tones. On the inside of the pedal, you can adjust the intensity and output level of the Pete signal, which we call the Crunch Gain signal.

It’s an incredibly versatile pedal with plenty of tone-chasing options for adding richness, depth, and clarity, but you don’t have to spend a ton of time tweaking to get an amazing sound. This thing will make a little amp scream and sound huge.

My modded Marshall Super Leads have been my live tone since 1994,” Billie Joe says. “The MXR Dookie Drive clones that sound in one pedal.

But the Dookie Drive Pedal isn’t just for Green Day fans—this totally unique pedal provides a full harmonic range of overdriven tones for a playing experience that is full of depth and dimension.

The power supply is the backbone of any pedal setup. The Iso-Brick and Mini Iso-Brick Power Supplies cover a wide range of needs, allowing you to run just about any pedal. Running high-end digital pedals alongside your classic dirt boxes is child’s play for either power supply, so go with the one that best fits your layout needs. Each has totally isolated outputs, protecting your signal from interference in your surroundings and making it very easy to troubleshoot connection issues—all important considerations when recording at home.

It should go without saying that you need reliable, high quality cables in any playing situation where you’re running electronics, and this is doubly true when recording. MXR Pro Series Instrument Cables are well-insulated to keep noise out—even that generated by computers—and along with MXR Patch Cables, they’re designed to transmit clean, pure tone.

The MXR Ten Band EQ is an invaluable tool thanks to its broad tone-shaping ability. Put it at the front of your signal chain if you want to pre-condition the sound of your instrument, or stick it right after your dirt pedals if you love the way that they sound, but there’s just not enough highs or lows. Try putting it at the end of your signal chain to put a final touch on your sound before it goes into your recording interface. Wherever you place the Ten Band EQ, it’s an absolute must-have when laying down tracks.

A compressor is an essential tool in any recording setup to ensure a consistent, even signal. Sometimes a change in the intensity of your attack or stepping on a particular pedal will cause a drop or a spike in level where you don’t want it. A good compressor will “correct” for these occurrences and give you control over the dynamics of your signal. The MXR Studio Compressor is just such a device, providing an array of tweakable parameters with an LED indicator to show compression response in real time.

Just about the easiest way to get creative with your playing experience is to change up the pick you’re using. There are so many different materials, shapes, and sizes available nowadays, and each characteristic has an impact on the way you sound and the way you play. Tortex® Picks are famous for their bright, snappy attack—but what if a piece you’re composing lends itself to rounder, warmer tones? Try Nylon Picks. For a brighter, more aggressive sound, try Ultex® Picks. Playing fast and need a pick with more definition and less resistance? Try Flow® Picks or Jazz III Picks. Want an easier time strumming? Try a lighter gauge. There’s a Dunlop Pick for every situation and playing style—the easiest way to see which one is for you is to check out one of our Pick Variety Packs.

As with picks, we tend to stick with the strings that we know, but they, too, are another part of your setup that is ripe for the kind of exploration that will enrich your recording experience. Experimenting with gauges, for example, will help you find the right feel for your instrument—go with lighter sets if you’re playing a longer or multi-scale instrument, for example. Heavier gauges help balance out the lower tunings that can provide a darker, heavier, or more sombre vibe to your recording.

Gauges offer more than just a change in feel, though—tracking with different gauges is a great way to bring in a different tonality to your recording. This is a great boon if you’re doing all the tracking yourself, and you don’t want all of the guitar parts to sound exactly the same. Try recording different takes with differently gauged sets, panning them opposite each other to create an interesting tone you can’t achieve any other way. If you’re strumming on an acoustic, go with a lighter gauge than you would typically play to get shimmering highs and a tight, compressed low end. For electric rhythms, go with a lighter gauge to bring out the highs and mids and, again, tighten up the low end—no matter whether you’re clean, overdriven, or distorted. Heavier gauges will fill in the low end and tighten up your chords for fast syncopated riffage. Again, play with blending different tracks of each round of gauges to create unique tonal concoctions.

Light gauges are perfect for tracking solos because they allow you to let your inspiration carry you from note to note without making your hands work too hard. Don’t worry about sounding too thin—plenty of guitar players have extracted rich, fat tones from thin sets of strings. Eddie Van Halen, Billy Gibbons, Steve Vai, and Yngwie Malmsteen can all show you something about that. Conversely, you can use heavier sets to tame a fast vibrato or control tuning issues caused by a heavy picking or fretting hand.

Bass players have as much room to experiment with gauges as guitar players do for different tones, tunings, scales, and so on. Playing around with different materials can also add another dynamic to your recording. Stainless Steel Strings bring out the mids and highs, which is perfect for taking a solo or accentuating the percussive sounds generated by slapping and popping. Nickel Wound Strings provide growling low mids and big lows for fat, funky rhythms. Check out our Super Bright™ Bass Strings for an overall brighter tonal take on each material.

Flatwound Bass Strings offer a whole other dynamic. If you want that classic rock and R&B thump, then Flatwounds are the way to go, no exceptions. Even if that’s not the specific sound you’re looking for, they generate a fundamental that’s uniquely deep, full, and round. It sounds incredible on recordings where each bass note is given the space to bloom.

With all of these options, guitar players and bass players should remember to adjust your instrument’s intonation whenever changing up your gauge or material so that you don’t run into any tuning issues later on.

Capos allow you to play in higher keys without having to change chord fingerings. If you’ve composed a piece that sounds almost perfect but there’s something missing that you just can’t identify, changing to a different key might just be what you needed. The Victor® Capo is the perfect option for playing at home—and recording, in particular, because of its superior tuning stability.

Slides add their own layer of expression to stringed instruments, and Dunlop offers a wide variety of sizes and materials that all provide their own experience. Choose a Stainless Steel Slide to electrify a solo or a Brass Slide to fatten up a riff. Other materials and finishes, from Glass to Chromed Steel, provide their own tones and timbres. All of the above can be combined with delay, reverb, and other heavy processing effects to create trippy cinematic soundscapes. Keep a slide or two on hand for those situations where you need to add a little something extra to a recording that isn’t quite popping like you want it to.

Reverb is one of those effects that can serve both utilitarian and exploratory purposes. Sometimes, recorded music sounds flat and unnatural, as if it doesn’t exist within physical space—especially if you’re relying solely on direct input. With just the right amount of reverb added to your signal, you can make it sound like you were playing in an acoustically rich environment. It can also serve as a sort of sonic binding agent to fill in the spaces between disparate elements of your sound, binding them all together for a much more pleasing listening experience. On the other hand, a really good reverb effect can help you create rich, otherworldly atmospheres to explore, to play over and through and around. The MXR Reverb does all of the above and then some, featuring six different exquisitely designed reverb styles to suit your needs and tastes. It’s easy to use with incredible sound quality, making it a must-have for your home recording station.

Delay pedals are a must-have for players looking to open up their compositions to greater dynamic potential. You could go with any number of great options, from the Echoplex® Delay to the Way Huge® Supa-Puss Delay, but we’re going with the MXR Carbon Copy Mini Delay for its rich analog warmth and simple versatility. An optional modulation circuit allows you to add tape echo warble to your repeats, and a Bright switch engages a brighter, more sparkling sound for your repeats should you feel the need to change it up.

A great looper pedal is a songwriting game changer, allowing you to develop different elements of a composition at the same time. The MXR Clone Looper Pedal is one such device—just hit the record switch, put your foundational layer down, and then add as many layers on top of that as your ear desires. It comes packed with plenty of other super fun and useful features—from reverse playback to DJ-style skipping—and it comes in a standard MXR housing, so it’ll take up hardly any space. Put the Clone Looper Pedal on your board, and you’ll wonder how you ever wrote a song without it.

The phaser is a classic effect, infusing your sound with rich, pulsing textures. Players have used phasing to make their riffs thick and chewy and add ethereal momentum to their lead lines. Look no further than MXR for the perfect example of this effect—it was the Phase 90, after all, that set the category’s benchmark. For our songwriting and recording purposes, the Phase 95 is the obvious choice. First, it comes in a mini MXR housing, so it’ll fit in easily with our plentiful array of electronics. Second, it combines the classic Phase 90 circuit with that of its subtler offshoot, the Phase 45, along with the option to use grittier modern-style phasing or clearer vintage-style phasing. That means you get a 4-way ticket for your sonic adventures, and your luggage fits right in your pocket.

The Uni-Vibe Chorus/Vibrato was a key component of the psychedelic sound created by Jimi Hendrix, Pink Floyd, and other sonic pioneers. Designed to replicate the Leslie speaker effect, the Uni-Vibe Chorus/Vibrato adds lush, swirling textures to your sound. It’s similar to a phaser, but this pedal allows you to crank the rich chewiness to much greater levels, leading to truly bizarro territory that’s just waiting to be explored.

Overdrive is all about the rich, natural harmonics and overtones that come from a good tube amplifier. This can be a problem when recording at home, though—you need to crank your amp to get those sounds. The MXR Dookie Drive Pedal, based on Billie Joe Armstrong’s modified Marshall heads, and the EVH 5150 Overdrive, based on Eddie Van Halen’s 5150 head, were both designed from the ground up to deliver the same sounds at just about any level. Having both pedals in your setup gives you access to a broad range of overdriven tones, from light grit to super high-gain crunch, without killing your neighbors.

Any number of great fuzz pedals could work here, but when it comes to really getting weird and wild with your experimentation, the MXR Sub Machine Fuzz is the obvious choice. It combines shaggy vintage fuzz with both an an aggressive octave-up fuzz circuit and a subterranean sub-octave signal that you can run straight into or alongside the fuzz for a split-channel effect. Whenever you need to make your notes growl, howl, squeal, or scream, the Sub Machine Fuzz will do the job nicely.

The Cry Baby Wah is another tool that opens up your instrument to a vastly greater range of expressive possibilities thanks to its emulation of the human voice. No matter what musical melding of riffs, licks, and tonecraft you formulate, the Cry Baby Wah can transform the whole thing into an even more striking extension of your artistic intent. There are many great Cry Baby Wah models, but the go-to for maximizing simplicity and versatility is the Cry Baby 535Q Wah. It offers six different frequency range options, from high to low, with external controls to easily boost the wah signal and adjust the intensity of its response. No matter what tonal concoctions you craft, the Cry Baby 535Q Wah can be configured to mix right in.

The Volume (X) Pedal serves as both a volume and an expression pedal depending on your needs, so you can use it to create epic volume swells, control the advanced functions of pedals such as the MXR Reverb and Clone Looper Pedal, or cut your signal while you rearrange your board or change guitars.

Like the Volume (X) pedal, the MXR Tap Tempo Switch can control certain advanced functions of the aforementioned MXR Reverb and Clone Looper Pedal, and as its name suggests, it can be used to set the tempo for certain delay pedals such as the MXR Carbon Copy Deluxe Delay or the Echoplex Delay.

*****

Your recording space should be a place of comfort and possibilities where you’re free to work out the best possible versions of your carefully crafted compositions—perhaps for others to hear. Equip yourself with the gear mentioned above, and you’ll be well on your way to creating such a space.