QueenZone discussion #908874

mike hunt wrote: brians guitar sound is what you hear. There is no "if" about it, queen didn't use any synthesizers in the 70's.

<b><font color = "crimson"> ThomasQuinn wrote: Well actually, it is debatable whether the Red Special coupled with an insane array of Deaky-amps and processors wouldn't count as a guitar-synthesizer, like what Pat Metheny uses.

Sebastian wrote: It's worth mentioning that it wasn't exclusively Brian's Red Special. The others participated there too, even if less frequently, and so did Brian did no-RS things. For instance there was direct sampling sometimes (Prohpet's Song intro, I'm In Love With My Car, Dead On Time), some additional percussion (bells, gong, chimes), unusual (for the band) no-synth keyboard instruments like organ, harpsichord, jangle piano, e-piano and harmonium, the piano "ring" effect in Nevermore, some tape-manipulation to creat phasing (e.g. Killer Queen), Brian's use of toy instruments (e.g. koto, mini-banjo, that odd acoustic guitar sounding like sitar, plastic piano), loads of backwards, electronic percussion, multi-tracked voices. So there was much more than just the Red Special. The odd sound in Father To Son intro results of the combination of two guitar tracks doing the arpeggios unisono with the piano. The mystique athmosphere in 'White Queen' first chorus didn't have anything to do with the Red Special: it was all Roger's cymbal rolls (fabulously played and exceptionally mixed) and Freddie's angelical choir (achieved via human natural effects and phasing, which is something machines weren't and won't ever be able to equal). Even a large part of 'The Game' is synth-free: effects in Another One Bites The Dust are achieved through harmonised-guitar, backwards piano notes and electronic percussion (the "thunderbolt"). I'm not trying to take merit off the Red Special, but there was much more. And btw Brian didn't use many pedals, it was mostly the pre-amp and the treble booster plus the enviable variety of sounds the guitar can produce. And the "aeroplane" noises were done with tremolo bar (check Star Licks).

Sebastian wrote: It's worth mentioning that it wasn't exclusively Brian's Red Special. The others participated there too, even if less frequently, and so did Brian did no-RS things. For instance there was direct sampling sometimes (Prohpet's Song intro, I'm In Love With My Car, Dead On Time), some additional percussion (bells, gong, chimes), unusual (for the band) no-synth keyboard instruments like organ, harpsichord, jangle piano, e-piano and harmonium, the piano "ring" effect in Nevermore, some tape-manipulation to creat phasing (e.g. Killer Queen), Brian's use of toy instruments (e.g. koto, mini-banjo, that odd acoustic guitar sounding like sitar, plastic piano), loads of backwards, electronic percussion, multi-tracked voices. So there was much more than just the Red Special. The odd sound in Father To Son intro results of the combination of two guitar tracks doing the arpeggios unisono with the piano. The mystique athmosphere in 'White Queen' first chorus didn't have anything to do with the Red Special: it was all Roger's cymbal rolls (fabulously played and exceptionally mixed) and Freddie's angelical choir (achieved via human natural effects and phasing, which is something machines weren't and won't ever be able to equal). Even a large part of 'The Game' is synth-free: effects in Another One Bites The Dust are achieved through harmonised-guitar, backwards piano notes and electronic percussion (the "thunderbolt"). I'm not trying to take merit off the Red Special, but there was much more. And btw Brian didn't use many pedals, it was mostly the pre-amp and the treble booster plus the enviable variety of sounds the guitar can produce. And the "aeroplane" noises were done with tremolo bar (check Star Licks).

Zebonka12 wrote:

Sebastian wrote: It's worth mentioning that it wasn't exclusively Brian's Red Special. The others participated there too, even if less frequently, and so did Brian did no-RS things. For instance there was direct sampling sometimes (Prohpet's Song intro, I'm In Love With My Car, Dead On Time), some additional percussion (bells, gong, chimes), unusual (for the band) no-synth keyboard instruments like organ, harpsichord, jangle piano, e-piano and harmonium, the piano "ring" effect in Nevermore, some tape-manipulation to creat phasing (e.g. Killer Queen), Brian's use of toy instruments (e.g. koto, mini-banjo, that odd acoustic guitar sounding like sitar, plastic piano), loads of backwards, electronic percussion, multi-tracked voices. So there was much more than just the Red Special. The odd sound in Father To Son intro results of the combination of two guitar tracks doing the arpeggios unisono with the piano. The mystique athmosphere in 'White Queen' first chorus didn't have anything to do with the Red Special: it was all Roger's cymbal rolls (fabulously played and exceptionally mixed) and Freddie's angelical choir (achieved via human natural effects and phasing, which is something machines weren't and won't ever be able to equal). Even a large part of 'The Game' is synth-free: effects in Another One Bites The Dust are achieved through harmonised-guitar, backwards piano notes and electronic percussion (the "thunderbolt"). I'm not trying to take merit off the Red Special, but there was much more. And btw Brian didn't use many pedals, it was mostly the pre-amp and the treble booster plus the enviable variety of sounds the guitar can produce. And the "aeroplane" noises were done with tremolo bar (check Star Licks).

You forgot cowbell.

Sebastian wrote: There are many more percussion instruments in Queen records: marimba.......

Zebonka12 wrote: What about the lost 7:33 version of "Innuendo", known as the 'Cowbell Edit'.

<font color=blue>Rick wrote: I add: Misfire Probably more...