Guitar Sound on Cliff Richard's "Devil Woman"

[DaveLab]

I'm having this weird experience where the sound is so familiar; I feel like the solution is on the tip of my tongue. But nothing comes.
 

At 2:04 and 2:36 into the song, there are two fuzz guitar overdubs (Terry Britten), panned left and right (headphones may be best for this), that harmonize with each other and add a real cool dimension to the song. They have little hints of break-up or wave-beating when pushed (or maybe he's doing it with his pick-up switch, like at the end of the first passage?). They're almost synth-like in the way they seem to come to life.

 

Any thoughts on how he's doing this? Gear? Technique? I'm dying to crack the code.
 

Thanks,
 

Dave

 

 

[Ivan May]

I remember that both Bruce Welch and Terry Britten were still heavily involved in using AC30s during this time. Terry Britten had a white Strat during this time (around 1973-74, when Welch Farrar and Marvin were still touring), and Bruce Welch of course still owns the '59 Fiesta Red Strat used by Marvin on all those vintage recordings. So maybe turing the AC30 up to overdrive, and maybe a compressor?

 

Tarney also played a mid 70s Fender P Bass on that album.

[Caevan O’Shite]

2 hours ago, DaveLab said:

I'm having this weird experience where the sound is so familiar; I feel like the solution is on the tip of my tongue. But nothing comes.
 

At 2:04 and 2:36 into the song, there are two fuzz guitar overdubs (Terry Britten), panned left and right (headphones may be best for this), that harmonize with each other and add a real cool dimension to the song. They have little hints of break-up or wave-beating when pushed (or maybe he's doing it with his pick-up switch, like at the end of the first passage?). They're almost synth-like in the way they seem to come to life.

 

Any thoughts on how he's doing this? Gear? Technique? I'm dying to crack the code.
 

Thanks,
 

Dave

 

 

OK, I hear what you're referring to, an almost tremolo-like pulsing, rhythmically on and off; I suspect that it was done via the pickup selector-switch on the guitar.

For example, on my Les Paul, I can get a similar effect by turning the volume-knob for one pickup all the way down, playing on the other pickup, and flicking the switch for the pulses.

A loose and springy feeling vintage-style Switchcraft pickup-selector really lends itself to ease of execution of such effects; whereas the more modern Epiphone switch that has temporarily replaced the original Switchcraft (that wore out and broke) in my Les Paul is technically a better quality upgrade, doesn't go 'boing' when flicked and has to be more carefully put in one or the other position- but the effect can still be done with it.

One of those currently popular "Kill Switch" buttons would probably also work VERY well for this, particularly if it's a spring-loaded off/on type (press and hold for 'off', release for 'on').

Overdrive and sustain from an overdriven amp that was loud and close enough to add a subtle bit of feedback and overtones also aided this, but it could also be done with a very clean tone with enough compression ('natural' or from a pedal or such).

In that recording, it's further enhanced by panning back and forth via the mixing console.

[murphybridget]

This technique involves turning the volume knob for one pickup all the way down, playing on the other pickup, and quickly flicking the switch to produce the pulsing effect.

[Caevan O’Shite]

On 3/7/2024 at 11:10 AM, DaveLab said:

I'm having this weird experience where the sound is so familiar; I feel like the solution is on the tip of my tongue. But nothing comes.
 

At 2:04 and 2:36 into the song, there are two fuzz guitar overdubs (Terry Britten), panned left and right (headphones may be best for this), that harmonize with each other and add a real cool dimension to the song. They have little hints of break-up or wave-beating when pushed (or maybe he's doing it with his pick-up switch, like at the end of the first passage?). They're almost synth-like in the way they seem to come to life.

 

Any thoughts on how he's doing this? Gear? Technique? I'm dying to crack the code.
 

Thanks,
 

Dave

 

 

So, DaveLab, waddya think?

[Sparquelito]

Such a brilliant song!

Wonderfully-produced, and lush.
That Fender Rhodes keyboard and guitars blend beautifully.

The drumming really grabbed me, with headphones on, especially after not hearing the song for decades.
Clem Cattini's high hat and timekeeping are tight and precise.

So good.
🙂