John Squire or Ian Brown(of the Stone Roses)

[luvmesumcorn]

Hey. I don't know anythng about these guys setups at all actually, but was hoping that someone would! :) Anyone...?

[Malcolm203]

John Squire.
He used mostly his painted ES-335 and a large collection of Les Pauls. I think he was known to use a strat now and again. As for amps, i'm not entirely too sure. He was a huge, huge Jimmy Page fan, so I can assume Marshall, maybe a/b'ed with a VOX? I don't know but i'll look into it. Lots of delay.

[iodine74]

What about effects?

I vaguely remember the video for "I wanna be Adored" (I think) had some "performance" cuts in there of them on a sound stage. I remember one or two Fender looking combos, and a rack unit on top of one of them.

Any clues?

[Malcolm203]

You could check out that "The Complete Stone Roses" video...has just a history of the Stone Roses plus a performance. Its pretty good and you might be able to figure some stuff out. (Ian's voice is a little more off than usual, so it can be a little painful to listen to at times).

[iodine74]

Just started some research.

http://www.stoneroses.net/media/guitarsquire99.html

FROM THE ARTICLE (Subject is FOOLS GOLD):

So what guitars did Squire use? "He had his Hofner 335 [semi-acoustic] which he used for the basic riff. He also used a pink Fender Strat. For amps we used a Fender Twin amp with JBI speakers, the old-style Twin with the silver front and black knobs." Aside from the wah pedal, the only other effects Squire used were Ibanez chorus and overdrive pedals. However, six minutes into the song, Leckie added a studio trick to Squire's lead playing. He fed a drum machine's hi-hat pattern into the key input of a noise gate, which was applied to the guitar part. The gate opens up in time with the high-hat rhythm, creating a sliced up effect. Popularised by The Shamen, (Move Any Mountain), this gated guitar effect was also used on Bebop Deluxe's Ship Of Fools (1976).


ANOTHER:


http://www.stoneroses.net/media/guitarsquire98.html

The look was also right - Mani's paint-splattered Rickenbacker bass was matched by John's Pollocked-up Gibson copy semi-acoustic. An old friend of the band, known as Cressa, handled John's effects rack live, while his main live guitar sound was produced with a Fender Twin Reverb. Stylistically his playing was unique - although he now says his main inspiration was a basic blues tuition aid - it was the melodic nature of his fretwork that really got the band noticed.


During his career with The Stone Roses, Squire played a semi-acoustic Gretsch Country Gent, a Fender Jaguar and finally a Les Paul for the Second Coming. Amp-wise, the early Stone Roses sound relied on a Fender Twin and rack effects, but Marshalls dominated his rig for the Second Coming and the new band, The Seahorses, formed in 1997.

[iodine74]

I'm posting this verbatim so the info isn't lost if that member's site goes away.

FROM: http://members.tripod.com/~thestoneroses/equipmen.htm



Electric guitars

*Gibson Les Paul (Standard, Custom, and "Black Beauty" Models have been used)

*Gibson 335

*Gretsch Country Gentleman

*Heavily modified Fender Jaguar

*Fender Stratocaster

*painted hollow body; double f-hole (unknown model and manufacture; possibly never played on known recording)

Acoustic guitars

*Takamine (unknown model)

Amplifiers

*Silverface Twin Reverb--Seems to be the standard. Unknown as to the exact modifications, but rumored not to be standard. With or without master volume is still a question, but less of an issue with rumored modifications.

*Other amps rumored to have been used--

Orange, (unknown model)

Marshall, (unknown model)

Fender, Blackface Twin Reverb

Effects

*Fuzz Face

*Alesis Quadraverb

*Electro-Harmonix Electric Mistress flanger

*Boss flanger

*Ibanez Tube Screamer

*Vox wah-wah

*Zoom distortion unit

*Maestro Echoplex

*Watkins Copycat

Equipment shown on the The Stone Roses album sleeve

*2 Silverface Twin Reverb amplifiers (Unknown if these are

master volume or not; and what modifications)

*1 Alesis Quadraverb

*1 Gretsch Country Gentleman

*1 double f-hole hallow bodied guitar with Pollock paint job

(unknown manufacture, possible Gibson of some sort)

*2 floor effects (possibly Boss manufacture, one a Boss flanger)

*Fuzz Face

Capo Positions

Elephant Stone - 1st fret

She Bangs the Drums - Open

Waterfall - 4th fret

Don't Stop (Spike Island) - 4th fret

Sugar Spun Sister - 2nd fret

Made of Stone - 2nd fret

This is the One - 2nd fret

The Hardest Thing in the World - 2nd fret

Going Down - 2nd fret

Mersey Paradise - 5th fret

Where Angel's Play - 2nd? fret

A lot of the old songs were written on the 2nd, so when in doubt try the 2nd. Also, ignore the Blackpool clips for Waterfall and I'm Standing Here on The Complete Stone Roses video, they took clips from a few different songs and put them together. Also, there are various tabs that recommend various capo positions; your mileage may vary.


Interviews and Articles on Guitar Related Matters

Currently the only article the FAQ has in it is from Total Guitar, Issue 4, March 1995. It has been edited for length and any content not relating in any way to Squire’s playing. The following are the relevant bits of the article, The Rise of the Roses.

The actual recording process was simple. Guitarist John Squire wanted to keep a live sound through much of his guitar playing.

Simon (Dawson, the producer ) explains "John would usually work out roughly what he was going to play before coming in, and then do three or four takes with the slant on 'performance' I'd usually end up using one of those (the one with the best feel), pinching bits from the other takes if there were any bad mistakes in the best one. We tried to keep it as 'one take' as possible." Surprisingly, even though the Roses are currently considering headlining at Glastonbury, performing the album live in future wasn't a big consideration. According to Simon "They wanted to give it a very live feel anyway".

Valuable insight into the album is given by the kind of music the band listened to at the Rockfield sessions .... for music they tuned into Aerosmith, Sly & Robbie, Dub War and obscure US hip hop artists - as well as a sizable chunk of old Chess rock'n'roll and blues recordings. The band's use of new tunings on Second Coming was probably inspired by these old recordings from the 40's and 50's. The single Love Spreads saw John and Mani dropping to a low D - John used his back-up Les Paul for this. For the blissfully sweet Your Star Will Shine, John used Nashville tuning (you make the three bass strings lighter gauge, then tune them an octave higher than normal - it gives a ringing, jangley style, perfect for picking). As far as effects go, according to the album's producer, Simon, John just used an Echoplex tape delay, a Fuzz Face, an Electric Mistress, a Cry Baby wah and a Zoom distortion (at the end of Driving South).

Bassist Mani meanwhile occasionally used a SansAmp pre-amp tube simulator to pump up his Rickenbacker bass and Mesa Boogie rig.

Ten Storey Love Song is the Roses' new single, due out this month. Surprisingly, it's a triumphant return to their first album form. Mixolydian meanderings take us into a huge swooping major chord - you instantly know you're in Roses country here

....

Take a listen to the new album, and you'll hear that all the right ingredients are there - in just the right combination.

Squire digs the leads from his '59 Les Paul and Electro-Harmonix pedals through an old Fender Twin Reverb amp. Another backwards look over the shoulder in the form of Orange amps was evident during the recording sessions, as was an old Maestro Echoplex tape echo unit, again just right for the analogue mood of the album. Though simple, this set-up is very popular. The combination of high output Les Paul pickups through the high gain Fender Twin inputs (made with the low output Strat in mind) produces a great sound, especially when the Fender Twin has been hotrodded for extra boost (as Squire's has). On the other side of the room, Mani's bass consistently holds the project together, rolling and looping through the song and often being the melodic standard bearer, while Squire runs at yet another guitar solo. His sound is warm, round and wholesome, Mani's

Rickenbacker bass and Mesa rig being the perfect counterfoil to the bright 12" speakers in the Fender Twin."

[iodine74]

More info, from a forum.

http://www.network54.com/Hide/Forum/thread?forumid=47103&messageid=1016365831


http://www.network54.com/Hide/Forum/thread?forumid=47103&messageid=992860324

From their Japan '89 tour:

Tender Twin reverb
Messa boogie Mark III
Fender stratocaster
Gretsh guitar
Honner guitar
Fender F3 acoustic guitar
Boss BF flanger
Boss TU12 tuner
Bos TU12p tuner
Alesis midi verb
Cry baby wah wah pedals (2)
Octavia
Axis fuzz
fuzzface
Ibanez TS9 tube screamer
Ibancz CS9 stereo chorus
Boss TU12 tuner
Alesis midi verb II
Sabien Hi hat cymbals (2)
Premier drum pedal
Pearl hi hat pedal
Cymbal stands (2)
Drum stool
Snare stands
Guitar stands (2)
Floor tom legs (2)
Bass drum legs (2)
Sonar snare drum
Ludwig bass drum
Ludwig floor tom
Pearl snare drum
Zildjan 20in crash/ride cymbal
Paste 20 in heavy ride cymbal
Ampeg bass cabinet
Ampeg sut-11 bass amp
Rickenbacker bass guitar
Fender precision bass
Cosmic percussion bongo (2)
Pansonic RXCW55L portable
Mega star strobes (4)
Pulsar rainbow strobe
Power Drives (2)
20ft scaff bar
10 x 12ft white drapes (2)
4ft ultra violet tubes @ holders (4)
Kodak carousel projectors and leads (2)
case containing assorted control leads

[willrivaldo]

his les paul was a 59, just like jimmy page...

[Mr Wigg]

I think that this gives a pretty neat description, plus I just love that modded Jaguar.......http://www.pdmcauley.co.uk/guitaristpages/home/SQUIRELIVESETUPindex.html

[cubby]

Well Ian Brown used microphones and loud t-shirts.

Here's some of John Squire's rig:
http://members.tripod.com/~thestoneroses/equipmen.htm