It was sporadically used in few live performances during the 90s needless to say, it made an impact. Sometime in the late s, Zakk teamed up with Epiphone for a rather unusual guitar with a coffin-like body design.
He used one of these for a while, most likely only for live shows. It bears a body made out of mahogany, two EMG active humbuckers, two simple controls for volume and tone, as well as a Floyd Rose tremolo bridge.
The design is complemented by a cross inlay on the headstock. Back in the mids, Zakk designed his first guitar, which saw its release with Epiphone and Gibson. Other than that, we have a mahogany body and a rosewood fretboard.
Zakk got his Gibson ZV models, and the company released a limited run of these. Epiphone continued producing cheaper versions of the model in larger numbers. Since Wylde is a Gibson fan, the instrument comes with a chambered mahogany body fitted with a flamed maple top.
However, the body shape is slightly different, with more pronounced bouts and a sharper cutaway. Additionally, the headstock design is pretty unique but somewhat resembles those winged Dean headstocks. Other than that, it has some finely designed details, like bindings on the body and the fretboard. Although some sources have labeled it as the SST model, this seems to be the CE one since it features the classic soundhole design.
With a sitka spruce top and maple back and sides, the Dove has a rich and bright tone, as well as a relatively powerful projection for an acoustic guitar.
This is one of my favorite Zakk Wylde acoustic guitars. In the earliest days of involvement with Ozzy Osbourne, he began using the good old JCM heads. Being classic British amps, these come with EL34 tubes in the power amp section, a trait that helps them deliver more of those mid-range-heavy tones.
Zakk Wylde loves the model so much that he even had his ZW limited edition signature model with Marshall. The collaboration began in and these amps included tubes in the power amp section.
The story goes that there are only of these ever made, and they all sold pretty quickly. Just like the original old versions, these amps feature pretty simple control layouts.
Other than that, this amp has two channels, clean and distorted, and has a total output power of 50 watts. However, Zakk did confirm that the amp saw extensive use during the tour in support of the record back in the late s.
This watt head is somewhat similar to classic heavy Marshall tones. It comes with four EL34 power amp tubes, as well as five 12AX7s in the preamp section. But what makes this amp so interesting, and probably way more versatile than classic Marshall JCM heads, is the inclusion of more detailed controls.
Inspired by classic Marshalls, they made the Wylde Audio Master amp head. To put it simply, this one is an absolute beast, delivering high gain heavy tones, the kind that Zakk prefers. Now going back to his Marshalls, Zakk has the AVT 20 Valvestate model that he uses for backstage practice before live shows. Although a hybrid amp designed for practices and home use, it was intended to replicate some of the classic JCM and JCM tones at a reasonable price level.
This is accompanied by two speaker cabinets, each bearing a single inch speaker. But those Marshall amps need a proper overdrive pedal that would push them over the limit, right into those heavy yet pleasant-sounding territories.
The pedal is pretty simple, bearing only three basic controls for volume, tone, and gain. The pedal has been present on the market since However, the s versions featured all-analog circuitry with classic BBD chips, whereas later versions are all digital-based.
It found its way into his signal chain way back in his early days with Ozzy Osbourne, mostly for live shows. The pedal was released back in the late s and is still sold to this day. But going from and onwards, it was turned into a digital chorus effect. Since Zakk is a well-known fan of the effect, this particular pedal was designed to fit his needs, delivering a clear yet pleasant-sounding chorus that would enhance his heavy tones. At the first glance, the pedal seems like your average wah.
But although a chorus and vibrato device, its primary function is to imitate those classic rotating Leslie speakers which were very popular in the s and the s. Although somewhat limited with the maximum delay time, due to the nature of BBD chips, Carbon Copy is well-known for its smoother-sounding tones compared to most of its digital competitors on the market. There are also two trim pots inside of the pedal that let you set some of its parameters.
By adding this effect, you get tones that are pretty close to those old school tape-based delays, like the Binson Echorec.
Yet another variation on chorus and vibrato, M68 gives it a bit of a different twist. When pressed down, the pedal completely removes the dry signal from the mix, giving those crazy old school tones. Other than that, it has a simple on and off footswitch and a speed control knob. Of course, Zakk also got his signature version of this classic effect pedal, labeled as ZW90, or Wylde Phase.
Looking at the pedal, this is pretty much like the original Phase 90 pedal, with only some slight differences. However, this tone is not that easy to replicate.
I'm Melek. I'm a passionate writer who's also into rock and metal music. Please let me know if you have any suggestions. Search What are you looking for? Metal News. Melek Nur Pervan November 21, 3 mins read. Ozzy Osbourne Zakk Wylde. Facebook Twitter. Melek Nur Pervan.
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