And, most assuredly, those elements kept each track cohesively together. “It certainly felt different,” said Gibbons of the technique. They were then cross-faded together as seamlessly as possible to achieve a complete track.” Short phrases were played, then double-tracked onto one set of tracks, then the chord change or next phrase was played on a second set of tracks. “The guitars were done section by section. Manning says those basic tracks were painstakingly reworked to get the characteristic polished, machine-like sound. “The follow through got easier once that initial ground got laid.” “The band cut the basics together to get it up and running,” said Gibbons. The Dean was recorded dry with just one setup: a Legend 50-watt hybrid unit with valve preamp and transistor power amp. Both had a single DiMarzio Super Distortion high-output pickup and no controls at all.” There were two Deans, the only major difference was the body shape. “Billy would bring in different guitars,” said Manning, “always looking for something a bit new. Like most of Eliminator, Gimme was cut using Gibbons’ custom Dean Z. He plugged it straight in, turned it all the way up, and it sounded exactly like Billy Gibbons" – The Black Keys' Dan Auerbach on their new album's special guest "I handed him a guitar he had never played, and an amp he never played. (Image credit: Gary Miller/Getty Images & Jason Kempin/Getty Images for Pilgrimage Music & Cultural Festival)
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