Luckily in this case I happen to know Jon personally and he shops at Black Market Music as I do. That means he also buys plenty of funky old pedals too!Stupid American Pig wrote:Jon brion said it best inThis article
Jon Brion wrote:There are so many techniques that put the power in your hands—which, to me, is always a good thing. The more your hands can be the important part of the tonal equation, the more your playing will highlight your particular style of expression. If you string up eight effects in a row, it’s near impossible to hear the personality of the player anymore. In fact, it almost doesn’t matter who the player is, because all the compression and delays and reverbs and multiple distortion boxes make the whole sound totally generic. I don’t want my sound neutered by some chorus pedal that destroys personality—I want people to hear every little pop and click of the strings when I have my fingers on the instrument. So I’d rather construct tones with a weird amp and guitar combination—some tiny ’50s practice amp that’s on the verge of dying, and a guitar that makes a “gwonk” sound because it only has three really dead strings left on it.
So, out of context... however, this point on its own still stands as well. It is all in how you use the gear and not in how it uses you. Overall, I don't think Jon would be opposed to 6 fuzzes in a row if it made the sound of say an elephant running backwards with an ocean of beatlesque twisted noisemakers. Most importantly the colors are all good if you can use them in context of music that is expressive and hopefully has character of its own.
