As a tribute to Eric, Fender Custom Shop issues an exact replica of Blackie. All characteristics and marks of EC's beloved guitar are faithfully reproduced. The dream comes true...
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The Amps
Fender tweed Twin amp 1958
"Eric had what he considered to be the Holy Grail of amps (his favorite 1958 Fender tweed Twin amp). But since he only had one he was afraid of damaging it on tour" says Del Breckenfeld Fender's director of artists relations. "Our mission was to clone that amp, which was a quite difficult task. We first analysed Eric's vintage amp to the specs then we searched for old parts. After all that, it still didn't sound right. At that point, John Page suggested old pine wood. We found some that came from an old church's floor and that made the difference. We nailed it and we built a total of three. We built them and then subjected them to the acid test… Eric's ear. He loved them and declared them to be the exact replicas and gave one to BB King as a gift. " This amplifier is equipped with speakers specially modified for the distortion. It's impossible to find one of those amps for the moment because John Suhr left Fender. They are the only amplifiers that Eric wants to use. It tested all the other models (Bassman, Concert amp) but they do not function for him.
Cornell
Custom 80
Dennis
Cornell, in his own words :
""Out
of the blue, I received a phone call from Eric Clapton's guitar
tec, 'I have a letter for you. Eric has a problem with his
sound and has been told that you can sort it out for him'.
I was told that he had been using two old twins, but in Eric's
words, 'they just don't make it anymore'.
Eric
was using Fender Vibro-king amplifiers; he found them to be
lacking in middle response. The control settings on the amplifier
were bass and treble off, middle up full, but he still found
them to have too much treble and bass response. I made some
adjustments to the EQ, and cut some of the treble response,
however, the lack of middle was due to the Jensen speakers
which can't help sounding clean and crisp. The modifications
helped, but I was pleased when he decided to have a custom
amp built. Eric Clapton's musical aims evolve, and part of
his talent is that he is constantly developing his style,
and knows exactly the result he wants to hear. It was my task
to try to convert those requirements into the perfect amp
for him. Considering the subtleties of his requirements, it
was better to start from scratch.
All
the work was carried out through liasing with his guitar tec,
Lee Dixon; he knows Eric's sound like no-one else. Lee was
a pleasure to work with and we spent many hours working together,
not just on the tone, but also on the features and aesthetics.
We ended up with something that looks like Eric's old twins,
but sounds bluer, with lots of middle
We
made a decision to have two channels: channel one consists
of Volume, Bass and Treble. The EQ is similar to Eric's 1956
Twin amplifier, with lots of warm middle response, irrespective
how you adjust the tone controls. It's a simple 'plug in and
go' tone. Channel two consists of Volume, Bass, Middle and
Treble. These controls are a lot more sophisticated than the
average 3-way EQ. Each control has its own valve stage, giving
it a wide range of control, yet is still able to achieve a
good tone at any position. The output stage has four 6L6 output
valves running in class A/B giving a comfortable 80 watts.
There is also a power switch to reduce the output to 20 watts.
The speakers are "Tone Tubby" hemp cones. We tested
at least ten different types of speaker, but finally decided
upon these because they were the closest to Eric's requirements.The
cabinet is made from birch ply, and covered in Fender Tweed
that we've treated to look old.
This
was the amp used at the Queen's Jubilee gig, with his guitar
connected to channel two. I understand that he has also used
it for recording an album with Ringo, and at the Ferrari gig
at Brands Hatch. However, since then Eric has decided that
he would like the amp to be as simple as possible, and therefore
we have now deleted channel two."
Fender
Custom Vibroking
Eric started to use those amps during the US "Reptile" tour The Vibrokings with 3 10" blue alnico magnets speakers are built by the Fender custom shop and have been tewaked by them quite a bit more than the standard custom shop items for retail because Eric wanted 2 amps with a little more umph still.
Marshall JCM800 Lead Serie 1959
Eric used the Marshall JCM 800 Lead Serie 1959 head with a Leslie for the "Reptile" tour as a second amp without master volume to get a sound different from his Twin. He also use the two amps at the same time with a special device.
Soldano SLO100 Super Lead Overdrive Head / Marshall
He used the Soldano / Marshall duest in the beginning of the 90's (24 nights).
The hand-built SLO features a signal path of pure tube magic, including two independent pre-amp channels that deliver a full array of tones through four 12AX7s. Includes a Clean/Crunch switch. An additional bright switch draws out sparkling highs. The Overdrive channel beats the entire high gain pack with clear articulation, solid punch, and singing sustain. Channel jumps are foot switchable and noise-free. It also features a three-band EQ and four 5881 tubes in the power section to make it a lethal weapon.
Marshall
1962 Bluesbreaker Combo
T his amp was used during his stint with Mayall's Bluesbreakers. Basically, it's a JTM45 in combo form with a footswitchable tremolo. With 45W output and 2 x 12 speakers, it produces a gutsy bass and vibrant top, coupled with an overall natural warmth.
Other
amps
For the sessions of Pilgrim, he also used lots of small ampls like Pignose or Fender Champ and some pre-amps plugged on line into the console (Summit, Marshall JMP1).
The
effects
Leslie
Used during the "Reptile" tour with a Marshall JCM 800 head. The box was specialy " recessed" to endure the risks of the tour. It was also soundproffed because the amp is closed to Steve Gadd on stage.
Roger
Mayer Voodoo vibe
This is a modern version of the Univibe built for Jimi Hendrix. It offers manual adjustments for tremolo, vibrato and chorus.
Wha-wha
Jim Dunlop 535 Crybaby anniversary
With a 6 positions frequency switch. Almost the slide parts of the album have been recorded with this pedal in fixed position, opened or closed to obtain a different sound with each takes.
Chorus
Boss CE-3
He also uses a chorus Boss CE-3 pedal.
For the scene, Lee Dickinson (guitar tech of Eric) made a pedals "gathering" to him for these three pedals.
Miscellaneous
Samson Synth-6
Here is the wireless tranmitter used on stage for "Reptile". This system allow Lee Dickson hearing clearely the sound of the guitars during the shows.
Picks
Heavy picks. They are manufactured especially for him by Sterling Ball.
Strings
For his strat: Erny Ball Regular slinky and Rock' n Roll slinky. Gauge 10/46.
For electric slide (Gibson): Erny Ball light with a non nickel-wound G-string.
For the Gibson L-5 on Reptile : Ernie Ball 0.11/0.52 Nickelwound.
For acoustic guitars: Erny Ball acoustic except for Martin 000-42 for which he uses Bronze Martin String 12/52.
All you ever wanted to know about Eric equipment: his guitars (electrics, acoustics, classicals & dobro), his amps, effects, strings & mediators
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Eric used the Marshall JCM 800 Lead Serie 1959 head with a Leslie for the "Reptile" tour as a second amp without master volume to get a sound different from his Twin. He also use the two amps at the same time with a special device. 
He also uses a chorus Boss CE-3 pedal. 
Heavy picks. They are manufactured especially for him by Sterling Ball.
