Elektronisk bue for el-gitar. Gjør at strengen vibrerer og lager de forskjellige tonene ved å spille soloer på gripebrettet. Lag ekstra tøffe effekter ved å bevege E-Bow i forskjellige avstander fra strengene.
Her er noen sitater fra annerkjente gitarister:
We love the EBow. It’s one of those things from the ’70s that we never really know how the guitarist got that tone. So we bought one and it’s all over the albums.
The EBow is a great bit of gear. I have shares in the company, and they’re doing quite well, thank you very much. [Laughs.]
Daniel Ash / Tones On Tail / Bauhaus
I also like the sound you get when you turn the tone control for minimum highs. The thing that’s appealed to me most about the E-Bow is how nuanced it can be. You can really develop some very refined techniques with it, like pushing very gently down on the string to get some «mechanical distortion.»
Marc played a Coral Electric Sitar on “Ballad of Urgency” and uses an EBow for the very first time on “Gone,” nailing it on the first take. “I know the guitar,” growls Marc, “and some little gadget isn’t going to be that scary. Your first instinct is always your best.”
In the studio I use a lot of E-Bow. I used it for things like vocal reinforcement on Superstar Carwash, like «Close Your Eyes» and «On the Lie.» I also did a thing where I plugged the guitar into a Leslie and played notes with an E-Bow. Then I went back and did another track and played the second note of a cord. I built cords that way, and punched components of each cord in and out. It sounded a lot like an organ. I love the sound of Leslies, but it’s hard to use that shit live.
Johnny Rzeznik / Goo Goo Dolls
«I used the E Bow on quite a few [tracks]. I really found it incredibly useful. I don’t know how practical it is for live performing, because you can only utilize it on one string at a time, which really makes it a little difficult. Most of the time on [the album] when there was an E Bow there was really between three and six of them over-dubbed. They were on ‘Tonight You Belong To Me’; on the melodic line from the front of the heavy section, it’s not a keyboard, it’s the E Bows»
Paul Stanley / Kiss
You can space out with the EBow… it sings. You can make it do anything.
John Ashton / The Psychedelic Furs
The EBow gets the kind of sustain that the guitar normally wouldn’t produce. I like the texture of the EBow sound.
I think it really shines on fretless.
It’s like having a pick of a different color.
What I like most is its sheer expressiveness.
I played guitar with a violin bow but started using an EBow instead. It was more reliable, more controllable. It can completely change the atmosphere of a track.
Daniel Ash / Tones On Tail / Bauhaus
An effect I’ve been trying to get for a long time. It’s amazing.
Probably the most underrated special effect for a guitarist.
I’m a big fan of the EBow; I always have been.
Dave Navarro / Red Hot Chili Peppers
He who controls magnetism, controls the universe.
The most expressive guitar synthesizer on the market.
We’ve used EBow on both electric guitars and fretless bass, always with great results.
I’ve been using one of these little buggers for…hmmm…could it be over 20 years?!? Anyway, when I go to gigs I still double-check to make sure it’s in the guitar case, right next to the replacement strings. I use it to make rude sounds as well as do the sustained note thang.
I also find the orchestrations in WICKED (the musical) very impressive. What I find the most intriguing is the guitar technique known as the «E-bow». You hear it in the beginning of «As Long As You’re Mine,» and interspersed throughout the rest of the show as well, to give for an «eerie» sound. The orchestrator, William David Brohn, also used the «E-bow» for the stage orchestration of MARY POPPINS, since it has a more darker edge to it. (Quote by Josh Freilich)
William David Brohn