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lead guitar from “life in the fast lane” by the eagles | ToneDB

life in the fast lane

the eagles

lead guitar

90% ai confidence

Tone Profile

A raw, biting, and articulate lead guitar tone, characterized by a pronounced 'cocked-wah' mid-range filter, subtle phasing, and a classic slapback echo, embodying Joe Walsh's signature edgy rock sound.

Signal Chain

Instrument: Fender Telecaster

Amp: Fender Tweed Deluxe 5E3 (cranked)

Microphone: Shure SM57

Processing: Dunlop Cry Baby Wah (parked in a mid-to-treble position to create a fixed filter 'honk'), MXR Phase 90 (set to a slow rate for subtle swirling modulation), Maestro Echoplex EP-3 (configured for a single, clear slapback delay)

Other: Bridge pickup likely used for cut. Amp driven hard. The parked wah is crucial for the signature vocal-like filtered tone. Walsh also experimented with an ARP Odyssey synth as an external filter, though a wah is more typical for this specific sound.

Recording Notes

  • Recorded in 1976 at Criteria Studios (Miami) and Record Plant (Los Angeles) for the album *Hotel California*.
  • Produced by Bill Szymczyk, known for his meticulous work with the Eagles and capturing distinct guitar tones.
  • Joe Walsh had recently joined the Eagles, bringing his unique guitar style and sound, which heavily influenced tracks like this one.
  • The song features intricate guitar interplay between Don Felder and Joe Walsh, with Walsh handling many of the more effected lead parts and slide guitar.
  • Small, cranked amplifiers like the Fender Tweed Deluxe or Champ were favored by Walsh for their natural overdrive and responsiveness.

Recreation Tips

  • Start with a bright-sounding guitar like a Telecaster, likely using the bridge pickup.
  • Use a Fender Tweed-style amplifier (e.g., a Deluxe) and turn up the volume until it achieves a rich, natural overdrive.
  • Engage a wah pedal and carefully find a stationary position (the 'sweet spot') in its sweep that produces a resonant, vocal-like filtered tone. This is often in the upper-mid range.
  • Add an MXR Phase 90 (or similar phaser) with a slow rate to introduce subtle movement and texture to the sound.
  • Incorporate a slapback delay, aiming for a single, clear repeat with a delay time around 80-120ms.
  • Embrace a slightly aggressive playing style; much of Walsh's tone comes from his dynamic attack and phrasing.

Sources