Vandenberg Peavey

Adrian Vandenberg is an interesting player to analyze. He didn’t really burst on to the 80s metal scene the way, say, Randy Rhoads did. He and his band’s first album were more of a well-kept secret. His closest stylistic peers are players like Michael Schenker, Matthias Jabs, and John Norum. Of those, he’s most like Norum — in that he’s a continental European guitarist who doesn’t always sound like one. Like his native Holland’s geographical location between Great Britain and Germany, Adrian’s guitar style sits squarely between British blues-based riff rock and the European lead style we’re used to hearing from German and Swedish guitarists. As stated, Vandenberg is more bluesy than most continental European guitarists. Without that foundation, Coverdale would have never been interested in him for Whitesnake. In general, he’s blusier than Schenker and Hoffmann, but less bluesy than Blackmore and not as Neo-classical as Uli or Yngwie.
Rhythmically, Adrian offers a bit more than the standard rock metal fare of root 5 and root 6 bar and power chords plus open string pedal tones. He is fond of triads built around major or minor 7ths and 9ths, along with slightly obscure phrasing and timing of some chords and riffs as well. The sharp 7th (Pushing Me) tends to feature a lot on the Manic Eden album as do single note grooves and riffs (Gimme a Shot) in the style of Jimmy Page. Vandenberg is also an excellent acoustic player who’s style leans more toward the classical than folk.
With his band, Vandenberg, Adrian developed a lead style that encompassed speed and attitude combined with impressive use of classical scales. As with Blackmore in the 70s, Vandenberg commonly mixed blues based compositional riffs with aeolian minor solos, arpeggios and other Neo-classical devices. He excels in playing extremely melodic lines in the dorian and aeolian modes — somewhat reminiscent of Michael Schenker in flavor, but with a more 80s flash sensibility. For example, when Vandenberg became part of the all-stars version of Whitesnake, he added a modern metal tricks to his style. Adrian added pick scrapes, pinch harmonics, rapid-fire pull-offs, two-handed tapping, and the occasional whammy work — usually a dive or a slur. Staccato palm muting on the low strings is a characteristic Vandenberg trademark.
Vandenberg’s solos are usually compositional and well-thought out. He knows how to use the blues scale to add that sexual element into a guitar solo and likes to start slow and work towards a crescendo. Many of his best solos are the classic “song within a song.” Good examples include Burning Heart and Don’t Fade Away.
Vandenberg’s lead style changed when he injured his wrists. He was still a fast player, retaining some of his earlier lead traits, but he adopted a slightly mellower lead tone and became a lot more expressive and emotive after his injury. He also incorporated more of a Hendrixy groove to his playing.

Peavey Vandenberg guitar

In Vandenberg, Adrian’s tone was the classic sound of a Les Paul through a Marshall. His main guitar was a nice, tiger striped Les Paul Heritage, on which he continually modified the pickups to increase the attack on the notes. These modifications also gave him a nice crunchy rhythm tone and a thicker variation on Jimmy Page’s Les Paul – Marshall lead tone. Typically, Adrian would increase the gain to get a hotter lead sound. At this time, he also used a self-modified left-handed, heavily flamed cedar/maple Schecter strat with a shaved neck, a tremolo, and Bill Lawrence humbuckers, or sometimes a single coil depending on the experimentation stage. This guitar is featured in the Burning Heart video.
With Whitesnake (87-88), Fernandes made Adrian a signature superstrat which featured active pickups. By the end of 1988, Adrian had developed a relationship with Peavey, and this union produced the Peavey Vandenberg signature guitar — a uniquely modified superstrat shape with fiddle cuts in the body. Adrian favored the mahogany bodied, neck-through customs, sometimes with a radical puzzle pattern graphic on it, or a striped arch top. The guitars could be equipped with either Floyd Rose or Kahler locking tremolo systems. Pickups consisted of either a Peavey single coil-humbucker combination or a humbucker-humbucker combination.
With Vandenberg and Whitesnake later, Adrian used modified Marshall 100 and 50 watt amps. Two Marshall JCM800 2240s, two 50 watt Super Leads and some Mesa Boogie amps were favorites. These went through 4x12s loaded with Celestions. He occasionally used a 70s cry-baby wah as a parametric EQ ala Schenker and some light chorus to fill things out. There is a very distinctive, kazoo-like notched wah sound in his tone on the debut, self-titled Vandenberg album. Around the Restless Heart and Manic Eden period, Adrian used a more Plexi-like tone. He also used a nice, clean tone (Dark Shade of Grey) at this time as well. During his association with Peavey he used some Peavey derived VTM-65 amplifiers, and Peavey effects units for a touch of delay and chorus.

Peavey adrian Vandenberg guitar

Famous for: Being Holland’s second guitar hero (Jan Akkerman was first) and one of Whitesnake’s longest serving guitar players. One of the best debut heavy albums of the early 80s. That leopard print jacket that he seemed to virtually live in during the Vandenberg band days. Designing two of the coolest and best sounding signature guitars of the Dino era.
Infamous for: Adrian Vandenberg is an enigma. Among guitarists, he is best known for two things: Being one of the two guys who replaced John Sykes in Whitesnake, and being replaced by Steve Vai in Whitesnake. Yet despite logging time in this very visible band, Adrian failed to leave a sonic mark there. Instead, his best and most original work remains largely unknown. Worse, some fans feel that Adrian never surpassed what he achieved on the first Vandenberg album.

Peavey Vandenberg For Sale

Peavey Vandenberg Custom. Made approximately in 1990. These guitars are very rare. If you have been looking for one on ebay than you know what I mean as these seldom are put up for auction. This guitar has the sound of a les paul but with the action/ neck of an Ibanez shredder. Truly the best of both worlds. …Adrian Vandenberg & Rudy Sarzo for Peavey vtm amps *full page 8 x 11″ (20 cm x 28 cm) promotional advertisement from a guitar magazine *this original item would look awesome framed and hanging on your wall *any fan or collector would love this rare out-of-print mini-poster *all you need is a frame & this would make a ..

Peavey Vandenberg

A few weeks ago I bought peavey Vandenberg and have heard that it is very promising guitar! When I got it I said: WOW!
I loved it immediately!
The neck is super small and very comfortable to play on! The body is super comfortable, it is unique (it is not like a startocaster body)!,
The sound is so good!, Humbucker is the signature of Adrian! The color is lovely as just that!
It may be of different colors! Coral, blue light-water, blue, dark blue, beautiful blue, blue and sparkel BLUE METAL! IT’S SO COOL!
Everything is original and got the original bag!
It has no damage, hits and no dings to!
100% super conserved!
But Floyd is perhaps a little rusty but is in good shape!
My Vandenberg is from the first model of the Vandenberg!
The Serial is :00004785

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