My Gear
Okay, after answering an email for the umpty-umph time regarding the “secret” of my sound on Samba de Novembro, it finally occurred to me that I should write a blog post about it.
First I’d like to say that there are no big “secrets” really as I’m sure I’ve posted about this stuff on the newsgroup rec.music.makers.guitar.jazz over the years, and sound is just as much about touch (probably more) as what equipment you use. But here’s what I can tell you about my sound on that CD;
Guitar: Comins Classic 18″ in tobacco sunburst with floating Kent Armstrong pickup, made by master luthier Bill Comins. Bill later made the blonde Comins Classic 17″ for me (which is the guitar you see me with on the cover).
Strings: D’Addario Chromes (flatwound) I used to use the .013 set, but later switched to the .012 set (can’t remember which I was using when that CD was recorded) but I’ve ALWAYS swapped out the E & B strings for a heavier guage (so if I was using the .012 set, I’d put an .013 and .017 on the E & B. If it was the .013 set, then it would have been an .014 and .018 on E & B).
Picks: Dugain – I used to use the wooden ones he made. I tried all the different woods, but favored the Guaicum or Coconut. I used to sand them with VERY fine sandpaper (#400 and #600) to maintain the shape and smoothness of the tip. More recently, I switched to the Acetate ones as they’re a bit more consistent and don’t wear out as quickly.
Amps: I use all kinds of different amps and can usually find a tone that works for me. Back then I had a Deluxe Reverb that I loved, but the day before the session, it developed a buzz, so I wound up borrowing a Penn (a hand wired boutique amp modeled on a Fender tweed bassman). I ran that amp through a vintage Ampro speaker cabinet from 1951 that had an old AlNiCo magnet Jensen P12N in it (still my favorite speaker!)
Other Gear:
As well as the Comins guitars, I’ve got several of the Korean made D’Angelico’s. Bill Comins had been hired to redesign some of their line and I came along with him as an Artist Endorser. I’ve got a couple of the older ones, but am really loving the Excell-SS that Bill redesigned. Unfortunately the company is going through some changes and I don’t know if these guitars are still being produced.
I’ve got a Vestax electric nylon string prototype that I used on some tracks of my friend Carol Leven‘s new CD “Between the Lines.”
I love tube amps and have a Comins 2-10″ model made by George Allesandro, a silver face Fender Deluxe Reverb that’s been modified quite a bit, and a couple little Epiphone Valve Juniors (which sound surprisingly nice for recording).
On gigs I usually just bring either the Polytone Minibrute II, or the AI Clarus 2R with an extremely lightweight 12″ speaker cabinet that I built myself (the whole rig, including a pedal-board fits into a nice Samsonite suitcase with wheels and a handle, perfect for schlepping on the subway to gigs in New York).
In the living room, I’ve got a cheap little Fender Frontman 15G which works just fine. I also picked up one of those Crate Limos (which runs on batteries which is nice when you have to play somewhere that doesn’t have an electrical outlet).
In reference to your comment about “touch”. Rick, you are spot on. To-wit:
Everyone wanted to know how George Barnes got his unique sound. Must be the pickups, or strings, or amp, or guitar, or pick, or some of each. One day in his studio, for whatever reason, we swapped guitars. Mine was a Barney Kessel with my strings, through my amp, all OEM electronics. George Barnes sounded just like George Barnes! His sound had absolutely nothing to do with anything related to equipment.