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Over the last four albums which includes: "PARTING SHOT"(2011); "SUBTEXT"(2014); "BACKLOG"(2016) and now, "PATCHWORK"(2019), I am often asked about my gear and the set-up of that gear. So I thought that, this time, the easiest thing to do would be to create a page with a photo that included the set-up of my pedals, effects and Walter Woods Stereo Amp. The cables from that Walter Woods amp lead out, at a great distance, to my two(2) Marshall 1966A 2x12" speaker bottoms (w/ EV Speakers inside).
I had thought that engineer James Farber and I had created my best recorded guitar on "SUBTEXT" where he mic'ed each cabinet with a Shure SM-57 and a Royer R-121 Ribbon Mic. I was really thrilled with the sound that we had achieved. Then, for some reason, James made a change in the mics for "BACKLOG" and a Shure SM-7 was substituted for the Royer - except on the tune, "Go Home." As we prepared to record "PATCHWORK," we decided to return to the combination of the Shure SM-57s and a Royer R-121 Ribbon Mics and this is what you can now see in the photos below. For those of you who have liked this sound, now you are free to work with your own engineer and try this out. What you should know about what I am doing when I'm recording is that, no matter what it might sound like on the finished product, I am actually playing at a very high volume. As some would say, I am "throwing a lot of air"!!! For me this is crucial to achieving a BIG sound where all the notes can sound full-bodied and rich. Of course, negating this to a degree is the fact that I string my guitar up with a set of Dean Markley .009 strings!!! So, I do sacrifice some degree of tone, especially on my B-string and high E-string to have the kind of feel and touch that is necessary for the way that I have come to play. I hope that having this information and perspective will help you all in some small way. |
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