Over The Years: The Black Crowes Gear---Tour/Studio

[kmcypress]

Went through a bunch of articles on the Crowes and here are some exerpts. Some Good Stuff...Here it goes:

 

 

Guitar Player on The 1992 Tour

 

Gw What guitars are you using on the tour?

 

RR I have like 14 guitars that I use on tour. One is a Zemaitis. which I just got.

 

GW Ron Woods likes those.

 

RR Yea, him and James Honeyman Scott had a bunch of them. It is made completely of wood except for its silver plate, which makes it kind of look like a Dobro. It is just amazing for slide- even if the guitar sucked for straight playing. I would keep it for the slide sound. It sounds like a gun, and even with the action low, it plays amazingly. Zemaitis only makes about ten a year. I do not know how he does, it is one of the most incredible guitars I have ever played.

 

GW Do you use it onstage?

 

RR Just for about three songs or so, and I use my main Tele-a-'68-

for a bunch of songs, I also use a Gibson ES-335.

GW. And in the studio?

 

RR I actually have four '58 juniors, as well as one Les Paul TV and one all-rosewood Junior, both of them with doubled cutaways. And then I have this Led Paul special, but thinner-similar to what Bob Marley played. And I have this really cool Les Paul Goldtop- I think it is like a 50-something-with a Bigsby.

 

WG Tell me about your amps.

 

RR I bought this Fender Tremolo- one of those really old blond

amps-with like 30 watts. I used one of those through a Marshall

cabinet. I also have a Fender Super Reverb, two older Twin Reverbs and a 1972 50-watt Marshall that is in perfect condition.

 

GW You don't use any effects?

 

RR No. I just plug in. you can get a lot of cool sounds from different amps but people are lazy about taking advantage of that.

 

 

Another 1992 Interview

 

"I like it when two guitarists play complementary

parts that make interesting chords and mesh like a

wall of sound," says Rich. "Like on 'Black Moon

Creeping. That's me at the end just playing three

notes and him playing some weird thing, but it sounds

so full." Marc used his Les Paul on most tracksthough

for the solos on No Speak No Slave and Remedy he

reverted to his Strat Plus armed with Seymour Duncan

pickups. Rich used his Gibson 335 for "Sting Me and a

Gretsch White Falcon for both the into and the slide

work on "Morning Song." The rest of the time he

switched between a brace of old Les Paul Juniors,

vintage telecasters (one with a B-String bender on it

for Black Moon Creeping), and three Gibson Dove

acoustics.

 

1992- Marc Ford on Souther Harmony & Musical Companion

 

GW What are your primary guitars on the album?

 

MF I used a yellow Strat on a couple of the songs. but mostly I play a Les Paul.

 

GW Do you know the year?

 

MF I don't know and I don't really care, if it works and it sounds good then it is alright

 

GW Judging by your stage set up, Your mostly fond of Marshalls

 

MF Actually I didn't play much through Marshalls on the record, It was all Fenders, Marshalls just look better I guess. They are taller then Fenders.

 

 

1997 Interview With Rich Robinson

 

What about guitars? Do you still play your Zemaitis?

 

"Yeah, and I have another on the way. That's still my

favourite. When I started playing I can remember that

I always wanted one. Apart from that it's the same

guitars I've always had; my Tele, my Les Paul and of

course my ES335."

 

And what about your amps?

 

"I bought a 1955 tweed Twin; a 50-watt, low-powered

Twin. And that's the whole deal. I have a '55 and a

'53 and they're in immaculate condition; original

speakers, original everything and I used those on the

whole record. On the road, I have the '55 with me, a

Matchless and a couple of cabs."

 

What do you think of Matchless?

 

"Well the company was a pain in the ass to deal with,

but they sound great. Mine were made by Mark Sampson,

the guy who founded the company; they were the last of

the ones he made by himself before he started

mass-producing them. I can't beat 'em.

 

"I have a rack now, too, it's a Bradshaw and it's just

all my old pedals running through this thing so I

don't have 70 feet of wire connecting stuff.

 

"In there I have a Hughes & Kettner Rotosphere for

that Leslie thing, a Uni-Vibe and a wah and a couple

of different echoes. I have a Talkbox pedal, loads of

stuff - I don't even know what most of it is called.

Oh, and a couple of Fulltone pedals, too; the

Fulldrive is one of 'em. Now that sounds great."

[kmcypress]

here's some more...

 

1999- Rich Robinson On "By Your Side"

 

GO: Which equipment did you use?

 

RR: It was basically two amps and five guitars. I used either a tweed 1955 Fender Twin or a tweed Fender Tremoloux through a Marshall 4X12 Silver Jubilee cabinet. For the guitars, there's the 1968 Telecaster that I used the most, an early '50 Gold Top Les Paul, the Zemaitis, a Gretsch White Falcon and an early

'60s ES-335. I also just bought a 1963 Fender Esquire.

GO: The natural distortion from such a low-tech setup is so real you can almost feel the heat form the tubes.

 

RR: To me, when technology takes it to the next level and makes you sound better, then it is useful. But when it doesn't sound as good and is just more convenient, then the idea that it is somewhat better is totally a myth. The thing that I don't understand is when people spend 10 grand on some bull{censored}

computer rack system because "this thing will make me sound like a '57 Fender and a '73 Marshall." I mean, why don't you just buy the Fender and the Marshall? That rack will never sound like the original, and you know why? Because there's no room for error, and error is the most human element to me that really brings life to albums - things that will never happen again, but a lot of times could turn out to be amazing, cool things. So when I listen to great tube amps..I mean, you plug into them and you're done. It takes two seconds.

 

"Go Faster"

 

I used a Les Paul in Open G tuning for rhythm, and a Gretsch Roc-Jet in Open G for slide. The song started with a lick I'd been kicking around for a while. Originally, it was played at half the speed it ended up. I wanted to have to slide almost follow the vocal line and the solo to be chord-based.

 

"Kicking My Heart Around"

 

Here, I played a Zemaitis in Open G, tunes down

[Josh S]

Coo

[seifukusha]

er..stuff....

[hardtdc]

Great info. The stuff I write is very much Crowes/Zep/STP influenced. I use a Bassman setting and a stompbox effect with my GNX3 to get my sound similar to theirs. I'm going to copy all this info and put it in a folder for future reference. Thanks.

[kmcypress]

2001 Guitar Player- Audley Freed On "Lions"

 

GP: Do you have any standout parts on the new album?

 

AF: I have a solo spot on "Greasy Grass River" and that's me playing the clean wah solo at the end of "Ozone Mama." I also did the pedal steel-sounding things in the beginning of "Cosmic Friend." I definiatly don't consider myself to be a legitimate country guitar player - I got that sound just screwing around with a Fender Blues Deville amp and a Line 6 DL4 Delay Modeler pedal.

 

GP: What is your main guitar?

 

AF: I've been leaning on a Gibson '59 Historic Les Paul plaintop for the past

couple of years. I didn't want a guitar with a fancy flame top, so I went to the gibson Custom Shop in Nashville and found this one. It's very responsive, and it has that big neckthat contributes a lot to the tone. I've also got a '56

Historic goldtop with P-90s, a Terry C. McInturff Taurus prototype, a Fender '57 Relic Strat, and a reissue '52 Tele.

 

GP: Did you tune down for some of the songs on this album?

 

AF: I played a Fender Sub-Sonic Tele for a few songs that are in open tunings and tuned down a whole step. Sometimes I'll tune the Sub-Sonic to a Skip James-style tuning, which is like a D-minor, but down a whole step. Add a little tremolo, and you've got a killer swamp sound. I didn't use that setup on the record, but it works great for filling in parts live.

 

GP: What kind of amps are you using onstage?

 

AF: I have a Bogner Ecstasy and a Fender Tone Master. I mainly use the clean channel on the Bogner and just turn it up - which is kind of a waste because it has so many other sounds. The Tone Master is primarily for the clean stuff and it's a good substitute for my old Fender Dual Showman, which I don't bring on the road because of reliability issues. I run the Bogner and Fender heads into two open-back Matchless 4x12 cabs that are loaded with 8W Celestion Vintage 30s. I just switch between them - I never use both amps at the same time. I also had my tech wire one of the Matchless cabs for stereo operation so I can run both heads into one cabinet when we're playing a smaller place. Another amp I might put into the live setup is a Dr Z KT45, though it's not quite loud enough for this band.

 

GP: Did you use different amps in the studio?

 

AF: For my solo on "Greasy Grass River," I plugged into Chris' original

Bluesbraker combo. Plug a Les Paul into that amp, crank the first bit of

"Hideaway," and there you go. I also used a Fender Blues Deville for the clean

solo on "Ozone Mama."

 

GP: What do you use to switch amps live?

 

AF: I have a Bradshaw switch er, which I also use to control my stompboxes. I've been thinking about going back to a simple pedalboard but I havn't gotten that together yet.

 

GP: What kinds of pedal are in the system?

 

AF: I recently went back to my old Ibanez TS9 after my Klon Centaur stopped working. I'm also planning to try the Voodoo Lab Sparkle Drive, which I've heard good things about. I thought the Klon box was cool because it didn't color the tone, but I've found that I found that I prefer the more midrangy sound of the Tube Screamer with a Strat. I've also got a Fulltone Deja Vibe, a Fulltone Soul Bender, and a Prescription Electronics Clean Octave pedal that I use when I need a freaky Funkadelic lead sound, or some Hendrix color. I carry an assortment of wahs, too - a reissue Vox, a budda Wah, and a Teese Real McCoy.

 

 

 

2002- Gibson Interview With Audley Freed

 

Which Gibson guitars did you have out on the last Black Crowes tour?

 

I was using that

[kmcypress]

should I post this in a different section?

[tiger roach]

Thanks for posting that!

[blackberry]

Greatest band on the planet.

 

Thanks for taking the time to post that....

[kmcypress]

8/96 The Guitar Magazine:

 

"Black Boxes"

 

The Crowes fetishism is legendary, and the recording of Three Snakes saw the band dusting off some old favorites as well as breaking in some new tools. Robinson's most renowned guitar is the natural finish '68 Telecaster he's been associated with for years. He also has a reissue rosewood tele built for him by the Fender Custom Shop, plus a B Bender equipped Tele and Fender Electric XII. His collection of regular strummers includes a '61 cherry Gibson 335, two '63 Les Paul TV Juniors, a limed mahagony finish '73 Special (nicknamed 'Bob Marley' after Robinson saw the regaae legend playing a similarly finished Special on TV), a black '61 Gretch Duo-Jet, a Gretch White Falcon, a Travis Bean 5 string, a 1928 National Resonator guitar (played with a slide on AMORICA's Downtown Money Waster), an early '50s Les Paul goldtop with a Bigsby tailpiece and his main accoustic recording guitars, two Martin D-28s and a D-45. But this tasty lot was apparently deemed insufficient for Three Snakes..as Robinson has recently been on another guitar shop-a-thon.....'I just bought another 15 guitars! I bought this Gibson Charlie Christian set from the '40s-a semi acoustic guitar, a Charlie Chrisitan amp and a Charlie Christian lapsteel. I also bought a real cool Greetch, white with the sorta Cadillac green binding a a neck position pickup. I bought 2 SG's-one really cool Les Paul SG, one SG Junior, plus this really rich sounding old accoustic Gretch 12 string (used on Bring On, Bring On). I also got this new guitar made by this French luthier James Trussart-I bought one of his guitars when we were in Paris once and then he came overto San Francisco and I bought that one too. Now I've ordered three more. I've also bought an old '60s Tele Bass which sounds amazing-those bass are normally very iffy-sounding, it seems, but this one's great. I also bought a fantastic old Rickenbacker 12 string - I haven't had one of these in about 12 years and I used my new one on One Mirror Too Many.' Three Snakes also sees Robinson getting to grips with two Apalacian Dulcimers (elongated figure-of-eight instruments with five strings, held on the lap and played with a pick). He playes brother Chris's regular dulcimer on Better When You're Not Alone, and a bass version once belonging to Joni Mitchell on his solo vocal track How Much For Your Wings. 'I just always thought they were cool 'cos we were brought up listening to folk and bluegrass. I find them quite easy to understand because I play so much in open tuning, and open tunings are pretty much based on major chords. Whatever instrument I'm playing I don't find it too limiting. I can go more places in open G, say, than I can in regular tuning.' I have 60 or 70 guitars now' he laughs, 'but after all that I narrow it down to about 5 or 6 for actually recording with. I mean, on top of that we have a whole bunch of amps we use. Even Chris buys amps for us to try out.'

 

'In the studio we'll use anything, borrowed or stolen!' adss Marc Ford. Marc's main workhourse is his stripped-finish '71 Les Paul Standard, thought he also borrows Chris Robinson's ES-330, some mid 70's Strats, two early '60s Epiphoe Casinos, an early '70s Les Paul Professional and a three-pickup Custom. 'Guitars are just bits of wood and strings through' he qualifies. 'Our amps are a little more carefully chosen.' On the Amorica tour Ford and Robinson plugged into custom made Matchless rigs, though for this album they returned to their vintage mainstays-an assortment of Marshalls (particularly RR's Silver Jubilee and Ford's '60s 50W Mark II and 100W Plexi), blackface Fender Showmans and a Bassman, a '50s Vibrolux and various Vox AC30s.

 

And this is from the interview:

 

He happily plugged into Fuzzface and Roto-vibe pedals, he even plays solos. More amazingly, he's having an effects rack built (Marc Ford presumably took up championship thumb twidling at this point).

 

 

 

If you got em' feel free to post em'!

[kmcypress]

Oct 98 Guitar Player Interview With Rich Robinson (Special Thanks to plaidpants90 on amorica.org)

 

 

How do you choose your guitars ?

 

I pick guitars because they sound good--I don't collect them. The people we buy guitars from know their stuff, and we've built a relationship with them. If I say, "I need a Tele that sounds great," they'll send me one. If I like it, I'll buy it.

 

You also have a number of custom guitars.

 

James Trussart made this metal guitar that's shaped like a Les Paul, but it has chambers. He knows I play slide and Dobro, and he had this idea for a resonator electric. When he told me about it I asked him to send me one to try out. That first one was called the Steel-Phonic, and it has a really distinct, totally different sound.

 

What is it about the Zemaitis that you like?

 

Tony's philosophy is the denser the guitar, the better the strings will resonate, which is sort of opposite what everyone else thinks. A Zemaitis can sound like those clear lucite Dan Armstrong guitars, because there's nothing natural about them. You get a freaky sound with those things. That metal body covering that Zemaitis uses is more ornamental than anything, but I always loved the one that Ron Wood has, so I had one made back in '92. Mine is made for slide. Tony made me trace my left hand and he fit the guitar to my hand. It's an amazing slide guitar.

 

Where does the Travis Bean fit in?

 

It's a 5-string. I think they made it for Keith Richards, but he didn't want it.

 

What do you use it for?

 

Effect--when I need a really loud, freaky-sounding guitar. I brought my basic guitars, and some others that can add different textures--like the Charlie Christian and the Gretsch.

 

Do you consciously try to use alternate chord voicings or play in different registers whenever you add a different guitar?

 

It depends on what the part is. I used a dulcimer for a solo on one song. I also used a 12-string and a Weissenborn. Bringing organic elements into a really electric rock song is the key to what we're trying to do.

 

Tell me about your Tele with the Parsons/ White Stringbender.

 

I got that on the Shake Your Money Maker tour, because I was a huge Byrds fan. Clarence White--he's the man. I had the Fender Custom Shop build it.

 

It was interesting to watch you using it in a rock context.

 

You can go crazy with it and fall into that thing where you play it too much. I like it where it just stands out a couple of times.

 

A lot of your humbucker guitars are equipped with Tom Holmes pickups.

 

When James Trussart sent me that first guitar I was like, "Man, what are these pickups?"

 

How do they compare with a Gibson humbucker?

 

I think they're pretty similar to the original Gibson humbuckers. Holmes treats making pickups like an art form or a tradition. That's What I like about them.

 

What do you think of his DeArmond copies?

 

They're really good. I put a couple of them in my black Gretsch Roc Jet. I'd been playing that guitar for some time, and the pickups just weren't happening. Tom sent these replicas, and they sound great.

 

What is it about the Gretsch sound that you like?

 

It has this way of cutting through. I've got a White Falcon that I've had for years. I got it right before we did Southern Harmony, and I've played it on every record since. It sounds amazing.

 

Do you use any of your electric archtops onstage?

 

Yeah, I use my ES-335 all the time.

You've never been a Strat player.

 

I just got one a couple of months ago. I'd never owned a Strat before. I tour with about seven Teles, a Les Paul, an SG, and the Trussarts and the Zemaifis. I travel with about 15 or 20 guitars.

 

How do you like your action?

 

It's medium, I guess. I sort of keep it to where I can play slide without getting too funky. But I'm not that anal about it.

Do you prefer a certain fret size or shape?

 

They're pretty much medium. There aren't any jumbo frets on any of these guitars. I don't really think about that stuff. Derek takes care of my guitars. I never really even notice my frets unless I'm bending a note and it's dented from using the slide.

 

You use a brass slide?

 

Yeah, they're thick Dunlops. It's more of the Lowell George way of thinking. He used to play with a socket wrench.

What string gauge do you use on your electrics?

 

I use Gibson .010s.

 

Picks?

 

Dunlop .72s. The yellow ones. I always play with the rounded side. I never use the pointy side.

 

You obviously prefer vintage fiat-tops.

 

Yeah. I have a 1953 Martin D-28 that just sounds amazing. I also have a 'ill D-18 and a '58 D-21. I own about six Martins. I also like Gibson Doves. I have a '64 that's really cool, and a really good original Hummingbird. I bought a newer Dove for live shows, and it sounds great. Whoever made it was in a good mood that day. I especially like the Gibsons for strumming. I also have a Guild 12-string.

 

Amp Fever You seem to favor a mix of vintage and modern amps.

 

What I really like about the old Fenders--I have a Tremolux, a '53 Twin, and a '55 Twin--is that they let the guitar speak. Same with Matchless amps. Sometimes you get a Marshall that sounds the same with ten different guitars. To me, a good amp is one that enhances the sound of every guitar that you have.

 

Which amps worked best on this record?

 

I used the TWins and the Tremolux on almost every song. Any guitar you plug into them sounds great, but it also sounds like itself. We also used this old Marshall Bluesbreaker combo--I'm not sure what year it is.

 

I see the Twins are feeding the Marshall cabs--is that configuration similar to your stage setup?

 

I tour with three combos and run them through three 4xl 2 cabinets. I play Matchless amps on tour. I don't know if the old Fenders would be very tour-friendly. The Matchless puts out 35 class A watts, and it's loud as hell. I don't need any more than that.

 

Do you run several amps simultaneously?

 

Yeah. I try to pick a really good clean sound and a great dirty sound. The third amp is optional. If we're playing an arena or a festival, I'll use it. I used to tour with two Marshalls and a Fender Showman. On the last tour I used a Matchless DC-30 and a Clubman. I used the Clubman for a dirtier sound and the DC-30 for a cleaner sound. I ran each of them through two 4x12s.

 

Why do you use the 4x12 cabs instead of the combo's internal speakers?

 

I just like the added bass. A lot of what's missing in music is bottom end. That goes for live sound as well as records, because with digital recorders you really lose that warmth and low end. We actually had Matchless build us some 8x12 cabinets. The bottom four were closed-back and the top four were open-back. They were a pain to carry, but they sounded really cool. Now I like those Matchless 4x12 cabinets. They're deeper than a Marshall, so they push more bass.

 

Do you have any speaker preferences?

 

I don't care what it is as long as it sounds good.

 

How do you split your guitar signal?

 

I have a THD tube splitter that has one input and three outs.

 

Do you have any tube preferences?

 

Derek sends our amps to a guy in Nashville who puts in the old stuff--Mullard EL34s and Telefunken preamp tubes.

 

I see that the cabinets you've got miked up here in the studio are Marshall Jubilees.

 

We were writing songs, and I just wanted to hear them. I hadn't heard them in four years. They sound great. They did something special with those 25th Anniversary cabs.

 

What mic setup worked best for recording the Jubilees?

 

Just a condenser and an SM57.

 

Have you experimented much with miking in your home studio?

 

All our amps sounds great, so all I need is an SM57. I have a couple of the AKG 414s that I use for acoustics.

 

Do you use any distance miking?

 

No. Both mics are close to the speakers. The condenser allows the engineer to blend a cleaner sound with the dirtier SM57.

What kinds of stompboxes are you using?

 

I use a Dunlop Hendrix Special wah, an Ernie Ball volume pedal, an Ibanez analog delay, a Fulltone Fulldrive, a Fulltone 69 Fuzz, and an Ibanez Rotary Chorus, which has a really cool, stereo Leslie sound.

 

How much of your distortion is coming from the Fulltone pedals?

 

I don't use them that much--mainly for slide and for solos. I'm entering into a new realm because I don't know what I'm going to do gearwise for this next tour, or how I'm going to use pedals. I'm up in the air about it right now.

[kmcypress]

Guitar World Acoustic-

 

GWA: Three songs on "Three Snakes and One Charm" are predominantly

acoustic, and you employ the acoustic to a lesser degree throughout the

album. What equipment did you use?

 

ROBINSON: I used a lot of Martins: a 1953 D-28 that my dad gave me, an

early Sixties D-28, a D-21, a '58 D-18. I bought a really cool Guild

12-string. I also played two or three Gibson Doves and this amazing

Hummingbird. I used two dobros: a 1929 National Steel Duolian and a

1933 wooden single-resonator dobro. And a Charlie Christian [Gibson

ES-130] semi-hollow body guitar with a pickup in it, which I used more

as an acoustic. That's on "Under a Mountain."

 

GWA: I've been saving my nickels and dimes for a 12-string, ,myself.

Would you recommend the Guild?

 

ROBINSON: Yeah, it's amazing. I don't know what model it is. I've

never had a Guild before, but it sounds great. I also had a couple of

dulcimers--one, a bass which I bought, and a regular one which Chris bought

at McCabe's in L.A. Supposedly, mine used to belong to Joni Mitchell.

[kmcypress]

Here is the "gear portion" of Guitar - the Magazine Nov 1994. (Again special thanks to plaidpants90 on amorica.org)

 

Crowe Barres

 

Unsurprisingly for a band of retro tastes, the Crowes' riffing machines are trad, dad. Robinson's main guitars are: a '68 Fender rosewood Tele; four 1958 Les Paul Juniors, a cherry Gibson ES335, a '50s Les Paul Goldtop fitted with a Bigsby, a Les Paul Special, a couple of Martin acoustics plus - inspired by Ron Wood NOT! but by the late James Honeyman Scott of The Pretenders - a custom-built Zemaitis; though being a three-pickup black metal front, it's pretty similar to el Ronno's.

 

Of his retro and simple tastes Robinson adds, "I just look for a good guitar, and I don't know why I like what I do. Just sometimes I find something that i know is going to suit me. I'm not into paying thousands of dollars either - maybe once, like the Zemaitis - but sometimes you just get it right. There's a lot of mystique with these things - even though you see a '58 Les Paul, it can sure still play like {censored} and could cost you $20,000. Although it sounds obvious, I'm just more into guitars that sound good and play good and I don't really much care what year they are.

 

"Yeah, most of it is old but if someome came up with a huge three million dollar recording studio that sounded better than an old 24-track Neve then I'd use it! But the way that most progress is made in guitars is producing supposedly technologically superior innovations - like all these racks and stuff that supposedly sound like an old Fender and an old Marshall at the same time. So why not go and buy an original of each, man? The rack is just fake and bull{censored} and just desperately trying to be something real which you can pick up for, I don't know, even a tenth of the price! I just don't understand the philsophy of it. As far as recording is concerned, analouge does sound better too - ask anyone! Digital misses a lot - it's a mathematical calculation and it's all squares whilst analouge is the whole sound spectrun and gets the whole sound."

 

Marc Ford favours a '71 Les Paul in a natural finish, as all the lacquer has been shaved off. It was a gift from Rich Robinson one Christmas.

 

"I never really played them before", says Ford, "and they're a completely different beast from Strats which I played for years. I still get to slip the Strat in but the Paul sounds a lot better with this band, and if it ain't broke don't fix it. It's getting real filthy and it looks great. I also have an early 70's Les Paul Pro Deluxe with the P90s - that's good but it gets too noisy.

 

For amps, Robinson favours a vintage 30W Fender with tremolo played through a Marshall cab. He also utilises a Fender Super Reverb, two Twin Reverbs (again vintage) and a '72 Marshall 50W combo. No effects are used at all.

 

On this album the amp selection was even more diverse, as the band borrowed a lot of gear from producer Puig - "Voxes, Gibsons, Fender, Marshalls, an Orange... everything!" says Ford. The Crowes secret weapon, however, is a custom stack designed for them by Mark Sampson of Matchless, who lent a hand hot-rodding some of the Crowes' usual amp selections.

 

"They sound unbelievable," Ford continues. "We've had little heads made for the small clubs, and we're going to get these huge ridiculous ones made for the bigger venues. They're the two heads in one unit that looks like some old '50s TV set. So we've got two of those each, on top of these 4X12" cabinets, bottom half with a closed back, top is open back. They sound so good but they won't be for sale - no one will be able to carry these {censored}ers around anyway 'cause they are soooo heavy. The cab is like 200lbs! They're stupid - but they're great!"

 

Robinson still widely utilises open G tuning (low to high, D, G, D, G, B, D) or open E (low to high, E, B, E, G#, B, E). "Who tries to do anything different, who really strays from the obvious path?" he asks. "I mean, open G and E aren't even really unusual but because I'm one of the few to do it I look individual. I try new tunings all the time just to try and find new chords. The guitar is a very limited instrument - six strings, only 12 frets before you repeat in a higher octave. It doesn't give you the whole world to run with - but it can be different if you just try. Take a second look at it".

[TheAtomicJeff]

Good stuff - thanks! I saw the Crowes on the BYS tour and they were fantastic.

[blackberry]

Thanks again for taking the time to do this fellas....

[kmcypress]

Marc's Board Early '05

Ernie Ball VP->Dunlop Univibe (Footcontroller Out)->Analogman Beano-> Analogman Sunlion-> Vox Wah

 

Mar'cs Board Mid '05

Ernie Ball VP (TU-2 Out)->Sweetsound Mojo Vibe (Footcontroller Out)->Analogman Beano-> Analogman Sunlion-> Vox Wah

[kmcypress]

Marc's Board Late October 2005

[kmcypress]

 

My guess is that he has the Teese Picture Wah and those 2 Roger Mayer effects he previously had. When I get more info on what the others are, I'll post it.

[FckStick Jones]

LOOOOVE the band.

 

Now i'm really gassin for a TWIN

[kmcypress]

 

 

[papa taco]

Is that Jesus Christ on vocals?

[H2Shredder]

who gives a Flying {censored} at a rolling doughnut what they use:rolleyes:

 

{censored} these slacker asswipe hippie communist dickwads:mad:

[led_acdc]

cant wait im going to see them may 16 at massey hall

[kmcypress]

 

Originally posted by H2Shredder who gives a Flying {censored} at a rolling doughnut what they use:rolleyes: {censored} these slacker asswipe hippie communist dickwads:mad:

 

 

I was going to make a comment on that but stopped. I can see how stupid you are just by reading your screen name...

[xelleos]

Originally posted by kmcypress I was going to make a comment on that but stopped. I can see how stupid you are just by reading your screen name...

i got to see them in 2001 i think, they were {censored}ing awesome.. totally rocked out....H2shredder, your a tool