THE BLACK CROWES
http://www.guitarplayer.com/ar(...)86501
Pour l'album Warpaint :
Citation:
What were the workhorse guitars on Warpaint?
Robinson: I used my Gretsch White Falcon on “God’s Got It,” “Walk Believer Walk,” “Oh Josephine,” and a couple of other songs. I used my James Trussart Steeltop as well. Luther borrowed it too. It has two TV Jones Filter’Tron pickups. The other main electric was the same blond ’60s Tele I played on Shake Your Money Maker. It used to be black before someone sanded it down. I bought it for $400 bucks in Atlanta in 1988. My main acoustic on Warpaint was a ’64 Gibson Dove.
Dickinson: I believe I used the Trussart on “Daughters.” I borrowed a lot of Rich’s guitars—including an old Dan Armstrong Plexi for “Walk Believer Walk.”
Robinson: That’s from the ’60s. Tom Holmes made the humbucking pickup.
Dickinson: I’ve always loved Dan Armstrongs because Black Flag was one of my major influences growing up, and Greg Ginn played one. After I joined the Crowes, they gave me my own. Anytime you hear me playing a Telecaster on the record, that’s Rich’s, too. I call it “The Moneymaker.” I figured it was good luck because it has already been on a bunch of hit records. Chris has this crazy acoustic with a DeArmond pickup that I used on “God’s Got It.” It has flatwound strings, which were weird to play, but they sounded totally appropriate. On “Whoa Mule,” I played slide on Rich’s National. I also used some of my own guitars. I played my Gibson Country & Western acoustic on “Movin’,” and I also used it to bolster the bridge on “Josephine.” I used my Les Paul Standard on “We Who See the Deep,” “Movin’,” and “Wounded Bird.” “Evergreen” is my black Strat. I like how the Burns single-coils make it sound a bit fuller than a typical Strat, and I used the old Van Halen trick of dipping them in wax to help prevent feedback. I also have Marc’s Telecaster and Stratocaster. He left some guitars with the brothers, and said, “Feel free to play whatever you want.” I use DR strings on all my guitars.
Citation:
What amps did you use most on Warpaint?
Robinson: I used a high-powered Twin-style clone that Wayne Jones at Headstrong amps made for me [a Prima TTHP Custom]. I used my Matchless Clubman on “Goodbye Daughters of the Revolution,” and maybe “Wounded Bird.” It’s one that Mark Sampson made us for Amorica. I also used a plexi Marshall on one song. Paul would tweak my amp after I set it up, and then I’d put it right back where I originally had it after he left the room.
Dickinson: I used Paul’s vintage Ampeg VT40 combo. It has that Stones/Faces vibe, and I was familiar with it, because I’d used one at Ardent studios in Memphis—it’s the amp used by Big Star. I put it in the fireplace at the studio. It was a pain to move, so I left it there the whole time. I didn’t even move the knobs after I’d dialed in the tone, which I like on the bassy side. Later on, I realized that my amp, and the amps used by Rich and Sven [Pipien, bassist] were pointing right at the drums. That meant there would be no fixing anything later, because everything was bleeding all over everything else on the basic tracks.
Robinson: We recorded live for the most part, but this is the first record we’ve done fully in Pro Tools. It sounds better now, and we use it like a tape machine. We like to jam and write pieces in parts, and Pro Tools is really helpful for arranging everything later. For Lions, we split the signals to Pro Tools and analog tape. It was a silly experiment, and, of course, we wound up using the tape tracks. But, this time, we were financing the record ourselves, and tape is expensive. Tape can also be a time-consuming medium, and as we had a ton of songs that we didn’t do a lot of pre-production for, going to Pro Tools made lots of sense.
Sur scène :
Citation:
Luther, does your setup change for the live shows?
Dickinson: I use two Marshall plexi reissues running into a pair of 4x12 reissues with Celestion Greenbacks. The Bright channel on those is really bright, and the Normal channel is really bassy, so connecting the two is the best way to get a balanced tone. I use the 100-watt for rhythm, and I kick in the 50-watt for lead. You can’t go wrong when you plug into a pair of Marshalls and turn them up—it sounds like rock and roll. I’ve simplified my pedal setup for the Crowes. The Ernie Ball volume pedal actually controls Rich’s Fender Deluxe that’s set on my side of the stage to provide a great-sounding reference at whatever level I like. I’ve also got an Analog Man King of Tone overdrive, a Dunlop 95Q wah, a Boss TU-2 Tuner, a Fulltone Tube Tape Echo, and a Radial Tonebone Switchbone AB-Y. Derek Trucks hipped me to the Switchbone, and it’s the key to my rig. The polarity switch is so important, because hitting it makes an out-of-phase issue obvious.
Citation:
Inside Rich Robinson’s Flight Cases
Electric Guitars: 1969 Gibson goldtop Les Paul Standard, 1968 Gibson SG Special, 1964 Gibson ES-335, 2006 Gibson Custom Shop Les Paul Special (with Lollar P-90s), 1969 Dan Armstrong Plexi (with Tom Holmes pickup), 2006 Dan Armstrong Plexi, 2005 Zemaitis Disk Front, 2005 Zemaitis Diamond (with custom DiMarzio pickups), 2006 Zemaitis Metal Front Duo Cut, 2007 Zemaitis Disk Front #2, James Trussart Steeltop prototype, James Trussart Steel Deville, James Trussart Steelcaster (with custom DiMarzio pickups), James Trussart Steeltop (with TV Jones Filter’Trons), 1962 Gretsch White Falcon, 2007 Fender Custom Shop ’56 Stratocaster reissue, 1968 Fender Telecaster, Fender Telecaster (with B-Bender), 1994 Fender Custom Shop Telecaster, 2005 Fender Mary Kaye Stratocaster (with custom DiMarzio pickups), ’90s Zitlau (Supro-style with korina body and two humbuckers), Bill Asher lap-steel, Sadowsky nylon-string solidbody, Rickenbacker 360/12C63.
Acoustic Guitars: Gibson Dove, Guild 12-string, Taylor 6-string, Taylor 12-string, 1929 National Duolian.
Amps & Cabinets: Harry Joyce Custom 50 (3), 65 Amps Royale Albert (2), 65 Amps 2x12 (2), 65 Amps 4x12 (2), 65 Amps Custom 2x15.
Signal Processors: Custom Audio Electronics Switching System, Ernie Ball Volume, Vox wah, Demeter Tremulator, Moog Moogerfooger MF-103 12-Stage Phaser, Hughes & Kettner Rotosphere, Pro Analog Dual Driver, Fulltone Full-Drive 2, CAE/MXR Boost+Overdrive, Dunlop UniVibe, DOD Echo FX/96, Headstrong Tube Reverb/Vibrato, Fulltone Tube Tape Echo (2), DigiTech Whammy Pedal, Line 6 DL4, Boss TR-2 Tremolo, Peterson StroboStomp, Pete Cornish buffered line selector.
Strings & Things: Dunlop Heavy Brass Slide, GHS Bright Bronze Extra Light (acoustic guitars), GHS Sub-Zero Boomers .010-.046 (electric guitars), Shubb capos.
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