and solo albums for a couple of years, and then Utopia happened. Eventually, I got to a point where I had collected a number of guitars, including a Flying V, and I even had Eric Clapton's SG for awhile, the multi-colored one he played with Cream. I played that guitar so much that it fell to pieces I Just put it back together again and framed it.
Who made the Ankh-shaped guitar you're playing now?
It was made by John Veleno [3131 Tyrone Blvd., St. Petersburg, FL 33710]. I have two of them that are more or less identical in case I break a string.
What makes it different from regular, mass-produced guitars?
Chrome plating [laughs], and it's got these specially wound Stratocaster pickups.
Does your sound depend heavily on special effects?
Yeah, I use a lot of special effects devices. Several are connected between my guitar and the amplifier. The amp's speaker cabinets are located offstage. A microphone picks up the signal from those speakers and runs it through a second group of effects before it reaches the PA and monitors. I'll trace the order of connection for you: the guitar's signal first goes to a preamp and then to some synthesizer components, including voltage- controlled filters, a voltage controlled amplifier, and an envelope generator-I use the envelope generator to get a reversed sound effect. Then I run it through a preamp again, and then to a graphic equalizer, a Sunn Concert Lead head and into the speakers. The microphone is placed right in front of the amplifier's speakers. It sends the signal into the second group of effects, which includes a Harmonizer, flanger, and echo. The Harmonizer is tuned with a special foot pedal. I can also turn the pedal off and use the Harmonizer to give the guitar a double-tracked sound.
Who makes your equipment?
The Harmonizer is an Eventide [265 W. 54th St., New York, NY 10019]. The flanger is an Electro-Harmonix [27 W. 23rd St., New York, NY 10010] Electric Mistress, and I'm using Tapco [3810 148th N.E., Redmond, WA 98052] graphic equalizers, and E-mu [3046 Scott Blvd., Santa Clara, CA 95050] synthesizer modules. The preamp is part of the E-mu setup. It triggers the synthesizer modules-the voltage~controlled filters, amplifiers, and so on.
How do you control all of these effects?
There are several switches in front of the stage, one to turn on the effects and one for the straight guitar sound. I essentially have two identical signals going through, but I can switch in effects on one channel and have both sounds happening at the same time. I have other buttons to activate the Harmonizer, the flanger, the synthesizer components, and the echo. They can all be independently pendently controlled and mixed together in many different combinations.
Do you have all of that gear so that you can recreate your studio sounds on stage?
I guess, although it's not necessarily studio equipment except for the Harmonizer. The system provides a whole range of flexible sounds to make the guitar more interesting. It doesn't have to come out the same all the time. Like, particularly when
you're using that hard driving sound, it can get monotonous. I've been changing around, making it softer, making it fuller with the Harmonizer, just getting some synthesizer-type sounds with the voltage-controlled filters and pedal, and things like that. I use the graphic equalizer because I can't get the sound I want when I just go through the amplifier.
What's your speaker configuration?
We actually have two kinds of cabinets that we use-one with two 12s, and a custom cabinet with one 15 and two lOs. Since the monitor's signal is coming through the microphone from the offstage speaker cabinets, we can adjust its level independently, without affecting the sound that reaches the audience through the PA.
How do you alter the guitar's signal when you're in the studio?
It depends. In my own studio at home I have graphic equalization on every channel, so I don't have to do any unnecessary patching. Three-band equalizers give me more flexibility under normal circumstances, and I can get very unusual sounds if I want to. For example, I can get a strange sound by knocking out two bands. I can also add the usual things like delays and flanging. I usually prefer to flange the guitar before it comes to the console, because flanging at the console sounds too electronic.
Do the special effects you choose depend upon the type of guitar?
Oh yeah, because each guitar has its own sound. Even two guitars of the same make can produce different sounds.
Do you use certain instruments for specific jobs in the studio?
Yes. Fender guitars are good for rhythm. If you want a rhythm guitar that still has a lot of highs to cut through, use a Fender. Gibbon will give you a punchy and midrangy sound. They are more moderate rhythm guitars, whereas Fenders have a little more bite to them. For rhythm tracks I prefer a Fender. For lead tracks I really like to use my old Fender Mustang, because it has a vibrato tailpiece on it. I really like to fool around with that. These guitars that I'm using now, the Ankh-shaped ones, are supposed
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