00:26Well, I can tell you that all these miles are mine.
00:29This is a 1960.
00:32I bought it in San Francisco in about 91, I think.
00:39And it was clean.
00:42It was already 31 years old, right?
00:48But it had really not been played all that much, I guess.
00:52Somebody had it at home or something, it wasn't a road guitar.
00:55So, I was never a Tele fan, and in those days I was playing a guitar that Fender made for
01:02me, the Robin Ford Fender Ultra Esprit, which was their version of a semi-hollow.
01:10Which it wasn't, but it had sound cavities in it.
01:13And the woods were very bright, and somehow I was comfortable with that guitar.
01:17It sort of worked.
01:19I was a part of the choice of woods and design and everything.
01:25And I had had this inclination to go towards solid body instruments instead of 335, which
01:32I'd been using really up until that point.
01:35And Fender approached me about making something.
01:38So we did.
01:39And I used that guitar a ton.
01:40That's the Talk to Your Daughter album.
01:42And I used one guitar exclusively, you know, there for a few years.
01:46Just that guitar, the Ultra Esprit.
01:49And then I walked into a music store in San Francisco when we were on the road to buy
01:54some guitar strings.
01:55I looked to my left, and this guitar was sitting there.
01:58And I just, just drawn to it.
02:02And I think largely, Mike Bloomfield was my first guitar hero.
02:07And he was playing one of these.
02:10His was a 63, but it looked exactly the same, you know.
02:15And I think I thought, that's the guitar Mike Bloomfield played.
02:18I need to at least check it out, you know.
02:20Something like that must have been going through my head.
02:23I walked over, started playing it, and I just, I got to take it.
02:27I got to buy it.
02:29So I did.
02:31And the first album that it appeared on was the Mystic Mile album on the first Blue Line
02:39record started up as on a Telecaster, but that was an early, it was a 50s with a maple neck.
02:49So it's a little brighter and thinner.
02:52But I don't know, man.
02:53This guitar has just been my best friend ever since I got it.
02:57It's been the most used instrument that I've played.
02:59It's got a hot treble pickup, and that is a huge part of why I like this guitar.
03:06This pickup actually has been rewound.
03:10I was really unhappy about that, but someone was taking the pickup out, and they broke one
03:16of the wires, and I'm like, oh, man.
03:19But it was rewound by Lindy Fralin, and it's been good to me.
03:22I've liked it.
03:23It's not quite as loud as the original one, but that's okay.
03:28And, you know, kind of a smaller, slim neck, and I remember it as being bigger, and I think
03:36just all the years of playing it and re-frets and everything, you know, it thinned out a
03:41bit.
03:42I wish I could have a photograph or something.
03:45I wish I could make that comparison to see if it used to be bigger, which is, I remember
03:51it that way.
03:53So, anyway, it's been the most important guitar I've owned ever since about 1991.
04:02How many re-frets have you had done on it?
04:05I don't know.
04:08I was fooling around for a while, you know, trying bigger frets, and I even put 6100s
04:14on here, 6100s, maybe?
04:17I mean, I was really going for it.
04:19The Blue Line was the band, and, you know, we were really playing a lot of blues, you know.
04:24It hadn't, I hadn't really gotten into writing more songs.
04:30It was really kind of blues, super blues directed, you know.
04:36So, yeah, I was, you know, I tuned down a half-step, and I had 60, 6000s?
04:42Is that possible?
04:43I might have.
04:46But it just got to be ridiculous, you know.
04:48And tuning it down made it unusable for other things, you know.
04:52I hated tuning it up and down.
04:55So I just, you know, straight ahead, you know, standard tuning.
05:01And, you know, 61, 60, 6150s?
05:06Is that what they are?
05:07Yeah, 6150s, I think.
05:16You know, that woody, that hollow woody sound.
05:28Part of the way I get that sound is by playing back here, just so people know.
05:34It's not necessarily going to happen here.
05:52And it's kind of akin, I don't know if you're familiar, I have an Epiphone.
05:56Yes.
05:57Riviera.
05:58Yeah.
05:59That is a 65, I've been told.
06:04And the rhythm pickup is pretty much all I ever use on that guitar.
06:10That's what that guitar is to me.
06:12And this is a similar sound to me.
06:14Kind of the mini humbuckers on a hollow, semi-hollow instrument.
06:19I love that tone, man.
06:25It's round, you know.
06:26It's like a, like that.
06:29And this treble pickup, as I mentioned, it's, it's, it's, it's not sounding quite right through
06:36this amp.
06:37All due respect to that amp, but.
06:41May I?
06:43Ooh.
06:43Okay.
06:49That's not the way people think of a Telecaster sounding, I don't think.
06:52Right?
06:53It really sounds much more humbucking.
07:13I mean, you can do that on this guitar, you know.
07:16And it's got this lovely, um, mid pickup thing.
07:40That's how, double stops.
07:49It's funky, you know, it's, it's, it's just a great rhythm guitar sound, you know.
07:55So, uh, yeah, that's, that's what this guitar can do, you know, um, unlike any other instrument
08:02I own.
08:03I'm using right now, the jam boost, which has been very helpful, uh, just to get my sound
08:11up, uh, loud lead, you know, without being overdriven, which I use, I, I, I prefer generally, you know.
08:40This vibrato, it's, it's the electric blue two chorus and vibrato from Mad Professor.
08:47Those guys are good.
08:49I've got at least three Bad Professors on, on the pedal board here.
08:54So, um, it's, you know.
09:07I started fooling with things like this because my newest record began as a tribute to Jeff
09:13Beck.
09:13And I had never really, uh, explored that side of the guitar.
09:20And after Jeff passed, I had, I had become a fan much later in life, you know.
09:25I didn't really hear him play live for the first time.
09:28It was like 2008, something like that.
09:32And I'm like, how have I not been paying attention to this guy, you know.
09:37So, and, um, became a huge fan and, and actually played some festivals with him, which was great.
09:44And, uh, he passes away, you know, out of the blue like that.
09:48Uh, I was kind of looking for inspiration and, you know, wanting to do something different,
09:56uh, ready to record again, maybe, you know, which I hadn't done in a little while.
10:02And I thought a tribute to Jeff Beck would be perfect.
10:07It brings me to a different kind of sound, a different, I bought a Stratocaster, you know.
10:12Started working with vibrato, started working with different pedals, much more so.
10:17And that's where Dan, you know, really came to help me out here with this.
10:23And, um, it's been a wonderful trip for me, a little journey, you know, working more with
10:27pedals and playing the Strat, which I'll be playing tonight, you know.
10:30On the show.
10:32I'm just most comfortable on this Telecaster.
10:35So, uh, this, um, was sort of, uh, we do a tribute to him.
10:42And, uh, we do Behind the Veil.
10:51You know, that kind of thing.
10:53Uh, and this really does that for me in a good way, that kind of a sound.
10:57The Pog, for me, is, um, you know, it's an octave up and an octave down and an octave,
11:10and a, and a, and your sound in the middle, flat or dry.
11:17And when I turn that thing on, I, I feel like I, it allows me to play in a bebop
11:22way more.
11:24I'm not, I don't, you might have noticed, I didn't start playing blues, right?
11:29It's more of a, you know, kind of bebop thing.
11:40Ha!
11:42Ha!
12:07Just lets me play like that, you know.
12:09That's why I dig it.
12:11The ring modulator, man, I'm still trying to figure out.
12:19It was also, you know, Jeff used the ring modulator quite a bit, I understand, you know.
12:32So, I'm still working on it.
12:36I'm kind of using it as an alternate vibrato at this point.
12:43It's a different sound.
12:45This was loud a moment ago, so I'm going to...
12:48This is the Overdrive Boost by Throwback.
13:03So, there's that boost, but it's both an overdrive and a boost.
13:08So, I get some distortion, and I also can get a cleaner, punchy...
13:13It's really got a lot of girth to it, you know, that one right there.
13:18And then here is the cymbal, also from Mad Professor once again, for my usual overdrive.
13:31You see, it still says Zen here.
13:33I had the Zen Drive pedal on here, and I used the Zen Drive for many, many years.
13:39And I just got to where I needed to hear something different, you know.
13:42Once again, I was going through this little journey, you know, with the Jeff Beck influence
13:47and writing in a different way, and I just needed a different sound.
13:52So, I found this.
14:14So, last but not least is the...
14:17No, there's two.
14:19Silver Spring Reverb.
14:22Also from Mad Professor.
14:24And it's the best, you know, foot pedal reverb that I have found to date.
14:29It can get a little sizzly on the top, a little distorted on the top,
14:36which makes it hard to record with.
14:50But to me, it sounds very natural.
14:53I'm thinking a little bit here.
14:58piano solo
15:26So, I think we're hearing mostly
15:29the reverb from the Silver Spring there.
15:32The timeline,
15:34the strum and timeline delay
15:37has, you know, a lot of stuff in it,
15:40including reverb.
15:41So, it might be a little influenced by that,
15:43but it doesn't have to be to sound good, you know.
15:47So, the timeline.
15:51This is just a short delay that I have set here.
15:59And this also, for a pedal board,
16:01this is absolutely the best pedal board delay,
16:04once again, that I've found.
16:05And I'm not an expert, but...
16:11Can you hear that delay?
16:12The short delay?
16:13Yeah?
16:16And I use it just to widen the note a little bit,
16:21you know.
16:23It's, of course, cool to have the effect,
16:26but for me, the reason I like the effect
16:28is because it just makes the note a little bigger,
16:30you know, a little more happens there.
16:38This is just a longer delay.
16:41We're not really hearing much of it here.
17:00I think most of us are looking for, you know,
17:02studio quality, you know.
17:05And this is the best that I've found.
17:08I used to use the TC Electronics rack,
17:12the first one.
17:14Do you remember the number?
17:15It had a number, I think.
17:17But that thing was wonderful, man.
17:19But after a while,
17:20just carrying a rack around all the time
17:21became really kind of more trouble than it was worth.
17:27So, also here, I love this effect.
17:31It's the Marigold setting that was in it.
17:34I've adjusted it a little bit.
17:42For that slightly chorus-y, reverb-y.
17:48And it has notes above, right?
17:50I think there's a fifth above.
18:00It's not, it's in there,
18:02but not as much as I'd like to hear right now.
18:08It's amazing how just a fifth above,
18:10a fifth above, a fifth above works.
18:12It's probably the Harmonic Series or something, right?
18:26So, the Wah Wah pedal is from Exotic Effects.
18:30It says Red LTD here.
18:33I chose it largely because it was small enough
18:37to fit my pedal board.
18:40And it's, it, it, I'm sure it can be set
18:44better than I have it.
18:46I, there's a lot of darkness
18:47and I have to stay up on the top a lot.
18:49But I think these things are adjustable
18:51and I just haven't gotten round to it yet, you know?
18:58Sorry.
19:27So, there's that.
19:29Pretty straight ahead.
19:31And then I've always been, you know,
19:34very happy with the TC Electronics Poly tune.
19:38No problem with that, man.
20:08We'll see you next time.
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