Pour ceux que ca interesse (et qui connaisse surtout), reverend horton heat :
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Any chance you’d give away the secrets of your setup?
Sure, I don’t mind. From the guitar I go to an Ernie Ball volume pedal. That’s fun because I can get steel guitar-like swells and a little simulation of an amp vibrato with it. I also have the switch for my echo there. Next it goes to a Boss tuner, then to one input of a Chandler digital delay. I rarely change the settings on that. It always does a simulation of a ’50s-style slapback echo. Can’t be a rockabilly cat without my slapback, y’ know? From the Chandler’s right output it goes to the silverface Fender Super Reverb that’s turned all the way up.
From the other side of the Chandler a line goes to stomp boxes. There’s a Boss analog delay that I rarely use except to make crazy sounds, for when I break a string or when I’m just feeling like an idiot and want to screw around. Then there’s a Boss Blues Driver that’s always on, and then it goes into a blackface Fender Twin. When I record, I can just pan those a little bit side to side and it’s a great big sound.
I get a distorted signal through the Twin because of the Boss Blues Driver, which I can turn up a bit to get just a little extra dirt. In certain rooms that are really small but dry, I can’t turn the Super up to 10, but I can turn up the Blues Driver and still get the dirt. I don’t usually turn the Twin up very loud, because that isn’t really the bulk of my sound. My sound really comes blaring out of that Super Reverb. It doesn’t have any distortion of its own, but I get distortion by turning it all the way up, and by the way I play. If I grind out a little extra, it almost sounds like heavy metal, but if I play a little bit cleaner it sounds like a country thing. It’s hard to get that kind of sound from any distortion device, so I prefer to go that route for most of my sound.
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Recently you’ve been playing live with baffles in front of your amps. What’s the reason for that?
People come up and say, “Turn it down a little bit!” But if I’m getting a good sound and my amp is on 9, and I turn it down to 8, it changes the whole tone structure. The baffles let me keep it on 9 and keeps my amps from bleeding too much into my vocal mic. We try to help the people right up front hear the whole band, like the rest of the house can, because those people up front are our best fans.
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You have a lot of different guitar sounds and textures on this album. Was it a long equipment list?
Not really. We were trying to get this done as quickly as possible, so my goal was to get one good guitar sound and not change. But that was hard to do because my amps kept going out and we had to switch them out with ones that worked. But our amp repair guy lives a block from the studio, so it worked out. I had guitar trouble, too. My Gretsch 6120W actually got a problem in the middle of the session and I had to switch to the Gretsch White Falcon for a couple things. I used my ‘54 Gibson ES-175 a little, too.
