Rig Rundown - Dave Cobb

[Music] hey this John Bollinger with premier guitar and I'm in historic studio a in Nashville Tennessee with Dave Cobb hey Grammy winning producer songwriter musician this is this is your place I don't it's not my place it's everyone else's place I just happened to be hanging out here quite a bit lately great well man tell me about let's start with these guitars I guess you're you have a ton of great gear here but let's start with this because it's such you haven't a lot back here but these are we've called a few of your faves from the yeah yeah these are my desert island ones I think but uh yeah you want start off Yeah right cool this is my first great guitar I ever bought and this one is the only guitar I think if I sold everything and stick around and this guitar is really funny it's been used on tons of Records but when I was touring in a band it's the only guitar I owned so every night I change the strings to make sure it didn't break I didn't have a backup ID bondages I had no other guitar no other money to buy another one but this is a 66 esquire at the funny story I was in Atlanta I was living there and this guy used to go around and sell these guitars in town like pick up old stuff and flip it he thought it was an original original Olympic white telly and it had overspray on it with this it's been refinished on top so he bought some he bought the guitar put a chemical on it just try to get back down to the original color and ruined it so he sold it I think I bought a free hundred bucks or something like that Wow and come to find out about 20 years later is actually original Fiesta red the guy ruined the guitar but I love it look at that this is oh that's great yeah he variable for you and that was a big hoo phase at the time so I think I put a number because somebody put a strap lock here to try to be all Pete Townsend and now it's just ironic but this is my number one of all my guitars I've ever owned that's great so regional pickup in it you know it's funny when I got the guitar the original pickup died and I sent it off to be rewound and I moved so many times I put a Jerry Donahue pickup in it briefly and and loved it and just forgot to put the original pickup back so I have no idea where the original pickup is so okay I'm still chasing the dream in the pickup so everybody has a suggestion I still haven't found the magic it used to have right so in the comment section if you have yeah I mean I'm good yeah good yes that's my number one that's great okay very that's it that's an impressive start oh that's good you got another one yeah all right yeah little let's do them all it's probably probably my number two this I bought there was a guy Dan who 165 amps out in California every time I go by shop this guitar was sitting on the stand and I wanted that damn thing so bad he wouldn't sell it and finally for some reason I don't know he's maybe buying a house um he sold the guitar to me and it's been chasing it back ever since and I've had and this is a we use this on you know the Sturgill record meta monitor and we used it on a lot on visible southeastern oh and the last record something more than free and something about Jason this guitar bond I told him I give it to him if we sold X amount of records and I set the number so damn high but but you know you guys can help ya know hurt me because I don't want to sell the damn thing but him in this guitar bond like crazy so most of the slide work there were a lot of the work I think on south-eastern was this guitar now did you you play that up as well or you provided not I did not play on South East and I played some acoustic on something more than free I mean Jason's one of the best guitar players I think people need to you know obviously his lyrics and his songwriting are so good his voice is so good that it'd be fun to have him just do a guitar geek out because if people could see how good he plays right truly one of the best slide players on earth and you know I don't like picking up guitars around him because he's so good so I kind of make it really hide when he plays guitar cuz he makes him sound good and it makes you feel incompetent I'm so damn good we did in fact check out his rundown as well Jason's run down this he's got this fever man yeah I'm car fever yeah that dude's got some gear there's a little pool of three four of us all have the fever and it's it we should not hang out we should not be friends because we're all going to get divorces based on you know chasing guitars so with all the addictions that's the I know what's worse I don't know I really don't know what's worse it might be cheaper to be a cracking I don't know yeah maybe oh that's what I'll turn into but yeah there's something about this original this is 5900 how great is a Firebird jet he said pinned or did you pin the bridge you know Dan the previous owner had a lot of work done to it and I couldn't tell you what that work does or was done on it but these original patent apply for filter Tron's are just magic there's a complete magic to that so we do our kills me it's so cool in the 50s they're making guitars that look like spaceships oh I love it I know yeah I know now we're like making guitars look like fifties Qatar's right which is really our yeah yeah cool cuz they you know maybe they're way ahead up at the time yeah yes some other stuff I like this is a my favorite Les Paul I've ever owned oh yeah this this I bought in parts this is a 52 Les Paul that I think Terry Muller did a conversion on it and reset the neck and took off the trapeze tail piece and now it's got a proper you know 57 neck angle oh I put the mirror top knobs on it because I always love that 60 Les Paul look so were you like you know going online and looking for the original knobs and all that oh yeah you went down though yeah I went down the rabbit hole yeah there's one time I was when in old fender bodies and necks forever trying to put together the ultimate fender because I'd read about Clapton doing that right with his guitar which he bought all those fenders names shop yeah in Nashville yeah it was it really Wow yeah he was he was in Nashville they were like 200 bucks isn't like that yeah he bought a bunch of like brought him back stole the best parts to make Blackie I guess gave one to George Harrison crater all bought on like Broadway in Nashville damn it yeah but I put a P Epson in here I think one of the this is a real PF I'm not sure 58 59 and the other ones just a t-top you know humbucker Gibson and I love this pickup this is the jam just a t-table but I went searching for the ultimate PAF and this is the best one I found so I get real dorky with this stuff there's something it's just fun to chase you know dragons and right yeah there's almost more fun not to catch them too you can keep playing but yeah this would get this guitar bent on just tons and tons and tons of records a lot of the rival sons stuff I think use this early on right and yeah that's great so when you're playing that guitar I mean do you prefer it in a classic kind of over driven way or is it equally sweet clean well I mean my hero growing up was Jimmy Page sure thousand percent so yeah you know my ideal tone growing up was you know well let's Paul on a Marshall kind of deal right so even when I play fenders I'm still looking for the Les Paul Marshall you know yeah it is like there's always a thing and I like that kind of right at over driven moment you know yeah things start to Angus was a huge influence to me my two favorite guitar players growing up was Angus Young and Jimmy Page so between what they had is something completely unattainable but I like that yeah I mean that's always been you know I may play like a you know I think of a random amp you know a fender champ I wanted to sound like a Marshall yeah always I've always been kind of seeking that same kind of deal and Zeppelin one to me is the ultimate guitar tone of all time right which I think most that was super early through super yeah right I think that super fuzz is a big part of it yeah which I've got one of those and those are secret weapons too yeah yeah but I think a lot it's funny you know that even Angus Young Paige hanxiang they're not when I listen to them today their tone is not as dirty as I remembered it it's not dirty and it's kind of bright yeah I like the bright I think I think the 80s went weird when everybody was here on a Les Paul the whole time you know yeah rhythm position yeah something about that Paige always had that middle position thing rocking yeah and not that you know you know since I've been loving you that's one of the quintessential guitar tones to me yeah with that is awesome so it was converted before you got before I got it yeah and there was a guy I was living in California in LA and there was a guy Scott Dave Kayla she's a absolute expert guitars and I used to go pick his brain all the time and I was like man can you help me find one so he found that one and the moment he found is I I don't want to sell it like man you help me find it I don't want to sell it okay I have to I usually practice talking people out of things it took a while to talk him out of that guitar yeah that's great we've under this one this one this one I chased the guitar for about five years it was a guitar center here and you might be able see us on camera I don't think but it says rebel right here somebody had sticker on it and I always thought that was so hip you know I probably done in early 60s or something and yes in 1963 35 original PAF's changed to the Grover's which is again super cool Jimmy Page thing you know right I don't mind that I love it yeah I love can talk when guitars are messed up I love right headstock repairs I love real ends I love dog guitars it really scares me to play a clean guitar right you know yeah like we're in a suit so I don't want a guitar that feels like a suit yeah and also I think there's a legitimacy to it because like in the 80s you know everybody jak2 their guitar because it was like a kind of took pride in it you know yeah okay man I improved it and so when I see something really clean I kind of questioned yeah weird yeah a little bit yeah like why didn't you play it but not that's a really good thing yeah this guitar I know Scott Holliday from rival sons use this a ton on the last couple rival sons album and it's it just there's something about this sounds like like Paul Kossoff Les Paul right is that real burnt there's like a thing a burnt kind of sound always look for in Gibson's and this one just has it and I searched for many many years as a matter of fact I had a killer 61 335 that I never thought I'd get rid of and Jason started playing it a lot as well started playing on on that something more than free album and he really bonded with a guitar he's like dude tell me this one was like hell no I'm not selling that guitar and so he kept going and going and going until one day I sold it and now that's his main guitar yeah we in the end his run down yeah it's actually Perry he's on the camera right now did that rundown oh cool and I think I get ours on that so man that guitar is insane and and there's a picture his wife took of the day I sold it to him and he looks like a little happy no child and I look miserable and the day the day sold that to me I knew where this guitar was and it was overpriced and I called him up and made an offer and they took it that day but this this set on the wall Guitar Center for good five years you know really it was just you know I think it was bald at the height when yeah these things were going crazy and was marked up too much but they were really great and gave me a good deal so I finally got it after chasing this thing forever that's great yeah it's it's funny though the market of vintage guitars it got crazy - did ya and now it's kind of level but you know thank God yes it seems like it's come down this guitar is real special to me I got this the night of the CMA Awards with Chris Stapleton when we did the Justin Timberlake and Chris thing right and we all played and you know they called like you know you want to try something for the show and and so I went online and looked at what would be cool cool Gibson thing and I've always loved this wine-red I remember seeing Pete Townsend's wine-red Les Paul's and there was something so hip about it and then I was always big Pete Townsend fan so they bought this just in time I mean just before we went on and I don't always means a lot to me because that day I think changed all of our life and it was just a really special moment to be with Chris up there and write you know be playing these things up there and so I always be forever thankful for this guitar and it's real sentimental so I've been kind of forcing it to you know a lot of stuff I love it so what so do they literally bring that they bought it to the show to the show and you never played it just strapped it on like all right let her go it was pretty crazy yeah that's pretty cool yeah never played a guitar and then get in front of ten million people I mean I didn't think it was that I thought it was like my aunt and uncle and mom watching at home now how you go to death they are bowling now can't do it again a lot of people watches wait a minute yeah yeah nervous every time I do that thing you ought to best that with it yeah it was it was a crazy night I think it's you know it's been a year in about a month and it's it's all still in shock from from that day you know yeah well man it really it's it's so interesting the way that work that you all were doing kind of changed it has been like a like a paradigm shift in the way country music is perceived and actually being made right now you know well I assure you we didn't try to shift anything change anything we made a traveller was actually done in this room we're just having a good time and it was like you know being 15 and having your buddies over and playing in your garage I mean there was no pressure and there was no commercial aiming or no agenda at all it was just having fun that's great so okay we'll get back on your tars but when you mention it so do you literally just kind of cut in the yeah like this yeah sometimes we put drums in the booth sometimes we don't but you know traveller was done on here with drums in here and then also drums in the booth but you know everybody's seeing each other and reacting in the same room it's just that's what's great about these magic spaces I mean they're very few places where you can set up and it sound and it just works we're in the same room I mean this place was designed when people were a lot smarter than they are now yeah you know and next door at RCA studio be in and also the Quonset hut down the street they created the natural sound which is the you know they want to Sinatra money so they had strings and you know choirs and stuff on country records in the country yeah cuz you followed and sound so they made so much money off of that they expanded over here so they could have you know entire choir you know the singer the band an orchestra yeah drums everything in one room so it was built for purposefully built for that kind of recording so it's it works and it's honestly I feel like a jerk because it's is you pull the faders up and it's kind of cheating you know it really is I mean there's no there's no skill to it man you just turn things on well sounds good it's yeah it's it's amazing how it gets away from everything about getting everything separated ya bleed but really like like that that's what it's like it's not that reverb II it's really controlled yeah they controlled in a perfect way you know my quintessential sounding records like the stones sticky fingers can you hear me knock and you can just tell they're all in a room and they're playing the reacting and the either bleed guitars bleeding into the vocal mic and that's making the guitar sound cooler and yeah you know drums are bleeding into everything as well and it's just hip I love that I think people really they talk about vinyl albums all the time in old records like old record sound amazing I gotta get that old record it sound so much better on vinyl but I think in actuality what they're really chasing is humanity people all in one room reacting to each other yeah and now we don't have to do that back then they had to do that so they didn't have a choice and it went to vinyl because they didn't have a choice but it's that humanity and there's great players that make those records sound amazing yeah I think it's totally it I think that that the whole digital thing it's not like there's not a bad thing at all yeah exactly it's not like it's not that analog sounds better it's that when in analog you do have to kind of listen there's not gonna be the overdubs as much you're going to kind of just all play together and be I think it's you know it's really just people being in a room yeah remember why we all got in this I know you know I can I still remember the first time I ever got together with kids in fifth grade to start a band yeah and you we were all terrible but we got in a room we turn amps on and they were loud and you got excited and you know it's just that feeling I always want to make continued that feeling I had then you know how to do that still at 42 you know right alright yeah okay now I know this little side bit it's interesting how I mean people wonder kind of where producers come from but really they come from guys kids playing in a room we're buddies had been bands and then it just goes from being a producer you have to be a really good liar I mean really like did somebody give you a producer degree like nobody gave me a degree you know like you can't pass a producer class you're just you just lie to people and say yeah produce records and hopefully they believe you yeah but there's no such thing as that you know annointed producer is just you you lie a lot you know convince as many people as you can and then and then then you are yeah well that's a very humble way of putting it you've had an amazing track record as I was talking earlier about you're the hole shooter thing you were like a kid when we were all yeah yeah we got thanks to him I'm in Nashville yeah he knew I would be here right you're in LA when you did fourth of July yeah I ran away from Georgia to California you know just because I wanted to make rock and roll records and I got out there and I met shooter somebody said you guys are from South you both get along and put us together and we hit it off and made that record and and that is a rock and roll record that is it don't tell anybody yeah don't tell the girl get out don't tell the country people that ya know yeah absolutely he's a rocker yeah whether that's more that kind of sounds like a classic stones record than me well we love that stuff so I think we're trying to just make it sound fun you know yeah and anyway we're here now because of it I think awesome okay all right sorry back to connects yeah next uh all right let's go let's go with this this is a I just got this one recently I got this from a guy in town Tom boo Kovac oh yeah this was his number one and I played this guitar years ago and and I made a joke as like man I'll trade you three guitars for this guitar so of course he goes in and he picks up my best three guitars like I was just kidding yeah so anyway four years I'm one of this guitar and he's chasing a bigger dream right now he's getting this crazy guitar so he finally sold it to me about two months ago and this thing is like a piano it's just loud and live and there's very few of them that do that this is study here you check it out it's just it just rings and rings you know excuse tickly lighter than I am crazy light it's got that cool 57 slight V to the neck and wow that's so great man and it's interesting the way those bridges really stick up like they hurt your hand yeah this one's even worse this one look at that yeah it's like I do you need tetanus before you play the guitar well it's because back then they put that the the ashtray over all right so I don't know if you can see how those things will just rip your hands up Bart but back when they built them you know Lea to say well put a cover over it and you'll think you just went down to Home Depot and pick up a screw yeah yeah I don't know how much thought is in that part you know I think it's literally you know let's just see if we can find things that poke people and put them on the guitar right um now the Esquires they have always been an Esquire guy and they're routed I think underneath that covered it's routed for another pick that's right it was this cheaper to get it without it yeah but Esquires are cool because I think you can make that sound like any guitar you want you can make it a jazz guitar a heavy rock guitar or country guitar right I feel like with a good Esquire you can make it sound like a Les Paul you can make it sound like you know a Fender you can do anything with it so I think you know if I had one guitar it would be one of those you know yeah you're so you don't even miss that neck no I know no not really not really but you can do a lot of things I mean when I was a kid there was this great guy in Atlanta Peter Stroud and he plays with Sheryl Crow and just a unbelievable player one of my favorite players in the world we worked together to the store and I was chasing like you know the goofiest guitars and amps at the time he's like he'd be like huh man let me just you should check out this this you know 50 watt Marshall and I was like I mean I want to mess a boogie you know it's like no no check it out and he was showed me how to use it and it showed me how to use it you know he would do the old thing where he dimed the Marshall and then he used a volume and tone roll the volume and tone back until you got the thing and if you needed to go for you crank it all the way up so I learned that trick from him real early on and it's always stuck with me between the volume and tone on this thing it's just so many colors with one pickup you know you can get that cool southern rock guitar tone when you crank this all the way back you know right and the Angus thing always felt like he was about 75% back a little bit and you go for solo yeah I really learned how to work the volume and tone from him years ago and I'll be forever thankful that you know otherwise I'd have been gang stuff up and try to get the same sound when in actuality is so easy plug the guitar into an amp and use these things their reason why they put them on the guitar as you know now the switch I've never really understood what an Esquire this is the cool thing about Esquires as opposed to Telly's is this is straight to the the jack it's got no pot it's got no no capacitor really in the middle right there so this is completely inactive there this position you get the tone pot in the circuit and this position is the tone pot rolled all the way off somebody somebody told me a long time ago that they thought it was made for you know like one guy would play rhythm you know then down yeah and then the other guy play lead and they switch or whatever but I don't think that's true ah so so this one I think this is a 56 we got this from the folks at Carter's here Nashville was a great guitar shop this Chris Stapleton gave me this for my birthday this year it was the best birthday gift I've ever gotten in my life just you know just insanity um you know my wife and I've been together for 18 years and I always try to plant seeds you know give me something music get a guitar yeah no nothing I get socks she's gonna be mad at me for saying it but she don't watch this yeah yeah she's had to sit through this leg she's amazing but I've always wanted a guitar for a gift and and it was the first time I'd ever gotten one as a gift for her birthday so this thing is you know imagine we'll be using this lot coming up and we do Chris's next record but just the sweetest thing ever you had to walk in and and play this and this is cool because it sounds like I remember being a kid and reading about Pete Townsend recording in you know who's next and he was using one of these Gretchen's and a310 bandmaster right in the bridge of the quintessential Pete Townsend telling us yeah you know that in the lab Italy thing so I've always one of these one of these big wretches and these early the arm and pickups are so good so that the aluminum nut yeah I'll let you say Illuminati nut oh I want one of those yeah I'm ready to join let me not eat your paintin I'm ready to join yeah call me Beyonce call me but no I love the stupid thing it's such a great piece and they're sweet people him and his wife for such incredible and it's so cool that you're in this is like chits oh was crashing the party oh come on crash this party we're down to one guitar you can help out with it you got about with it this is a well get in here / hey I'm John you'll see everybody this is a Jay from rival Sun so I'm not favorite singers period and he's crashing my party the out of here yeah that's a cool cameo yeah well I think we just come in here like look at the walls right yeah we do yeah we're on the last guitar here Jay I'm gonna say a word about this then what you say a word about this cuz this this has been like if I had one desert island kind of riding guitar it would be this one and it's the one I use on meta mater and all that right well that's it is all is all this guitar I've use this a lot but it's something about you you you you you pick it up and it's just it feels warm yeah it's got go city come over here you're the other camera get in the shot this is a little cameo yeah man those guitars incredible way you talk about it I've written some of my mouth songs think resting on this guitar I'll just pick it up as soon as I get into town you know we'd make records and David let me play it and I just in the late hours of the night you know in the early hours of the morning this thing's ready to go it wakes up it you steal it every time again every hour every time now you got one of your own now I got one of my own mine's a 64 I think and this one this one has it's got the grease the grease and the grime and the secrets you pretty much wrote everything in the last couple of hours of that right like 90% yeah on that guitar right so you wrote like in the studio yeah we're always yeah we write in the studio wow this thing this thing that this is a huge motivator for me so when you come in no ideas just like or like little bits a woman ah I write just about every day but it's different you know for rival sons that's pretty much that's been our our whole ethic is to write when we get into the studio and that way we work together and we have to work really really quickly and write songs on the floor and do it really intense that way for us like with day we're we're actually laying down the tracks the first second or third time we've ever played it something it has like that right that spontaneity yeah when you don't really know what you're doing yeah yeah that's great very bandy yeah hold that from from Sam Phillips that's all I went to this sinful had a book that came out this past year and his son was talking about every day Sam walked in the Sun he had no plan he knew it was coming in he had no plan what songs they were going to record how they were going to do it and he walked out with a lot of shaking going on you know yeah so we just go in there and make it up as we go along that's why it's fun if we're not having fun I mean when you need you never know what you're going to get you don't know what what about have it could it has to do with what you had for breakfast or how well you got along with your wife the night before just whatever all those different things converge and then you get something different every day well that's that's probably the seminal writing piece yes all of them so I'm glad you showed up yeah absolutely a very special relationship what's that that scares me is it a California stuff you got going on yeah yeah but yeah I'm dressed for the comude right on cool man I think that's all the guitars great well let's let's talk about some amps cool okay so you've got amps like everywhere it narrowed down to a couple of them tell me about tell me about these this is what I'm using 90% of time these days it's a dear friend of mine this guy Paul Kendall he's an amazing songwriter producer I got the damn from him this year and it's just been on every record I mean he told me this secret and I didn't believe him because I always work differently he's like you should never turn the twins up past three really yeah I didn't believe it and now I'm doing it I don't know what happened to me maybe I'm growing up or something but it's always just on three or four put any mic on it it sounds like a record it's really easy we're always quiet we can have in the room with the band it doesn't overpower singer in the room that's kind of become the weapon lately in its clean at that at three right yeah yeah it's that marginal thing but yes it's something so right about what fender was doing in the late 50s early 60s is so right oh that's cool because you always hear about people die mean everything yeah and to me they really kind of fart out like I mean from well the old speakers can't handle it yeah I think if you change it out to greenback or something and the bigger fenders a tweed with fenders it's great but these old speaker in a bit can't speak they sold fenders they just kind of fall apart when you really push him yeah you know so that one is just it's just turn it on plug in you're kind of ready to go with it okay good tip all right so I'm gonna scoot right over this one this is a trim box also got this year from the same guy and this has become kind of like the quintessential Keith Richards ish kind of tone it's just kind of clean and strong and got tons of tup and tons of bottom from the body and this has become kind of a stable too so the 2 amps I got from this guy's kind of replace half Marshall do you do anything would you run into instrument or mild or always cherry lower little known secret record this way came upside-down nobody knows about this trick try it total lie yeah I'll do that I'll just break your damn amp yeah yeah put it yeah a quarter-inch cable yeah yeah yeah I only record on noon hours yellow harvest moons the only time I can record these amps and they sound good uh uh so do you still do the only two three on this eat on a tweed like that what it what is that on uh it's on three boom boom I don't know why it works I was in line um you know a big a big thing about these old amps too is really getting the right voltage on the amps I don't think they were made for contemporary power so I've been using those brown boxes which are amazing I don't know if anybody's ever heard those yeah incredible so I've got a bunch of those around here and it saves these old amps life you know when I first moved to Nashville I lost two amps trampa transformers to the power surge is that kind of sure a hot power so yeah keeping these on my 115 stable they just they open up a lot more the power is a huge huge thing on these old lamps I think that totally makes sense because you think about back in the day what's running to a building they have the old screw in jazz and stuff how is way weaker yeah now it's you know that like 127 or to 124 it gets crazy yeah so these things just this little brown boxes they're life savers with these old amps well that's cool okay so this is this is probably my desert island amplifier this is just a regular old deluxe you know mid 60's deluxe amp I got introduced to the Altoona dumble and I went to his house and I had this amp back here this old tweed amp and somebody said you know maybe we'll take a look at it so I wanted to get him kind of fix it up when I was at his house I played one of these that he modified and it just knocked me out I mean it was just the most high-five 3d sound had ever heard and I think I sold a kidney to get it totally worth it which is why Ilene I'm a little crooked now you know but but it was it was totally worth it not only did he fix that amp he he completely gutted this thing that is only he has a mod ultra phonics thing is what he calls it he gutted it he got crazy on it and it just is magic it's 3d any changes Speaker out and he put a green back in it and like a new green bag yeah he uses new tubes too man you know I was chasing old tubes forever and I was like what are you using on youtubes you know he's it's just his talent level of right putting the right cocktail together to make the amp kind of open up and seeing and I think he makes these amps for the individual players hands too so it's really cool to walk in there walked in with a Gretsch white penguin he tuned the app to my hands tuned it to that guitar and when I played that guitar that's what the sample supposed to sound like so well it's it's a really cool ability that guy has just he's completely magic but this has been used on every rec we use on your records use it on a lot on visible southeastern so usable southeastern we use it on God pretty much every record I've made since I've got it probably had it by eight years now so so when people come in to record with you do they bring their answer to the you just like do they all yeah yeah sometimes they bring their amps I mean it's it's all fun I mean I love when somebody brings a cool amp I haven't heard you know I like getting dorky into it mica said you know I got a little you know probably five people I talk to about guitars and we're terrible influences on each other because all we do is sit there and talk about you know if you tried that speaker in there have you tried that pick up you know should try the strings and it gets it get silly yeah so I think I waste half my brainpower thinking about this stuff but you know somebody told me a long time ago a really talented producers got Mark Neil he's kind of a bit of a mentor he told me the sound doesn't happen in the control room it happens out here so getting the sound right and killing ourselves getting the sound right in the room I think goes a long way to making a record sound the way you want to sound you know yeah really polishing a turd ya know you can fix a bad guitar yeah yeah but you know you can put a 57 the cheapest mic possible in a great guitar and a great player and it sounds like a million bucks so so we spend a ton of energy on this stuff and I'm always chasing the dragon on this stuff I've been chasing tone since I was a kid and I still don't think I'll ever achieve Mike Campbell tone you know like that I think I got the holy grail of tone yeah you know so but we're always chasing that whatever Mike is doing I don't think it has anything to do with his guitars Ram Singh is his hands in this talent right we're still chasing that so yeah cuz you you look at like weird old clips of them playing like you know it's all girly talk shows yeah yeah it sounds amazing yeah and it still sounds like him yeah now he's the king of tones for sure you know him and and I think yeah this is what happened to be stable eight things don't work right Freddie King I think Freddie King has the best tone right ever that that move that metal figure pic that he no man but his tone is just yeah that's it man that's the sound yeah it is like a ice pick man right here yeah yeah totally cool man you get everything oh man well yeah that's covers amps let's talk to you geez much in the way of pedals we usually talk I love pedals okay so now we're in the console room you got a couple of pedals here tell me about them let's start with any of this jazz I'm gonna start with my favorite pedal of all time this is my absolute favorite pedal it's a probably late sixties box oh yeah broke ish well you see my favorite pedal of all time it's an old box tone bender and you know like I said when I was a kid Jimmy Page was my number one and I dread that he used this on Zeppelin 1 and Pete Townsend's I think used a tone bender as well maybe a Marshall super fuzz on that live at Leeds which are some of my favorite sounding records and so I chase one until I got one and you know this thing you can put in any little amp and just crank it attack all the way up and level all the way up and use your tone on your guitar and it goes from that sparkling clean kind of Hendrix II sound to just you know Black Sabbath in just your volume pot so I think that's how you achieve a lot of that kind of really sparkly stuff you hear on those records is by turning your volume almost off on the guitar right and keeping this pedal all the way cranked man it's I think people back then use their controls more alright Lee I got your guitar - Lee like people don't people relied so much on pedals now that they kind of know you've never even touched it well I think this is a pedal where it actually aids hugely to touch your volume and tone with the pedal so yeah yeah this is this is it this is mecca for guitar distortion for fuzz for me so where'd you find it I don't remember I've probably had this for 20 years getting old I don't remember things this is a pedal up used many years and cheat a lot of the country stuff this is the only phaser you ever need right I mean I was really inspired yeah full-on inspired by Waylon records and all you do is set it slow and plug Italian and yeah you know then you got to be Waylon Jennings right what's really cool then you got to be a great singer and a great rider and a great player in legend so didn't Waylon cut he did he cut the early stuff here like that he walked on everything in this room which is crazy here's a cool story about Waylon in this room I'm told that Chet was producing him jackie was producing him wins like well are you gonna play guitar he goes No because they say well god I mean your chukkas is yeah but it well you don't want to sound like Chet Atkins Wow yeah you want to sound like Waylon Jennings oh and how great is that one of my favorite guitar players ever yeah period but he wanted to hand the reins over to the chat but if chatted played in that stuff would have been it been different yeah yeah yeah yeah thank all these early players that play with Waylon you know the directors Jerry Reed playing earlier and right Moss right yeah killer killer killer players though some I use all the time yeah and you know there's new ones like that I think these soon that's a brand new one yeah that's a tall ones yeah they do that they're really making them right and it's like a light that's an improvement you always don't have the light this is a pedal I've had for about 15 years or so I always loved this early minute old stuff it was just this is one of the best like early boutique pedals made the handmade ones and they're just it's such a great just clean kind of boost what not easily red snapper old minutes on I don't know what the new ones never I love them I've used this tonight radical on and I started using this you know over that and it's it's always been great you know if you have an amp an old amp it just sounds kind of a little dull or something you put this into it you can brighten it up without really changing the tone so I've always loved this pedal with the new stuff I think I think these guys are making great buzz pedals this sounds like this you know super 60s you know garage rock records which I love the way they sound it sounds like just you know early Yardbirds or something so whatever they're do idea what's going on with this but I like it I love I've loved I love things that you just plug in and it just sounds right you don't think about it and this is one of those pedals I don't even know what this stuff does I just plugged into I don't think I've ever touched anything on there but it's just right it's really authentic 60s sounding fuzz is it run on AC is that a battery kit it's kind of battery in it I don't even think it runs any see an AC plug on it it's big yeah plus you can't miss it with your foot so I like that about yeah egg heavy impractical this is my favorite delay I've ever heard this Caroline company they make this petal meteor to reverb pedal that's just unbelievable this thing from the moment I tried it actually called the owner and just freaked out on them kind of girl in a little bit because this is I used to use a boss TM to a vintage one for years and this sounds like that on steroids it does has this cool havoc thing that makes the pedal freak out into itself and it just I've used it not only on guitar but it's become one of my favorite things to use on vocals and drums in the studio it's just really a magic pedal in so this is this is diving this might be the best new pedal made of any pedal period and it looks cool yeah I like Commodore 64's you know yeah sure well super cool so is this okay so bond it off yeah and then what's this low that makes it freak out into itself because boo boo boo boo boo boo you cannot you know oscillate in to itself it's it's it's magic man it's really cool trick well that's cool yeah so no tap you don't care about that just setup by ear and now the tap just stresses me out you know I think I'm just right yeah too much work yeah no it's pretty pretty bone simple but man what a magic company what a magic pedal Wow cool well Dave hey man thanks man thank you all this yeah what y'all wrong till next time Cheers don't forget to sign up for PG perks your all-access pass to exclusive gear giveaways and discounts up from your guitar calm

Channel: Premier Guitar

Views: 228,387

Rating: 4.8785152 out of 5

Keywords: Dave Cobb, Producer, Music Producer, Sturgill Simpson, Jason Isbell, Chris Stapleton, Rival Sons, Chris Cornell, Nashville Studio A, RCA, RCA Studio A, Chet Atkins, Gretsch, Fender, Gibson, Guitar, Guitarist

Id: DWSxIDsr4ug

Length: 41min 47sec (2507 seconds)

Published: Tue Jan 10 2017