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Q&A re: Gear and Tunings

Updated 03.25.08
03/25/08 Re: Right-hand fingerpicking:
I know you use your thumb, index, and middle fingers on your right hand; do you use your ring finger as well? Deanna Bourg
If I'm holding a flatpick between thumb and first finger, I also use second and third fingers. Using a thumbpick, I use first, second and third fingers.
Is "The Poor Ditching Boy" played in an open tuning? Sounds like open G. Thanks for your time. Deanna Bourg
I can't totally remember the tuning for the record - it was 1972! I think it was drop D, capo 5.
Watching a youtube of an old Fairport clip of "Sir Patrick Spens". Saw you capoed at 3rd fret, yet it sounds like you are using an alternate tuning. Could you clear this up for me? Thanks, Randall
This must have been some experiment to get a better fingering, which I don't remember. I mostly played Sir Pat in normal tuning, key of A.
Just wondering what tuning you used on "Taking My Business Elsewhere"? Very nice song, but I've been confused in figuring out the guitar part. Thanks, Dan Beetcher
This is drop D capo 5.
I'd be most grateful if you could let me know what guitar tuning RT uses on Vincent Black Lightning I've seen a video where he uses capo 3rd fret but am lost as to where to go from there. I'm used to open D, G and DAGDAD . Please tell RT I'm the new proud owner of a Lowden 35C RT signature -which is a wonderful guitar, and best wishes to him for the future. Kevin Howcroft
This is written up in the nuts and bolts and frets section, but I'll reiterate:
Vincent tuning - CGDGBE, capo 3.
Glad you're liking the signature model!
On the recent tour the only time Richard used the Strat was on the Mingulay Boat Song. Why was this? Tuning? Sound? Or a bit of a change ;-)? John Edwards
It was the backup guitar in case of string break. 'Mingulay' requires a capo, which is tricky to tune with light gauge strings, so the wonderful Bobby has it ready tuned backstage to save time.
I am the proud owner and listener of thirty or so RT albums. Continually amazed by RT's guitar work. Has RT ever picked up the Chapman Stick? It seems like a natural with his left hand work carrying the bass line when he plays solo. John Barnes
I picked up Tony Levin's, but it's a scary beast. I think pianists would have more natural affinity for it. I'm not really in love with the sound of everything hammered on, anyway.
I know questions about gardening are probably much more interesting but I was hoping you could answer a guitar question. In the "1000 Years" show, early in the set, I think it's the Italian song, you used this great effect on the guitar - what was it? It sounded beautiful back in row W. Thanks! Ted Looby
This effect is specially processed to have maximum impact in rows T - Z. It is a DejaVibe rotary speaker effect, made by Fulltone, which sounds remarkably good on acoustic guitar. The Dunlop UniVibe might sound slightly funkier, but the oscillators crap out in about 6 months.
My question is simply this, why don't you play slide guitar? Thank you, I am, Rick Johnson
I can, but I rarely feel it's culturally appropriate, me not playing the Blues, or Country, and all. I've played it on other peoples' records.
What tuning are you using (if any) on Ill tag along? Id like to do it. I live in Florence, Italy now and am performing around Italy mostly blues and country stuff. Loren Zagandaglia
Tuning on 'I'll Tag Along' is regular, key B. The fingering makes as much use as possible of the open B string.
I've got two gear questions for you.
1. How come that you bought the goldtop Les Paul? Was it because of Mike Bloomfield playing one?
2. Did you use a 50 or 100 w Marshall in the early days of Fairport? Cheers! Sebastian
I bought a gold top because it was there - someone over from the US had 2 to sell, and it sounded great. Mike Bloomfield played the flametop, which was out of my price range. In 1967, I used a Marshall 50 watt with Fairport, only for a few months, I think.
I see that you've been using an Eric Barber overdrive. I've got a TM5 which I use in the studio (and is not usable plugged into a guitar amp due to hum caused by the high gain), but it would appear you have one of his boxes on your pedal board, presumably going through your amp. I'm wondering what model it may be, as it would be useful (occasionally!) to achieve that rude pentode sound in a live situation. Great to see you going from strength to strength, and please excuse the geeky question! Graeme Taylor
I use a Barber LTD pedal, which is a very smooth, natural-sounding overdrive, sounds like cranking up the amp, and I'd recommend it if that's what you're looking for. All the Barber pedals seem very well made, but the noise level on the TMS is something other users have commented on, and seems to be what you get.
I am interested in tracking down two guitar sounds. On Bonnie Raitt's 'Luck of the Draw' CD Richard is (I think) credited with playing electric guitar on the song 'Luck Of The Draw'. There are also some different guitar players credited with electric guitar on the album in general. There are two distinct electric guitars on the 'Luck Of The Draw' track, and any info as to who played them and what gear they used would be appreciated. Thanks, Chad Books
I think I played the 'lead' guitar on that track - I don't have a copy to check it out. I think the guitar was a Ferrington through a Fender Vibroverb amp. Mark Goldenberg was one of the other guitarists on that track.
I am a longtime fan and very fortunate to be amongst that elite number of people who own The Guitar of Richard Thompson, put out by Homespun tapes some years back. I still love listening to it and have learned a lot from it. You may have answered such a question before, but do you ever envisage doing something similar in the future, perhaps including insights into your guitar playing as it has developed since then and with reference to your more recent recordings? I realise that it must be way down the list of your priorities but it may at least serve to put a stop to so many guitar questions on your site! Would you ever consider coming to New Zealand ? We'd love to have you here with your band or solo. And if so, would you be good enough to sign for me the booklet that came with the tapes. Thanks for your time in answering these questions. Best wishes, Colin Dowsett
Thank you for all the years of listening pleasure. I have a question/request. Would you consider doing a DVD/video version of the 'The Guitar of Richard Thompson' instructional tapes you did a long time ago? I like them so much I've bought both tape and CD versions... but seeing your fingerings would be a service to the world. Or, at least to me. Patrick Morrison
At some point, I'd like to do a more updated instructional video, but I'm too busy just now. Hope to see you in NZ. I want to bring the band.
11/14/07 Richard, what type of pick do you use? I am interested to know what your preferred shape and thickness is. Does it change when you switch from acoustic to the lighter gauge electric strings?
Thanks. John Hatton, Nashville, TN.
I use Gibson teardrop medium gauge, what used to be the 'Les Paul' pick. These are harder to get now, but Fender make an equivalent. I truly prefer a heavy gauge pick, and sometimes use Fender heavies in the studio. I find that the tone is better, but playing with that for a whole show tires my arm out. I sometimes use a thin on mandolin, but the tonal trade-off is rarely worth it. I don't change picks going from acoustic to electric.
Could you tell me the tuning and capo position for Honky Tonk Blues and Gonna Need somebody? I have been watching footage of them, but I can quite get the tuning(I haven't been playing guitar very long, almost a year now) so please forgive my ignorance.
Sincerely,Victor Brewer
As far as I remember, and it's been a while since I played either of these, HTB is tuned open G, DGDGBD, and YGNS is standard, both in open positions.
ronniehek wrote:
Can you please help me. I am trying to find the chords for Mole in a Hole by Richard and Linda. Thanks.
This is a Mike Waterson song, but as I remember:

Verse:

| A | A | A E | A | A | A | A E | A |

Chorus:

| A | B | D E | A | A | B | D E | A |
When you're playing with pick and fingers, are you using your pinky to grab the highest note in the chords or triple-stops you're playing or are you brushing upward with your middle and/or ring fingers? Or do you do both? Just curious.
kyle s., syracuse, NY
I don't use my pinky at all. I do sometimes brush the strings from high to low with the fingers, to get fuller chords.
The dynamic range on most 'Sweet Warrior' tracks has been reduced to pitifully small values by brick-wall limiting, ripping the very backbone out of the music on the album. Was this mastering decision made by you as the artist or was it outside of your control?
Regards, Peter Walker
I suppose limiting is a matter of taste, but SW sounds about right to me, less limited/compressed than some previous records of mine. Some Fairchild on the voice and guitar, some tape compression from 1/4 inch mastering - that's about it. If you listen on the radio, some stations will compress the bejasus out of everything, so maybe that's where your impression comes from, but it sure sounds all right to me coming off the CD.
When i try picking with a pick and fingers I find that the notes that are picked with the plectrum (what a funny name) are louder than that of the notes picked with my fingers. It tends to dominate the others.

Did you encounter this problem early on? How did you fix this? Any tips on this problem? thank you, jb barot
Most players who use flatpick and fingers, or thumbpick and fingers, like the fact that the pick gives a sharper sound, principally because the pick is more often working the lower strings, where more definition is desirable. If you play with longer nails, the difference will be less pronounced. Chet Atkins always has a great balance, using a thumbpick to keep the bass and rhythm going.
I'm trying to clear up a question from my cousin in LA regarding the make and spec of the light blue electric guitar. We bought them a copy of Live From Austin TX as a present as a reminder of a gig we took them to in San Juan Capistrano in the mid nineties!
Regards, Tim
The guitar was made by Danny Ferrington, of Santa Monica, CA. He had the neck already, and we threw in a selection of pickups to see what it would sound like. The pickups are wired with individual volume controls, no tone controls. There is a P90 in the neck, Alnico Strat in the middle, and Broadcaster in the bridge.
Saw your show in Vancouver during September and you played a lovely acoustic rendition of Sandy Denny's hauntingly beautiful "Who Knows Where the Time Goes". Could you please tell me which tuning this is in?
Thanks, Barry Pither
I play it in open C/G, that is, CGDGBE. Sandy played it in DADF#AD
8/21/07 Richard,
I'm working my way through the 5-CD set "Life & Music of..." and am sure that you must use a special tuning for "Meet on The Ledge" - or maybe it's just mere ability...? In any case can you let me into the secret please (if there is one)? I sung it out loud in a blizzard halfway down a mountain in Switzerland in Feb., but somehow it was not a truly convincing reading of the piece... And when playing it with conventional tuning I always have problems with the fill between the verse and the chorus - can never make it really work.
On the box set, I play it with a drop D, capoed, I think, to 2nd fret. This gives you a bit more 'twang' on the run into the chorus. Just think Duane Eddy. Back when Sandy and Iain sang it, it was in A, which is, of course, less Duane.
Could you give an update on your current pedal set up for electric guitar? You rattled off a few things to me post show: red repeat, hum debugger, mojo something...many thanks. Paul McCray
A picture is worth a thousand words in this context, I think. I'll put a snap of the board up on the gear page of this site, with notes. Give me a week or so, my pedal board is in storage somewhere.
Richard, the band playing on 'Sweet Warrior' is exceptional, and I particularly love Michael Hays' guitar playing. What guitars did he use? Stephen, Ireland
I'm glad you can tell who's who, I'm not sure I can! On acoustic, he used my walnut/cedar Lowden L32FC. On electric, a Fender Strat, and I can't remember what else.
Last night I watched a documentary about the making of the soundtrack for "Grizzly Man" and it was stunning. It was perhaps one of the most beautifully filmed studio doc's I've ever seen and I fell in love with Richard Thompson's playing. I'm very curious what the 2 primary acoustics he was playing were exactly. I'd guess they were circa 1920's/1930's. One was a 12- fret slot-head parlor, but I couldn't tell much beyond this. The other was deeper and looked to be about a 0 or 00-sized body, but the headstock was unfamiliar to me and the inlays were rather unique and interesting. I was guessing this guitar was rosewood back and sides, but I'm not certain. Regardless, they proved to be the perfect tools for this session and watching Richard play them was enthralling. If there's any info available on these guitars I'd be very interested to know more. Lee Howard
I've asked Henry Kaiser to answer this question: "Both guitars belong to me and are from the 1890's. The Nashville high-strung guitar (used for the fox cue) is a parlor-sized Howe-Orme (this was HK's first acoustic guitar that he bought from Eric Schoenberg in the mid-70's). The main acoustic guitar in the soundtrack is a Bohmann. It has Brazilian plywood back and sides. Joseph Bohmann was a Chicago based luthier who built the first production x-braced, steel-strung guitars in America."
Richard, I love the dance tunes! "Tear Stained Letter", "Two Left Feet", to name a couple in this style. Your newest entry, "Bad Monkey", delivers in earnest. However, I am frequently perplexed when you take a straightforward polka-esque progression and apply a solo that sounds at once atonal, yet sits on the song perfectly. Sort of like lounging sideways in a chair. What are you doing? I am stymied at every turn. Noodling around a major scale is far to proper and stately. It's certainly not a bluesy minor pentatonic based thing. I hear sequencing up or down to follow the progression. Are we simply talking decorations over alternate voicings of the chord? Am I missing a hidden, yet critical augmentation? Am I thinking about it too much? Oh forsaken sleep, will you ever return? Paul, Carrboro, NC
There is no short answer to this, as we are entering the vast world of improvisation, and the possibilities are limitless. I'm basically borrowing ideas from Jazz and Classical music, that stretch the harmonic possibilities. A few aspects of this are: Using the upper intervals of chords, using substitute chords, mixing scales, using passing notes, using patterns that 'clash' against the chords but resolve harmoniously, etc. I could give you two small examples from 'Bad Monkey', because I'm concerned about your sleep. On one chorus, the first chord is D, the second is E major; instead of playing notes from the scale of E major over the E chord, I substitute the notes of another chord, an F# augmented 7, which has E, F#, B flat, and D. These notes also occur in a whole tone scale starting on D, and it can be thought of in that way as well. As long as you end on a note that coincides with the G chord, when it arrives, all is well. In another place, at the top of the chorus, I play a pentatonic figure in D. On my way to playing the same figure up a tone in E, I also play it, deliberately clashing, in E flat. It rubs, then resolves, tension and release. To explore further, I'd recommend listening to someone like Charlie Parker (there are many books on his style) and composers like Debussy and Ravel.
On the song "Johnny's Far Away", which is my favorite track on the album, are you or somebody in the band playing a bodhran? Or are you mimicking the sound of a bodhran with your guitar? Either way that celtic beat is what really makes this song so catchy, I find myself singing the chorus/refrain over and over everytime I listen to it. Take care, Bob Nelson
Michael Jerome is playing a drum kit, mostly on the tom-toms, mimicking a bodhran. He is something of a student of celtic music, and really makes that 12/8 rhythm swing.
Dear Richard: Have you always had the guitar-playing abilities you have now? In other words, if You in your 'Human Fly' days had met the You of today, in Borges-like fashion, would the younger You have been able to play songs like "Beeswing" and "1952" or would you think "How the heck did he (me) do that?" Just wondering, because your playing sounds brilliant from all eras. Thank you for the great show in Cleveland last week! Seeing a song like "One Door Opens" performed live is a real treat. Very best wishes, David Fedan.
I think I play better now, better technique, better harmonic ideas, better feel. On acoustic, I really developed some new techniques in the 80s, that my younger self could definitely not play. He can back me on rhythm, though, and I'd like to have a word with that young chap, talk some sense into him.
Could you tell me what key 'Cooksferry Queen' is in? The harp sounds great and I want to blow along. Thanks! Steve Schwemmer
The key is F, which I think means a B flat harp. Sadly, David McKelsey, who played on the record, passed on recently.
Hello Mr. Thompson,
I would like to know what kind of acoustic 8 string mandolin you play. Brand, type, f-holes/oval hole...? Hearing it on records, I think it's very clear and subtle, but with great sustain and power. Though I think the most part of it comes through your wonderful playing, the instrument must have a "say" in it to. Regards, Staf Dierckx
I use a 1920 Gibson A2, black finish, round hole. This is a wonderful instrument, that I bought for $100 at Music Inn in New York, in 1972. It would probably cost a little more today. It records beautifully, and I have never desired another.
Does the Rick Kelly Tele appear on 'Sweet Warrior' , if so where? Stephen Bishop
I think the only place is the solo sections on 'Dad's Gonna Kill Me'.
7/06/07 Luc Luyten:
Thanks for setting up camp twice in Belgium next Octobre. Will you be playing your signature model on stage? Or would it be possible to organize a vernissage of the instrument after the show? I am sure the Belgian Royal Society of Guitar Freaks will gather in Brussels and Bruges.
RT: I'll be playing my blue Ferrington, If you and the Society would like a look, I'm sure we could arrange that. Meet me at the signing table.
Mike Fallon:
At the recent show in Pittsburgh, you performed a breathtaking version of 'Who knows Where the Time Goes'. I remember you paused to consider what key to play it in and then retuned a string or two. Do remember if you played this in standard tuning or a modified or open tuning?
RT: I've played this three times this year, which makes a total of three times since 1972. And only solo this year, so I still don't really know what key to play it in, but G is close. I use CGDGBE tuning.
Daevid Langdon:
I have always loved the variety of musical instruments present on your recordings. On Sweet Warrior you are playing quite a few instruments other than guitar. You play some very nice penny whistle on Sweet Warrior. Did you just work up the parts for the recording or have you been playing the whistle regularly for some time? Did you ever finish the hurdy gurdy you were building?
RT: I am a lapsed penny whistlist, or whatever you call them. It took me a while to recover some semblance of chops for the recording. I built my 'Gurdy about 15 years ago, from an Early Music Shop kit. It was hellishly hard to follow the instructions and blurry diagrams. I was fortunate to be working on it in Danny Ferrington's workshop, and he bailed me out on numerous occasions. It hasn't been quite the same since the wheel was bashed out of alignment during an earthquake.
7/01/07 My good mate Steve has a 1960 Les Paul (bully for him) which I experienced for myself recently. It was quite amazing and I understood why he had always said that ‘it plays itself’. Don't know if I am able to explain this very well but when you plug in it seems to come alive and wherever you lay your fingers on it, you get a sound through the amp and it's a pretty wild phenomenon. Steve says that the more recent models are not the same. What is your opinion regarding the old Les Pauls, say 1960s and before versus the snazzy Ferringtons and Danos that you play these days, apart from obvious technical factors? I know you haven’t played a Gibson for decades but do you have something against them or could you ever go back, even occasionally to unleash one? Is there a Gibson in your garage or under the bed? all the best, Pete, Sydney.
The flame maple top Les Paul was quite the thing with the UK blues fraternity, but I could never afford one at the time. I loved my gold top with the soap bars though…I suppose I preferred the sound of Fenders ultimately, and have steered that way ever since. I’m not averse to Gibsons, I just don’t own one at the moment. I’d love to get a gold top 295, the Scotty Moore model – Phil Manzanera has one that sounds so good.
I'm curious as to whether Richard uses nails, flesh/nails or (I doubt) just bare fingertips for playing guitar. What about wear and tear; do hard playing and a full schedule take their toll? I think we should be told. Max Cuthbert.
I use fairly short nails, and play with the flesh. I prefer the tone, and keeping a full set of nails up to scratch (sorry) is too tough with baggage carousels, hiking socks, and bowling balls.
The front page of Beesweb has a picture of RT with another guitar I've never seen him with before. This one a lovely looking light colour hollow body. Is it a Gretsch?
This is a Peerless, manufactured in Korea. Fred Walecki, who runs my local music haven, Westwood Music, bought up a bunch of the prototypes for this model at a trade show, figuring that the manufacturing standard would probably drop away once the orders were rolling in. The price was v. reasonable, and it sounds terrific – it probably cost a tenth of what you would have to pay for a Gibson Switchmaster.
I love the solo acoustic version of "Shoot Out the Lights." In my own feeble attempts to get the arrangement down pat, I've been getting stuck. I notice that the guitar is in drop-D, but where do you go from there? I've been scratching my head trying to figure out how you get that sound. Justin Goble
Before the big D chord, there’s the big 'C with an E bass' chord – best played as a normal C chord with the thumb adding the low E. Then there’s a million other things . That’ll get you to step 2, anyway.
4/24/07 From time to time pictures appear (usually in advertisements or promotional material) that show you playing a light-blue Danelectro. Is this your own guitar?
What a poser I am! Sometimes I do photo sessions with a guitar chosen for the colour only, shame, shame. The Dano is an old friend, however. I used it on many tracks on many records: ‘Word Unspoken, Sight Unseen” and ‘Crawl Back’ spring to mind.
Are you a closet Dano fan?
Yes. I love the baritones and basses too.
4/22/07 When you break a string and that little end gets stuck in the body of the 'acoustic guitar',what do you do? Steph
Most of my acoustic guitars have 'through' bridges with no end pins. So none of that messy stuff.
My question is kind of dumb, but I was in the balcony and couldn't see that well, but noticed your guitar strap and was wondering what kind it was. I liked the way it connected to the head of the guitar. Thanks, Ken Hughes
It's just a boring old guitar strap. I tell a lie, it's an Elixir Strings freebee guitar strap, leather, no less. I can tell the bit you're excited about is the way it connects to the neck. This is a slightly superior version of the shoestring-type device beloved of folkies everywhere. It's made by D'Addario. It features one of those snappy nylon connectors used for belts and mountaineering things, which makes disconnecting very swift for packing in guitar case, and for untwisting the inevitable twist in the strap. It merely slips around the neck under the strings in the time-honoured fashion.
i was wondering if you ever play a nylon string guitar. do you have one? what kind? have you recorded with one? why don't you play more of it? do you hate it? too many questions, i apologize. jb barot
I don't own one, but I've used them on record. On the last few occasions, I've borrowed Tchad Blake's, which is small and antique. I'm looking for a good one.
Do you have any exercises to help develop right-hand finger independence? I find it very hard to use my thumb constantly while tryin' to pick a melody.
A little classical guitar is great for getting those fingers working independently. Otherwise, I'd say slow everything down, play it as slow as you like. Only play faster when you're in total command of the notes.
Hi Richard, thank you for all the wonderful music. You collaborated with Niles Hokkanen on an electric mandolin tutor a few years back, and I know that the instrument turns up on your records from time to time. What types have you played, and how were they set up? Thoughts on amps and speakers for the e-mandolinist? Best, Will
Although I did the tutor with Niles, that was about the first time I've played a true solid body electric mandolin, so I'm a bit of a fraud. I borrowed Niles' Fender 4-string, a fine instrument, and that tutor was about string-bending and applying guitar techniques to the 4-string version. I nearly always play acoustic regular 8-string mando. Pete Zorn, who plays in my band, plays a Flatiron with a custom Sunrise pickup, which sounds pretty good. I'm impressed with the Epiphone 'Firebird' shaped solid body 8-string. I'd say, for amps. If it's a solid body, any electric guitar amp with reasonable tone, and if it's hollow body, straight through the PA or through an amp designed for acoustic guitar.
2/10/07 My question is about your blue Ferrington. I love the sound and envy the technique. What pick-ups are installed and is the middle pick-up wound for reverse polarity? What kind of switching pattern was wired into the ax? Tom.
The blue Ferrington has a P90 at the neck, an Alnico Strat in the middle, and a Broadcaster at the bridge. It has a 5 position p/u selector. Each p/u has a volume control, but no tone. In the blend positions, this gives infinite tone combinations between p/us, by backing off the volumes.
Reading that Bert Weedon's "Play Guitar in a Day" book was initially responsible for your success and accomplishment, I invested in a copy of the esteemed epistle; however, I shall be seeking redress in the Small Claims Court on the basis that Mr Weedon's claims are entirely unrealistic , 8 months down the line, I am still struggling with the B minor chord. Should I give up now? Should I have purchased "Play Guitar in 9 Months" instead? Vivienne Jones
Few of us have mastered the B minor, so don't feel too discouraged. I do wonder how many copies of that hallowed text were actually sold, because everybody of a certain generation claims to have started with Bert. Did you know he was a member of the Quintet De Hot Club De France after Django died? Bizarre but true.
Could you tell me the tuning for "I misunderstood" please. Steve
It's just drop D tuning, capo 3.
Hello, I was wondering if you could help me. I swapped my Mosrite Ventures for a second hand Lowden Fc32c with a friend of a friend, who informed me it use to belong to your good self. Is there any way of finding out if this true? Cheers Mike
I can tell you for certain sure that it was never mine for the simple reason that I have never parted with any Lowden guitar that I have owned.
I try to see as many good live shows as possible and notice that most guitarists have multiple guitars at their disposal. Guitar techs continually coming in and handing the performer a just tuned instrument. You, on the other hand, seem to have maybe three electric and play those for several songs before changing and just the Lowden when performing acoustic. Do you even carry another acoustic with you when touring and, if not, what the heck do you do if you or Simon absentmindedly drive off with your instrument left on the roof of your rental car? This may seem a silly question but I've often wondered. Mechtild Jordan
I think, in these troubled economic times, that three guitars is enough for any band show. I only carry one guitar to solo shows, which is risky...if it breaks, as happened last year (head broke off), I have to borrow one, but flying with 2 guitars plus bag is hell, and excess.
12/20/06

I have seen a few shortcuts of the Videowest "Guitar Player" (1981) on youtube and enjoyed them a lot. Would you know if that whole show has been released on video?I see that you where playing a Martin 000-18 at that time, do you remember what year it has been made?
I think the VideoWest footage was about half an hour. I don't think it's available in its entirety. I was playing my 1966 Martin 000-18, a wonderful guitar that is pretty beaten up at this point, and needs extensive repair.
I have long tried to figure out how to play Love is Bad for Business but can' t get the right sound. Is there a special tuning being used?
I think that was played in straight tuning, I kept the open G string ringing through some of the chords. That's about as much help as I can be, it's been a while since I played or heard it.
Wonderful performance at this years HSB festival in SF.

I wonder if you'd mind explaining your guitar set-up during that performance. You had a particularly good sound: crisp, harmonic, bassy but not muddy. If you'd not mind telling me your guitar type/pedals or any thing that might have contributed to the sound I'd appreciate it.

On the gear page of this website you'll find full details of onstage setups. I'll summarize the acoustic setup:

Lowden L32FC guitar with Sunrise p/u and Countryman Isomax internal mic. Both p/u and mic go through a Ridge Farm 'Gas Cooker' preamp.

I love your finger-picked version of Persuasion - can you please provide the tuning and capo position? Any tips on playing it? Also, on a totally unrelated topic, could you provide an account of your experiences recording with Nick Drake? Would love to hear any thoughts or memories you might have regarding those sessions. Do you remember the guitar you used during the sessions? What was Drake using (guitar-wise!)? Joe
On the original soundtrack of Sweet Talker, I played this in D major - opening chord is an F sharp minor (F sharp, C sharp, D, A from low to high). On stage I've played it with drop D tuning in a G shape at capo position 3, 4 or 5. This means the first chord would be a B minor shape but with an open 3rd string.

On Nick's records, I always overdubbed onto existing rhythm tracks. I played a gold top Les Paul with soapbar pickups on Five Leaves Left, and a mid-sixties Strat I bought from Ed Carter (New Nadir) on Bryter Layter. I only ever saw Nick play his small-bodied Guild guitar.
10/18/06 I would like to know which amp you have used for the recording of Grizzly Man? I would like to know which pre-amp pedal did you used for the Grizzly Man recording sessions?
I used Henry Kaiser's Divided By 13 amp. I don't think I used any pedals - oh, just a Fulltone tremelo pedal and a Barbour overdrive.
I have heard that some guitarists make their guitars 'sing' or 'speak'. I donot mean play a nice melody, or produce a lovely piece of music, but actually replicate words. Does RT do this? If so, which songs should I be looking out for? This could be a whole new way of listening to Richard Thompson, not that I need an excuse you understand! I adore the output!! Regards, James Ferguson
Steel player Pete Drake used to have an attachment on his mouth, so that whatever vowel his mouth was shaping, that tone would be transferred to the instrument. The results were pretty horrible, and thank God he didn't do it very often. Someone like Bubber Miley with Duke Ellington got pretty close to a vocal impersonation. But on the whole it's a bad idea, don't you think?
This is a performance-related question. I play guitar in a duo. A while ago, we decided that I would play Banish Misfortune (in DADGAD just like you play it) then segue directly into CooksFerry Queen (singer does is in D of course). I substitute a variation of Banish Misfortune's "A" section for where the lead break on CFQ would be, to keep it stylistically similar. Then as CFQ is ending, I segue out to a Banish Misfortune reprise, usually one time through. Some listeners like it when we do this; others say that one has to be careful mixing musical styles and periods. This rendition sounds ok to me, but I'm wondering what I am missing here? Can you please give your thoughts to a practicing musician here. What wouldn't work?Many thanks!! Bill M, Kensington, MD
Bill, I rather like the sound of this medley, and may steal the idea off you some day! It is not clear whether you are leaving jig time to go into straight time for CFQ, but either way I think it will work nobly, and to hell with the doubters and naysayers. Thank you for the cover version.
8/27/06 Any news on your Lowden signature model?
RT: We're talking about having it ready for the NAMM show in Anaheim in January. It may be two models offered - basic one with walnut and cedar, more expensive one with redwood and zircote.
8/22/06 How the hell have you got the guitar tuned for "I'll Tag Along"? I've /almost/ gotten it right but it is driving me nuts!
RT: Tuning is standard - the B modal feel of the guitar part is created by playing a B chord that leaves the top 2 strings open and ringing through.
5/11/06 You must have been asked the question many times. I'd like to know what tuning you're using in "Roll Over Vaughan Williams" on "Small Town Romance. (capo?) I'm posting from France, I'd really like to learn that song. I hope you'll get back to that style in your coming records.
RT: This is in DADGAD. I don't think I used a capo.
I loved your version of "Red Wine Promises" on the "Shining Through" tribute. What tuning did you use on this?
RT: I think it was a drop D. Whatever I did was a pale imitation of Martin Carthy's beautiful work on the original.
Inquiring home-recording enthusiasts would like to know precisely which equipment you used in your home studio to record Front Parlour Ballads. In addition to info you've already provided through the Q and A we'd like to know:

A) What converter(s) you used to send your music from preamp to Apple laptop, and back out to your monitoring system

B) If the Universal Audio LA-610 was employed for more than just the vocals, and what preamps were used to stereo track your acoustic guitar

C) What studio reference monitors you used

D) What mic(s) you employ to capture your Divided By 13 amp's sound

Obviously the equipment used is but a fraction of the end result, but it would be helpful to know what gear a professional such as yourself feels confident employing for an album. The record sounds wonderful! Thank you for a most-enjoyable listen, and the inspiration for home recording you've provided.
RT: Gosh, you people! Well, if you must know,

A) My midi/analogue converter is a MOTU 828 Mk.2

B) The LA 610 was used on the guitar amp. I just used the preamps in the MOTU for acoustic guitar.

C) I use Mackie HR 824s

D) I used a Russian Superlux large diaphragm condenser mic.
Loved your work on 'Grizzly Man' and it was interesting to watch you play. Do you always use a flat pick when finger picking? (Probably a stupid question since I know you like to explore variety.) Anyway, I decided to try to pick up 'Taking My Business Elsewhere' but I'm stumped on the tuning used. Can you divulge? Also, what other tunings do you use?
RT: Please see the tech section of this website for info on tunings and pick technique. 'Taking My Business Elsewhere' will be towards the back of volume three of the songbook, so I could give brief heads up:

Tuning is drop D, capo 5. TAB would be the way to read the fingering, which I don't have to hand here. First chord is a D minor shape with C#, then D minor with a B, E minor with a B flat, and A 7 sus 4 add B flat. That's to get you started.
4/3/06

Hi Richard! Can you tell me the individual gauges of the strings on your acoustic guitar? I use to play with Elixir strings,(012, 016, 024, 035, 045, 056), and I would like to deliver your beautiful sound (as far as my fingers make it possible!) :-) Thanks a lot
Well. I also use Elixir strings with the same gauges. Having a different guitar would be far more significant in terms of tone, volume and response.
I'm wondering whether the acoustic seen in the studio film of "Grizzly Man" is the Lowden. It has a wavy headstock (the horizontal line) and an absolutely fantastic, food-grade tone! I'd really like to know what it is. This is not the smaller (single-0 or so) Martin or Washburn-type guitar, it's the other one that he seems to use more often.
I wasn't able to take an acoustic to the Grizzly Man sessions, so I borrowed one or two from Henry Kaiser. The one I played the most was about a hundred years old, I don't think it had a name visible, but it could have been a Washburn. It recorded great! There was also an OM-sized all-koa wood guitar, but Henry mostly played that.
Greetings from NYC. I was just reading about the Buzz Feiten Tuning system - essentially tempered tuning for guitar and wondered if you have tried it out and if so what you thought. Thanks!
I was mentioning this in answers to February's questions. If you play in standard tuning, it resolves the main tuning dilemma on the guitar, which is, making some of the thirds in the chords sound in tune, e.g. getting a C major chord and an A major chord both in tune, and F major and a D major. On the trombone, it is easy to pull the thirds in a bit. Pianos have a compromised, 'tempered' tuning. (Interestingly, when George Shearing had his Quintet, he worked out a special piano tuning so that he could be more in tune with the vibraphone). If you use open tuning, the advantages are less, and there are some disadvantages. Buzz's method is, however, a well-considered system, and I would recommend checking it out to see if it's something you need.
What model of Divided 13 amp do you use?
I think it's an FTR 37...anyway, it's the bee's knees.
3/31/06 Q. Having seen you last night at the Barbican retuning the guitar many times I am asking what strings you use? They seem to stay at the required pitch no matter how often you change the pitch. I play Fylde Goodfellows and use their recommended strings but other than drop D tuning, any other retuning seems to take a while to settle. Do you use pre-tensioned strings and if so where from?
I use Elixir Light Gauge Acoustic Strings. Most strings should stay in tune, and if they don't there are usually reasons:

1) Crap strings.

2) Not installed and stretched properly. The string should be wound around the tuning peg at least three times before being slotted through the hole. It should then be brought up to correct tension and stretched fairly vigorously, brought to pitch again, stretched again, over and over until it stays at pitch. I pull the string up away from the fretboard, and avoid releasing it suddenly so that it slaps down onto the frets - this can 'bruise' the frets.

3) Temperature/humidity variation. Climate change can alter the tuning - moving from cold dressing room to warm stage or vice versa - having to helicopter in to Shea Stadium, that sort of thing - can change tuning. Sometimes the unwound strings will move, and the others stay put. Not much to do about this, unless you can hover for five minutes at the side of the stage, acclimatizing.

4) Bridge pins, etc. - string ends can fail to seat properly at the bridge. Bridge pins wear out, as does their seating, and this can lead to inconsistencies. I prefer guitars with 'through' bridges, much less fiddly, and sometimes better tone.

I find when I do a lot of retuning, the unwound strings will sometimes work themselves sharp, and will need tweaking, occasionally during a song. With a lot of retuning in a show, there are always small pitch problems that you just have to live with, and adjust as you go. Guitars are never in tune with themselves anyway! John Williams tunes his top 2 strings slightly flat, and I tend to be of that school. Buzzy Feiton has a whole different tuning system, which might be worth investigating if you have incurable problems.
You mention that you used two Neumann KM184 Condenser mics on your guitar as a stereo pair on Front Parlour Ballads.

Whereabouts were they positioned and about what distance? Heel, bridge, or were they spaced? Heel and neck heel and bridge etc... Just I'm recording acoustic guitar soon and it sounds great on your album.
On Front Parlour Ballads, the mics were set up as a crossed pair; the mic capsules are placed as close together as possible, and at 90 degrees to each other. This gives a true stereo image, without any phase cancellation, i.e. the loss of some frequencies when more than one mic is used. You can use this technique on a whole symphony orchestra! The mics were about 9 inches from the guitar, and about 4 inches below the soundhole, but pointing up at it. When recording, there is a 'boom' that comes from close proximity to the soundhole, which can be overwhelming, and give you too much low end. Being slightly off the soundhole avoids the boom, but is close enough to the main sound source to get a good tone. Trial and error will give you the best technique for your instrument.
I absolutely love the electric guitar tone on "I Want to See the Bright Lights Tonight," especially on the track, "When I Get to the Border." I was wondering what the guitar/amplifier combination was on that particular tune. To my ears, it sounds like a single-coil guitar (a Stratocaster?) through an EL84 amp of some sort (Vox AC30/AC15? Watkins Dominator?).

Can you enlighten me as to how this tone was achieved?
This was a Fender Strat '59 through a 1960 Fender Deluxe Reverb. Probably at about half volume on the amp. This was processed through a Fairchild compressor by the wonderful John Wood. These terrific devices have a great warm tone (see Geoff Emerick's new book on engineering the Beatles for more on the Fairchild). They are getting expensive and hard to find; I think they must have stopped making them in the 60s. One can get the digital plug-in version now, but Mr. Emerick would hardly approve.
09/13/05 Q. What hardware & software & mikes have you been using to record Front Parlour Ballads?
A. It was recorded on my Apple G4 laptop, using Digital Performer software. I used two Neumann KM184 condenser mics on the guitar as a stereo pair, and a Superlux CM-H8A on vocals. The Neumanns were used for most of the other instruments. The vocals went through a Universal Audio LA-610 Preamp/Compresser/Limiter.
Q.How did you technically work with recording/mixing instruments/vocals?
A. Not sure exactly what you mean - some instruments were overdubbed, in the usual manner, and recordings were sent to Texas, to be mixed by Simon Tassano. He would put mixes in his public box, where I could download them, listen, and comment back to him. This was only slightly slower than being in the same room.
Q.What could your co-producer add to what you couldn't do in the garage?
A. Simon has a little more software, and a lot more experience and expertise at mixing.
09/10/05 Q. Could enquiring minds know the tuning used on '1952 Vincent Black Lightning'. So far, I'm using standard tuning w/ 3rd fret capo to get to concert b-flat, but I know this isn't 'correct'. Thanks for your attention.
A. Tuning is CGDGBE at third fret. This tune will be in the upcoming songbook, volume one
Q. Hi there--Hopefully this will be an easy question... Normally, I'd ask for one or two songs, but I was wondering if it'd be possible to get the tunings for each of the 13 tunes on Parlour Ballads. It's a fantastic album, and I'd like to noodle around with the songs, but the tunings would help me greatly.Thanks in advance for your help.
A.
Boys at school – Drop D Capo 2
Cressida – Drop D
For Whose Sake – Drop D
Garden Grow – Drop D capo 5
Let It Blow – Drop D
Miss Patsy – Drop D Capo 3
Mutton Street – CGDGBE capo 5
My Soul – standard – on stage, drop E to A
Old Thames Side – Drop D capo 4(?)
Precious One – Standard
Row Boys Row – Drop D
Should I Betray – Drop D
Solitary Life – Drop D

Gosh, what boring tunings!
Q. I heard your hurdy gurdy was a kit, and was wondering who/where you got it from, and were all the pieces pre-cut or do they just give you chunks of wood and tell you to start carving? I'd like to get a hurdy gurdy some day (when the kids are outta school or when the proverbial ship comes in--they are expensive) and was curious about the one you've got. There seems to be only one manufacturer in N.America from what I see on the web. They seem about as easy to play as a dulcimer, seem tuned the same way. Do they use fiddle rosin on the wheel or do you need something else? Can you fit them with gear tuning pegs instead of friction pegs (as with the dulcimer my Dad made, I am not that much a traditionalist--I want the thing to get in/stay in tune)
A. I bought mine as a kit from the Early Music Shop in the UK, in the 80s. At the time, it only cost 120 Pounds, I’m sure it’s gone up since then. The key box was preformed, and the wheel was cut, but everything else needed some, or a lot of, work. The Early Music Shop rated it as ‘difficult’ (but not as hard as a harpsichord). It took me well over a year to make it, because I would get frustrated, curse the poor diagrams, and throw it in a drawer for months at a time. Danny Ferrington seriously baled me out on several occasions, sprayed on the lacquer, and cut out the little cutesy moons and stars. I would say, not as easy to play as a dulcimer, and far, far harder to keep running. It’s crucial that the wheel is revolving accurately, and rosin is required to keep the strings biting properly. Mine is currently suffering from a knock, and the wheel has shifted. If it is possible, geared tuning pegs will save huge amounts of frustration. To play a basic drone and a simple tune (about my level) is not too hard, but to play like Nigel Eaton will take great application and dedication. If you admit defeat, and just hang it on the wall of your living room, it’s a fine conversation-piece.
Q.I've seen RT play solo acoustic several times (at The Birchmere) and can't recall seeing him use a capo. Does he? If not, is there a reason other than simply not needing one? I've heard some guitarists say that a capo can adversely affect tone, while others maintain that some fingerings (perhaps on "covers" with signature riffs) are well-nigh impossible without one.
A.Time for new glasses – or were you at the back of the stadium? I do use a capo, and far from reducing tone, it gives you a better platform to generate tone. Artists like Ry Cooder will capo up high on a baritone guitar with heavy strings to get a great, meaty tone on records.
7/4/05 Q. hello,
we have been to numerous live performances and have seen quite an array of pedals at your feet. could you run through them for us (we can't make them out from the gallery) and maybe say what is used on certain songs. my sons and i have discussed (argued) what was used where but we would appreciate the definative word from you.
all the best,
tom & devin & mathew Colbert
rochester, ny
A. This has been broached several times, but to be current:

Acoustic pedal board;

Ridge Farm ‘Gas Cooker’ 2-channel pre-amp – this takes magnetic p/u and condenser mic signals from the guitar.

DejaVibe rotary effect/pitch change effect.

Line 6 Echo/delay.

Voodoo power supply.

Electric pedal board:

Ernie Ball volume pedal

Boss delay

Dunlop Univibe

Divided by 13 ‘Switchazel’ selector/booster

Barbour overdrive
Q.Please pass these questions/comments along to R.T. and I'll watch the site for a reply. Richard, have you had a chance to put your Divided by 13 amp through its paces yet? They are built by my friend Fred Taccone and they are excellent indeed. I also recommend an overdrive made by Menatone called the Red Snapper. Very transparent and nice to the touch. Is there a chance we'll see you solo or with a band in Los Angeles this year? Were you ever approached by Elvis Costello to play on "Goodbye Cruel World"?

Greeting from David Jenkins
A. I love my 'Divided By'. Great amp. I used it on the upcoming CD 'Front Parlour Ballads'. It does everything. I should be playing in LA in October, date tba. Elvis did ask me to play on something. I forget which album – the timing, alas, did not work out.
Q.I’ve seen you more than a few times in concerts break a string. On the Austin City Limits DVD you lost a string on Shoot Out The Lights. Which given that SOTL was a blistering solo, I enjoyed it just the same. I’m always wondering what’s Richard thinking, is he mentally compensating for the lost string or how does he still manage to deliver a blistering solo? When you loose a string, do you do anything different if it’s a blistering solo or a delicate acoustic solo? Do you practice for those situations?

Cheers,

Mark Z
A. Breaking a string is an opportunity to think differently, and can be a creative boon, in forcing the musician to use different avenues. It depends which string goes, of course – the higher strings are easier to deal with. The string I break most on acoustic guitar is the 5th, which makes such a racket as it grinds against the pickup that I usually have to stop and change it. Django broke strings all the time, and apparently never paused for a second. And it all pales besides Itzak Perlman, who broke a string a few years ago while playing a piece by Bach, and simply proceeded to finish the piece beautifully on the remaining three strings, to the disbelief of the audience. He said afterwards words to the effect that sometimes the musician has to work a little harder to earn his keep. Phenomenal.
5/2/05 Q.It appeared to me that whomever made Richard's lovely acoustic guitar had somehow designed a wider body for him. Are similar models of that instrument available commercially? Is the guitar detailed at all on your site or any other site? I'd love to get a closer look at the instrument and learn more about it.
A. My instrument is a standard Lowden FC model – I must have been looking narrower that day. Lowden make similar models. They may be Making a signature model for me in 2006 – I’ll let you know.
Q. Hello. I'd like to know what effects RT use to get his characteristic electric guitar sound I believe there is some chorus but what else is there? Thanks and keep playing. I have everything you ever recorded.
A. I’m pretty much plugged straight in. The rotary effect I use is a Dunlop UniVibe. These sound great but fall to bits, and the oscillator wears out. I’m trying a DejaVibe, which doesn’t sound as gritty, but works better.
Q. Reading about your Strat from the Fullerton Musuem of Art it says that you wore out the original neck - a problem that I seem to have with my guitar neck as well - but curiously whenever I have seen you play electric you seem to have a fairly light touch on the fingerboard - have you changed your fretboard attack to save on guitar necks or are you still playing essentially the same way now as you did pre-neck change?
On maple neck Strats, it isn't so only the top of the fingerboard that wears out, but the sides as well, so that the strings will fall off the edges. Buying used guitars, they are sometimes worn that way already, as was the case with my '59. The '55 neck is now also unplayable. I think it’s just years of rubbing your hand against the wood that slowly eats it away.
2/20/05 Q.How does Richard get that just breaking up tone from his guitar, is it just a cranked amp or does he use a pedal?
A.If it's recent live or recording work, it would be either the amp cranked or a kick from a Mesa pedal. I now prefer Barber overdrive pedals. I also have a new amp made by Divided By 13, which is the bee’s knees. Can't wait to try it on stage.
Q. Richard: I am a guitar player who wonders how you keep your solos so fresh and new? I seem to hear myself playing the same runs in some shape or form despite efforts to break new ground -- I have been playing awhile, am considered by peers to be not to shabby, but can't get free of my entrenched soloing habits. I particularly admire your complete freedom from the pentatonic cage and unique timing and phrasing. Any thoughts about how one can work on expanding and improving note selection and phrasing without woodenly forcing "new notes" into solos? Thanks
1/13/05 Charlie Parker never repeated himself, but everybody else does, to some extent. I comfort myself with the thought that those clichés are really ‘signature licks’. But we all must try to expand the envelope, so here’s some thoughts:

It’s all about scales, so practice weird ones – minor 7 flat 5, 13th scales, 11th scales, whole tone scales. Try double octave scales.

Change the emphasis when you play a scale – push the off beats, put the notes into groups of 3 or 5 or 7 or 10.

Put your guitar into a bizarre tuning, and then play a familiar fingering. Write down any interesting sequences, and try to play them in regular tuning.

Try to sing a solo instead of playing it. Try to sing along with a solo as you play it.

It’s all about the heart, so at some point, if you’ve done your homework, empty your mind of everything, and let your heart, not your brain, play a solo. Your fingers will know where to go…
12/01/04 Q."Hey man, I was just wondering, could you tell me what pedal you were using to get that great lead tone on the first Fairport album please? "
A."We didn’t have pedals in those days, young person, or leastways I didn’t. It’s mostly a Gibson ES175 through either a Marshall 4 x 12 or a Fender Showman, suitably driven. "
06/29/04 Q."I am going to ask one of those equipment-bore questions now. I have long admired not only your electric guitar playing but also your electric guitar sound. I do realise that this comes about, in no small part, as a result of technical skill and the choice of guitar. I have a nice Strat, so I could be said to be halfway there on those issues. However, I do wonder what type of amplification you use (e.g. for "The Way That It Shows" or "Mother Knows Best"). It sounds like Fender. I have a POD to set up so such things are important in my little world."
A."I use mostly Fender amps, old and new, and Line 6. On the tracks you mention, I can't remember the exact amplification. Sometimes in the studio, we run 2 amps in parallel, and blend them. I have a '56 Fender Pro, '60 Pro Reverb, Reissue Vibroverb, and on record, I've used Vox, White, Fender Princeton, Fender Vibrolux, Ampegs various, etc."
Q."I've been very inspired by your playing, particularly your electric guitar work-probably your playing and that of Tom Verlaine (he played with 'Television', a US band, but he also made a great string of solo albums in the 80s) have been my single greatest influences. I was wondering if you had any tips to a young player these days on best practice. I usually flit about the various modes-mixolydian, dorian etc-and I know a reasonable number of chords, but I was wondering if there was any single technique or practice that you'd recommend to young player ie improving speed or working in more chord changes. Of course I know that relentless practice is really the best and only answer, but I'd be grateful for any insights that you might have, as so little real muscianship has commercial success nowadays and mentors are accordingly hard to find. I'm appalled and turned off by the 'shred' metal mechanics that continues to dominate most contemporary music and guitar magazines so any pointers to other sources of learning on the guitar would also be a great help. Thanks for your time!"
A."Practising scales is the basis of it all - try to extend yourself to cover 2 octaves and more. Then try to mix up the scales, randomly or with purpose. Try superimposing different triads on top of each other - C Major, CEG, then take the G as the start of the next one, say, GBD, then the D can be the root of a D Diminished, DFA flat, etc. Expression should be practised too - nuance, vibrato, attack. Listen to wind instruments to learn how to play in listenable phrases. Try to play piano harmonic voicings on guitar. Remember the guitar is a voice, so try to make it sound as human as possible."
Q."Hi, Richard! I saw you play at Irving Plaza, great show! Was wondering: is that Fender Vibroverb amp you were using ""vintage"", or a newer model? Modded in any way? "
Q."Are you using a reissue Vibroverb from the 90's on stage, and what, if any, modifications have you had done to it? It sounds great."
A."It's 'new' vintage - a reissue about 15 years old. Standard except for Mojo 10"" speakers."
Q."I'm a little frustrated by some of the riffs on ""Beating the retreat."" Tablature? Tips? I'm playing it with the E streing dropped down to D."
A."I play it in CGDGBE - capoed to fret 4, and played in B - lots of nice 'G' chord shapes rooted on the 5th string, and a good 'C' chord rooted on the 6th string. The 'D' chord is a normal D shape on the top 4 strings, and if you have no ethical objections, a mighty thumb across the bottom 2 strings at 2nd fret."
05/22/04 Q.Do you really use Elixir strings? Do you not find that the coating comes off?
A."Yes, it does eventually. How long do you leave yours on? Are you a thrash metallist? I find normal strings last me about half an hour onstage, before they deteriorate. Elixirs last at least two shows, and usually break before the tone goes."
03/23/04 Q."Back in those halcyon days, when you jammed with Jimi Hendrix, did he ever offer any advice on guitar playing? "
A."Well, having borrowed my guitar to sit in (I think it was my Grimshaw Les Paul copy) he suggested I raise the action to get better purchase on the bent strings - at the time I had it low and jazzy - good advice, which I follow to this day. James Burton told me the opposite though... "
Q."I would love to know, if you don't mind, what the individual gauges of the strings are on your electric. Whatever they are, I want to switch to them ;-) "
A."I use light gauge electric strings by Elixir, gauges:"
042
032
024
016 or 015
011 or 010
009 or 008
"These are pretty much what I've always used, and correspond to the old days before light strings, when you moved your so-called 'medium gauge' over one course and added a banjo 'A'. "
01/23/04 Q.Could you explain (preferrably in English) if there's any relation between this:
"I'd personally I'd love to know what the gadget/gizmo was he was using on his early '85 tour of the UK (with John Kirpatrick), and why he turned his back to the audience (as if in secrecy), and we've never seen it since? I can't find any descriptive reference of whatever it was anywhere".
and this:
"From Guitar The Magazine Vol 4 no 1 (feb '94) : He's also been known to fit a GL-2 guitar synth pickup in the bridg position of his sunburst Strat, leading to a GR-1 synth via an EV-S pedal. A Ratt pedal, TC electronics EQ, Tremulator, MXR Micro Amp, Boss delays and a Boss Chorus Ensemble complete his FX array"" and what this experiment was all about? "
A."On the tour with John K, I was probably using an EBow, but I couldn't swear to it. The extract from Guitar magazine describes my stage electric set-up from the early nineties. There is little relationship between the two set-ups."
01/19/04 Q. Always loved your live acoustic sound and was interested to hear that you are using a Line6 dealy modeler and a Uni Vibe in your effects chain. I happen to own both. Would you be willing to share your favorite settings and maybe comment on how you use them?
A."I think it's a matter of trial and error. I use an effects loop to avoid signal deterioration, and really just adjust settings till it sounds sweet. The Univibe could take over if you let it, so that needs a delicate touch to get the speed and pitch width sounding musical. "
Q." Have you played any 12-string on any of your CDs? ""Yankee Go Home"" comes to mind. "
A."There seems to be a hint of 12-string on every album I've ever done. There's a solo on 12-string on "Mr. Rebound" - that was some weird guitar of Rob Schnaps'. I used to own a Rickenbacker, early model, reputed to be one of McGuinn's old ones which he broke and left in the UK - the neck was repaired by Steven Sobell - I got divorced from it, alas. I've mostly used Fender '12's on record. "
10/16/03 Q. How often do you practice the guitar on any given day to keep your chops honed?
A."Probably a couple of hours most days, some days maybe 8 hours, some days nothing. Days off on the road, I usually won't play, to allow parts of me to heal. "
Q."On OKB, which electric is featured more prominently, the Strat or the Ferrington? "
A.It's the Ferrington and a 2 pickup Danelectro mostly...and an acoustic run through an amp.
09/03/03 Q. "Please share your secrets of ""One Door Opens”. Tuning. Key. Instruments."
A. "Nothing very secret – guitar has ‘dropped D’ tuning, and I play the line on the 4th string only, keeping the A as a drone all through the 1st section. Section 2 in D, using root, 5th and 3rd above for a close harmony sound. Section 3, more of an open, Travis-type picking pattern, playing melody and roots. Section 4, instrumental, in E min., playing melody in low octaves. Other instruments in unison are Mandolin and Appalachian dulcimer. "
Q."What strings do you use and what gauge, please.? (i.e Light , medium or heavy.)"
A."I use Elixir Acoustic and Electric strings, light gauges on both. "