SO ONN NY Y LA AND N D RE RETH R TH H
My engineer, Tony Daigle, set up a pair of microphones—a Neumann KM 84 and a Shure KSM137—to capture the natural resonator sound. The Pogreba has a singlecoil Teisco pickup near the neck, and it did a nice job picking up the sound from a set of D’Addario EJ17 Phosphor Bronze Mediums, even though you’d think nickelwound electric strings would translate better magnetically. [“Those Teiscos are so microphonic, they sound like whatever guitar you put them on,” adds Pogreba.] We split the pickup’s signal in two. One went to a D.I., where it was split again into the recording console and front of house. The other fed into a pair of pedalboards, and then my amp—a Demeter TGA-3 head through a vintage Fender Bandmaster 2x12 cab loaded with Celestion Vintage 30s. The Radial Engineering Elevator multilevel boost pedal works great with that guitar because you can select the amount of midrange punch at either 10dB or 5dB,
which is what I used—just enough to make the mids pop. From the Elevator, the signal fed a Fulltone Plimsoul overdrive pedal that I’d kick in now and then. The Teisco usually sounds ﬂabby when you drive it, but that Plimsoul has better articulation, and just a bit of gain from it worked well. The signal then ran into my regular pedalboard where I had an Analog Man compressor and an Analog Man chorus that I used for Bound by the Blues. The chorus is rich, and it gets kind of crazy, but it shakes up the sound in a cool way. I felt it gave the guitar more of an identity—the steel drum vibe I was going for on that particular song. I also used a Visual Sound Dual Tap Delay to add a bit of ambiance at times. I like delay in general, and on an acoustic it’s nice for thickening, vibe, and deﬁnition. “A World Away” is a good example, and that’s the only minor tuning in the acoustic set—G minor. How did you deal with multiple tunings when you only had one Pogreba?
G U I TA R P L A Y E R . C O M / O C T O B E R 2 0 1 7
I had the Pogreba in G major [low to high: D, G, D, G, B, D], which is my favorite open tuning, especially on a resonator. From there, it was only a half step down on the second string to G minor. I had one other guitar—a beautiful Beltona resonator given to me by Mark Knopﬂer—that I used to play “The High Side” in open D [low to high: D, A, D, F#, A, D]. The Beltona is actually the guitar on the album cover. While I played that, my tech Jimmy Bedsole put a capo at the Pogreba’s second fret to put me in A minor, which was the original key for “Bound by the Blues.” After that, I took the capo off, and with a quick turn of the second string, I was right back to open G for “The U.S.S. Zydecoldsmobile.” We worked that out at soundcheck on the third of three nights recording, so that was the only acoustic performance of it we’d ever done at the time. That’s a powerful tune. Did you use your usual glass slide for the acoustic set, or another material?