Happy Trails: John Cipollina's Guitar Rig + Technique Analysis - Chapter 1: Guitars (Editorial)

Rig Rundown - Guitars - (see introduction here)

Guitar: John Cipollina and the Gibson SG are as synonymous as Jimi Hendrix and the Fender Stratocaster - any fan can't help but think of one when they hear the other. 

Cipollina's were somewhat special, and came in a more unusual flavour than most SGs of the day. John acquired his first SG, which was an SG Special, in 1965. However, it was not until 1967 that Cipollina started using his most iconic, 1959 Gibson SG. This 1959 SG is the guitar used on his most recognised records, and is of most interest to those trying to capture that 'Cipollina tone'. 

The guitar itself featured several aesthetic and tonal modifications. The guitar featured a uniquely cut pickguard that formed the shape of several bats; mercury dimes glued to the top of its control knobs, and both the fretboard and headstock featured additional mother of pearl inlays. (You can find a enlarged picture of Cipollina's main axe here).

Furthermore, the guitar featured older Les Paul style pickups with the neck pickup mounted in reverse; Grover Imperial tuning machines, and an added Bigsby B5 vibrato unit (a device that became a staple of Cipollina's sound). Additionally, the SG was specially wired to have one pickup fed solely treble, and the other to be fed solely bass (we will touch on this again in the chapter regarding amps).

On a side note, when Cipollina left Quicksilver Messenger Service he went on to use his awarded Gibson Les Paul 25th Anniversary guitar throughout the 1980's, and also used several customised Carvins too. Furthermore, before his discovery of the SG, Cipollina used a Fender Stratocaster, and several Danelectro catalogue-model department store guitars.

Written by Daniel Sharman.

The Citradels: Interivew

Hailing from Australia, drone-psych rockers, The Citradels, have been prolifically putting out music for the 4 years. Their ability to quickly write and put together songs is uncanny, and with their latest album just released, Droned And Rethroned, it can be seen as yet another improvement upon their sound. We caught up with the Citradels to hear more about how they put together their new experimental album... 

The Citadels at the FBI Social.

So, guys, who is in the band and who plays what?

Thomas De Vries - Guitar and Vocals

Curtis Goodfellow - Guitar and Vocals

Sam Heathcote - Bass

Archer Moore - Organ and Vocals

Connor Tolson - Drums

This is how the band performs live, however when it comes to recording it's whoever can give the best performance, as everyone in the band is capable of playing several instruments. When we were recording Droned and Rethroned, one of us may have had only a basic idea for a song, recording a bare scratch track and leaving space for other people's input. However some songs were almost entirely written and tracked by one person.

Where do you guys hail from?

The band was originally based in Geelong (Australia) but after about a year and several lineup changes the band relocated to Melbourne, were we've been for the past year and a half.

What guitars were used on the album?

We mainly used three different electrics; A 1966 Vox Phantom 12 string, a late '60s Tokai (a Gibson 335 copy) and a copy of a Vox Teardrop which was made by this guy in Melbourne. Some tracks also had a Yamaha acoustic on them, and the bass we used was a modified P bass with a jazz pickup and neck.

What amps and effects pedals were used on the album?

Vox Phantom 12-String

We used a Vox AC30VR, a Fender London Verb, a Fender Deville and an Alembic F1-X preamp for the bass. Some of the pedals used are EHX Hummingbird, Freeze and Holy Grail, Crossfire Tremolo, Boss RV3 Digital Reverb/Delay and OD3 Overdrive, ZVex Lo-Fi Loop Junkie and some other fuzz pedals, I know I've missed some. Curt has this really old analogue delay unit which is super cool and I have this D.I.Y. fuzzbox that's completely broken and makes all these fucked up squeals when you turn it on, so we used that bad boy as well. We did also do a heap of experimentation and explored different ways of recording guitar on this album, like running it straight into the desk with the gain flat out to try get that White Light/White Heat Sterling Morrison type sound.

What other instruments were used on the album?

We had a clear idea of how we wanted this album to sound. We picked twelve or so tracks that we believed best worked together and then worked on them each in detail. It kind of meant that some of the tracks that would have had a broader instrumental scope got left out this time around. So apart from the usual guitar, bass and drums, we used our Farfisa Bravo running through a heap of different effects and also a really old Gem upright organ for two tracks in particular. Sam laid down a fair bit of violin which was often manipulated in post-production to create drones and feedback. We also used a pungi (snake charmer), glockenspiel, harmonium and an array of percussion instruments.

Where was the album recorded?

Almost the entire of the album was recorded in one room at my house in Melbourne. It's a living room and shared practice space with my housemate's band. We have pretty much just done it this way since the first album. It's kind of the base for most of the things we do, we have all that is needed for us to record then and there, so it makes sense. On a couple of the tracks some additional overdubs for were done at Archie and Sam's place.

What have you learnt after recording the album?

Recording for this album was great. It's probably been our most collaborative album to date, but also the most refined and focused in terms of the overall sound. It's always great recording from home but after three albums in a row it seems like I've been recording and mixing an album for the last two years. We are going to move all our gear down to Curt's parent's beach house in June to record our fourth album. So it will have a pretty different sound and feel, but we're looking forward to the change. It also means that the entire band will be present for the recording sessions, whereas as at the moment it's very rare to have everyone there whilst we're tracking individual parts.

What is next for The Citradels?

We're currently finishing up writing tracks that will feature on the fourth album. At the same time we also have what could be called the fifth album or maybe an EP in the works. It's will be made up of acoustic tracks, so a lot of sitar, some tabla and more alternate instrumentation, maybe even a country song or two. This is something we're slowly putting together. As much as I'm glad to be taking a break from recording I also get edgy if I feel like I'm doing nothing, so it's going to be a slow process. About four songs are almost complete, I might upload one soon depending on how it's sounding. We are just looking forward to doing that and working on our live show. We have some really cool gigs coming up and will hopefully have a more extensive interstate tour later this year. We also have this little collab idea with our brothers (and sister), The Grease Arrestor that I want to see get up and running by midyear. I wont say to much but this idea is pretty new for us and I haven't seen it done before, so it's exciting.

Do you even psychedelic? would like to thank the band for taking the time to do this interview. 

Interview conducted by Dan Sharman on 03/03/2014.

Night Beats Interview: Tarek Wegner talks the gear of Sonic Bloom!

Catch up with the Psych-Garage rock trio, Night Beats, as Tarek, the band's bassist, gives Do You Even Psychedelic a quick run-down on the production of their latest album, Sonic Bloom.

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"Let's start with some background on the band. Where/when did you guys meet up and start playing"

"All 3 of us in met up in Seattle around January 2010."

"Where do you guys draw influences from as musicians, what influences the music which you then create and whom inspired you to pick up your respective instruments?"

"Probably just Magic/fate."

Danny with his Danelectro-made Silvertone 6-string.

"For the new material off your latest album, Sonic Bloom, the tones have been varied and interesting both live and in the studio. Tell us about some of the guitars(including basses)being used on-stage and in the recording room (with addendum regarding other instruments, e.g: Drum kits)?"

"Pretty standard stuff mostly. The Basses I used were an Eastwood High-flyer, a Fender P-bass and a Fender Mustang bass. I remember the guitars played were a Danelectro twelve-string with built in effects, a Fender Stratocaster, a Valco-built Airline Town & Country, a Guild Jet-Star, and a Squier mustang. The drums were pieced together differently for each song really."

'64 Guild Jetstar

"What amps and pedals are being used?"

"A '70's Fender Twin-Reverb (same one used for guitar on the Black Lips album 'Let It Bloom'), A '70's Fender Bassman combo, A '65 Black-face Fender Bassman, An old Peavey, A Fender Deluxe-Reverb reissue, and a Vox AC30. The pedals used were: A Digitech whammy octave, A Boss tremolo, several delays, several distortions, a Danelectro Spring King, a tremolo, a chorus.

A Dunlop Jimi Hendrix Fuzz Face, A '60's home-modified Dunlop Germanium Fuzz Face, A 1970's Mosrite Fuzzrite, A modified 60's Mosrite Fuzzrite, and an unnamed home made fuzz."

'65 Fender Bassman

Mosrite Fuzzrite

Dunlop Geranium Fuzz Face

"What were the recording sessions for Sonic Bloom like? Where/how is was recorded, what in-studio effects did you have, where was it mixed, ect, ect."

"It was different for every session. We did it pretty clean to the tape with the exception of a couple of tracks with use a tape echo. It was recorded by Kyle Brunette in Tacoma, WA."

"What lessons have you learned from the albums you've made, including Sonic Bloom, and what future projects does the band  have planned?"

"We can't exactly say."

"Lastly, where can people find out more about Night Beats and show there support? Maybe you could tell us about  your upcoming trip to south Africa."

"You can come to our shows, we play and travel enough. Wish Nelson Mandela could of made it to one of our South African date's."

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Do You Even Psychedelic? would like to take the chance to thank Night Beats for conducting this interview. 

Interview Conducted By Dan Sharman at 07/12/2013.

Escape From Black Cloud by Travelling Circle (album review)

Find yourself craving desert rock with a east-coast edge? Look no further than the new Traveling Circle LP, Escape From Black Cloud, ''an alchemy of disparate musical ingredients that will awaken your senses, clear the dormant catacombs of your mind and spin-cycle your neural fabric.'' - Review by Daniel Sharman.

Released in: 2012

Genre: Electric Progressive psychedelia/Desert rock

Record Label: Nasoni Records

Medium: Black Vinyl, Coloured Vinyl

Recorded at: Seaside Lounge in Brooklyn, NY

As of late, I've recently found myself craving some fresh, interesting desert rock to listen to, partly due to my recent interview with Nik Rayne of the fantastic Arizona desert-psych outfit, The Myrrors. To quote Dexter Romweber of the Flat Duo Jets, 'some things come your way when you want 'em', and much to my surprise, they have indeed it seems. 

Now, when I was first contacted by the Circle's drummer, Joshua Schultz, I wasn't quite sure what to expect judging from the band's name and ascetic, but like most bands, the music truly spoke volumes incommunicable by any of it's creators. Travelling Circle is one of those bands truly worthy of the phrase 'you've never heard of them but, you really, really should'. 

When I think Escape From Black Cloud, I think of a mellower, more melody-focused version of a Wooden Shjips LP. The outfit seem to evoke and forge the same sort of lulling, hypnotic vibe and spaced out grooves as the San Francisco four-piece but, by using a different mixture of ingredients.

Driving, sustained guitar leads are lush and plentiful in this album, often becoming the main basis for a songs rhythmic and melodic section, and rightly so, perfectly complementing the airy, falsetto vocals. It is clear that the band's guitarist, and the whole band in general for that matter, put a great amount of thought and care into their 'sound' and set-up, often being very tasteful with the effects imposed on the guitar sections and being sure not to over-expose instruments to modulating devices.

Even though opening tracks such as, Higher and The Candlelight Sway, provide intense, high-calibre bouts of fuzz and volume, later tracks such as, Newborn Shadow, adopt a calmer style, bestowing upon the listener a welcome change in pace and making the later tracks, which share the similar sound of the first two tracks, infinitely sweeter and more enjoyable.

It is also worth noting that most of the songs often tend to indulge themselves in their instrumental sections, normally dwelling on the relationship between the guitar and the drums. The drums, which, may I add, take a welcome approach tonally, not often heard on many rock records, opting for more of a Arabic, exotic sound.

If I had to harbour one complaint about the album, I would comment on the repetitiveness of the vocals, but due to the space-rock inclination of the band, simple lyrics tend to lend themselves to the rest of the music's rhythm section. And, even though the album does start to trail off towards the end, you have to understand, it's that kind of party.

If you find yourself, like me, yearning for a sizeable dose of solid, refreshing, effects-friendly desert-space rock, look now further than Escape From Black Cloud. Not only will this LP keep you entertained for a healthy 35 minutes, it's title track Higher has a vast amount of re-playability.

Critics Comment:  This album exceeds expectations in nearly all areas, begging the question, why is this the first we've heard of Travelling Circle? Get ready for a fully-stereo, fuzz driven thrill ride that will sit snugly into your Sunday evening and beyond...and yes, it's true bypass.

You can read Do You Even Psychedelic?'s interview with the band here!

You can find the whole of the new album here!

Like the band's Facebook page to keep up with events here!

The Myrrors Interivew: Interview/Gear Review with Nik Rayne!

The Myrrors, hailing from Arizona, U.S.A, have been the muse of many a psychedelic and desert rock fanatic for the past five years now as the popularity of their first record, Burning Circles In The Sky, spirals forever upwards. Amongst other things, fans of the band, including myself, have always been fascinated with how the 'Circles' EP was recorded exactly, I caught up with the bands guitarist Nik Rayne to find out more...

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Dan: What guitars were used (with addendum regarding other instruments) on Burning Circles in the Sky?

Nik: Since the band's earliest days my mainstay electric has always been a Gretsch Double Jet. It's got a strong, sharp attack and, perhaps most importantly, a Bigsby tremolo that I really abuse the hell out of. For a while I was messing around with a Fender Stratocaster, but it just never did it for me. Acoustic guitars are been more of a mixed bag. The title track on Burning Circles In the Sky was, to the best of my memory, recorded on a cheap Washburn steel string. Between the band we have a rather large and motley assortment of stringed instruments. In fact, a lot of our gear was either salvaged or entirely homemade. The dulcimer that leads "Nobody's Children" even has some scratchy handwriting inside reading "made on a rainy day November 9, 1979"...so if your out there, mister Robert Sitnek, thank you for the wonderful instrument! It's always a beautiful thing unearthing historical footnotes on old pieces of equipment like that. Grant [Beyschau, drummer] and I really have a passion for finding and learning unusual instruments, and we've recently started incorporating a lot of new textures into the music. He plays a righteous free jazz sax on our latest single "Ramona Parra," for example, and I've been working out the charango and quena, which I picked up back when I lived in Chile.

Dan: Additionally, What pedals and amps were used on the recordings of Circles, Solar Collector, and Ramona Parra?

Nik: I've actually gotten a lot of mileage out of a little Fender Eighty-Five that I picked up at a thrift store several years back, and it's that amp which is most likely featured on Burning Circles In the Sky (in any case it was most certainly the one used for the guitar parts on "Ramona Parra" and the Solar Collector tape). The rest of the band has been on me for a while now about getting a new amp, but I have to admit I've grown close to the little bastard. It doesn't look like much, but it packs a punch. As for guitar effects, I'm very fortunate in that most of the ones I use are handmade by a friend of the band's named Claira Safi, including the fuzztone that drives "Warpainting." I've got an echo box of hers that I use that has so many unmarked controls that no one really knows what it's capable of! Hell, even my power supply comes from her worktable. I'll confess that I do still use a stock Dunlop Cry Baby and an Electro Harmonix reverb on occasion, however. I know the former made it onto "Plateau Skull."

Some of Nik's Custom Pedals

Dan: Furthermore, what can you tell us about the Circles recording sessions?

Nik: The first record, Burning Circles In the Sky, was recorded at my home studio back in Phoenix, Arizona in rather piecemeal fashion over the course of a summer. That record was, more than anything, us attempting to find our way in the studio, and some of the material reflects the rather tentative, experimental nature of the proceedings. The rhythm tracks were usually laid down first, then the rest of the instruments would build up from that. A few of the tracks were already live staples, such as "Mind's Eye" and "Warpainting," but the rest was thrown together as we recorded it. Though the record turned out pretty firmly structured, we have always been much more about free improvisation...in the end we only ever included one or two tracks from the album on any given night's setlist, though I suppose we'll probably keep playing "Warpainting" for a while, as that one seems to be pretty popular.

Dan: Follow up and new material?

Nik: After reflecting back on the material after five years there is a lot about the recording process I would have changed, but in that way I suppose it is an honest reflection of the band at that early stage of development. We relied far too much on post-production and multi-tracking in those days, and not enough on capturing what we really sounded like as a band. Fortunately we have almost wrapped up cutting our long overdue second album down here in Tucson, where I've been living for the past four years, and in my opinion the music is not only sounding a lot more interesting than that on our first record but also much more organic. The three jams on our recent cassette release Solar Collector are kind of an unpolished kodachrome of that new stage in our evolution as a group, I think.

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The Myrrors have currently released a new single, you can listen to it here:

The Myrrors released 'Burning Circles In The Sky' in 2008, you can listen to it here:

To here more about The Myrrors new album, make sure to like their Facebook page.

Posted by Dan Sharman, 13:27, 28/08/2013.