fuse Wrote:
discostu Wrote:
Yail Bloor Wrote:
fuse Wrote:
Strings look pretty thin - maybe an electric uke setup?
I think you are right, especially considering the stand up bass player and the fact that she is playing an acoustic uke in the other pics; looks like a pretty neat little sucker though, huh?
http://www.acousticguitar.com/issues/ag122/gear122.html"Neko Case's "main love is definitely the tenor guitar." She still plays her first tenor, a vintage Gibson TG-O, but she wanted something with a deeper tone, so she commissioned a custom tenor with an Engelmann spruce top, Indian rosewood back and sides, and mother-of-pearl deer fretboard inlay from Don Windham (Haymaker Guitars, [602] 243-1179,
haymaker72@hotmail.com). Both guitars are outfitted with B-Band pickups. Case also plays a circa 1959 Gretsch Tenor Jet electric and a 1958 Gibson Les Paul Special. Her main amp is a Vox Pacemaker that Jon Rauhouse says sounds like "jellied bread," but she also brings Garnet Revolution I and Revolution II amps into the studio. Case's standard tenor tuning is D G B E, but she also uses an Eb tuning and one with "lots of B's." She strings all her guitars with ".011s of whatever" and favors the "papery sound" of .60 mm. Dunlop picks.
"Wow - way to go with the research skills. Thanks.
Yeah, this was an old article around the time
Blacklisted came out. The guitar in the picture is a 1929 Martin tenor guitar.
http://www.fretsmag.com/story.asp?secti ... code=15720
Frets:
What are your go-to guitars for writing, recording, and performing?
NEKO: "Mostly they’re [4-string] tenor guitars, but I also wrote a lot on 6-string for this record. I have a Martin acoustic tenor that’s very old—1929, I think—and very tiny, yet amazingly loud. Those little bodies make the most sound, I’ve found. It has a really rich, beautiful tone. I also have a vintage Gibson TG-O tenor. It’s a ladder-braced guitar, and the top has started to pull up a bit, which makes it hard to keep in tune, so I don’t take it on the road anymore. The Martin is much sturdier, even though it’s 30 years older. My 6-string acoustic is a ’60s Gibson Hummingbird that’s in really good shape and sounds great.
My electric tenor is a white 1960s custom SG with P-90s, which I really love. I also have a 1959 Gretsch Jet electric tenor. Unfortunately, American Airlines smashed the bridge on it at one point, so after getting it repaired, I decided not to take it on tour any more. Onstage I run my acoustic and electric guitars into a Carr Rambler 1 x 12 combo. It’s the best amp I’ve ever had. I fell in love with it because it has the most incredible sustain and the best tone, it isn’t too big, and it’s loud. My Martin has a very sensitive pickup—some kind of little microphone—that feeds back like crazy when I go direct into the house mixer. But plugging into the Carr solves that problem. All my guitars love that amp."
From the same article:
Case’s Secret Weapon
"In an effort to prevent ambient noise from polluting their vocal tracks, studio singers typically use mics set to fairly restricted pickup patterns. Case, however, takes another route, opting to set her preferred studio mic—the multi-pattern Audio-Technica AT4050 large-diaphragm condenser—in omni mode. In this configuration, a mic picks up sound from 360 degrees. Thus the tone of Case’s voice filling the room blends with her close-miked timbres, creating a lively, open sound.
The AT4050’s nickel-plated, machined-brass shell houses a dual-diaphragm capsule. In addition to switchable cardioid, figure-8, and omni polar patterns, the mic also sports a switchable 80Hz hi-pass filter and 10dB pad, and offers transformerless circuitry. —AE"