I once owned a Les Paul (for a very short time) and a Flying V2 from Gibson. After decades of not playing Gibson guitars I’ve found a Melody Maker on Reverb.com (the seller was Yeahman’s Guitars from Switzerland) an felt immediately in love. This model was built in November 2010 in Nashville. Not a real vintage guitar but with tons of vintage flavor. Plays and sounds great. When you grab this guitar, it’s like coming home. You start to play certain kind of licks and you don’t really know why. The Melody Maker makes you play different than you maybe play on other guitars. Damn… I’ve got the Gibson-Mojo-Virus again….
I always wanted a Gibson ES-330. This model has no sustain block and sounds just beautiful. My old friend Bodo Suss from Moon Music sells Stanford guitars and showed my the Crossroad Thinline 30. I was blown away by the quality and the sound. The nitro (!!!) finish is simply stunning. The P90 dog ears sound yummy. The guitar is made in China and proofs once more, than Chinese is not equal cheap. For a very reasonable price you even get a nice and sturdy hard case. The setup and overall finish is superb. The tuners are not only great looking but doing their job. When you grab this hollow body guitar for the first time, it’s like coming home. Like meeting an old friend.
You can hear this great guitar on the upcoming The Haunted Echoes Album “Songs Like Horses”. Treat yourself and get it here.
During the last years, I learned to admire the Lap Steel Guitar. You can play swampy blues tunes and sweet Nashville melodies. I love also the simple concept of this instrument. My choice is the Road King RG-32-SN. A really affordable but solid Lap Steel.
I am using the Dobro G-Open Tuning.
I am pretty sure that you will hear it on the next Kissing Lucifer release.
I recorded within a couple of weeks three songs for “The Haunted Echoes” debut EP “The Remote Sessions”. I limited myself to 24 tracks. Just like in the good old days. I used as many vintage emulated equipment as possible to achieve a raw, unpolished sound. Reduce to the max. What I did for the first time, was to send all the tracks to an Waves Abbey Road Vocal Chamber bus. This simulates to have the “band” in one room. I added this sound to the overall mix and it just worked perfectly.
The Waves Abbey Road Vinyl Stereo plugin added some warmth, crackles and noise to the master bus. Not over the top but you can still see the meter active while no music is playing.
When I record for Kissing Lucifer I use as many tracks as I like. Sometimes a hundred, sometimes 50 or 60. Since I reduced everything to 24 tracks (I don’t count the tracks for FX busses etc. ) I experienced a totally different sound, especially on the guitars. I use less gain, sometimes almost none for the rhythm guitars which leads to a real punchy sound. On the other hand I use some really weird fuzz octave sounds that are kinda ugly but beautiful.
Kissing Lucifer always has tons of vocal tracks. Dave and Becky deliver plenty of great tracks. For “The Haunted Echoes” Rachel sung only a few tracks. The lead vocals weren’t doubled. Everything was stripped down and worked perfect. There are always many ways to achieve a certain sound. I have to admit, that I like the raw approach. Focus more the song itself than on a wall of sound.
Mastering was done by Brian Lucey (Marilyn Manson, The Kills, Royal Blood etc.). He really did a fantastic job and mastered very musically.
The EP “The Remote Sessions” will contain two more songs called “Crooked Crimson” and “Nocturnal”.