crazy mama » 11-11, 13:58
Фрагменты из интервью Киффа в журнале "Гитор плэйер", касаемо "эрниболовцев", авось пригодится:
Q: Do any new guitars impress you?
KR: Those new Music Mans I've been using - they impress the shit out of me. They made me a 5-string one and a 6-string bass. But just the basic guitar itself is the most impressive guitar since the Tele or the Strat. I really don't know what the model is I use, but you can change that configuration of pickups in a few minutes. I've got a couple of them set up. I mean, I'm not one to go very much beyond the Teles. I have the odd Guild, and Gibson and Gretsch shit that I use for extra color here and there, semi-acoustic shit. I love guitars. But the Music Mans impress me. As an all-around working unit, that thing surprised the shit out of me. Sometimes in the studio, I can make this thing sound like a Strat or a Gibson.
О сути взаимодействия гитары и усилка:
Q: Do you like high action?
KR: It depends what tuning and what I'm going for. I've got no set thing for anything. I've got three or four 5-strings there, one with high action, one with low, and one with medium. The combination of the guitar with the amp, to me, is more important than which guitar I play. No one guitar is going to sound great for everything, unless you're one of those guys that only has one sound (laughs), and if you don't deliver that, you're fucked. I just keep shopping around. I say, "Well, there, he sounded good through that. Let's try him through the Bassmaster. Or the Bandmaster." So the combination of amp and guitar is a far more important choice than just the guitar. I mean, you're talking electric guitar. What have you got? You got a guitar, you've got your own asshole, and you've got an amplifier. Somehow these three things have to come to be where you want 'em all to be at once. A Strat might sound good through that Bandmaster, but would the Telecaster sound better through that Champ? It depends on what sound you're going for. Basically I'm talking recording here, because that's what I've been into for the last year.
For live work, I put the Twin up, and give me Teles and the odd Strat here and there. It's a different criteria. But when you're recording, you can afford to say, "Well, maybe that Strat sounds better through that Kay than the Gibson through the Champ." You just keep trying. You never know quite what you're gonna get. The great thing about music is its unpredictability. It never ceases to amaze me. I can be bored stiff "Oh, man, I wish I had a night off" - and then a little problem like that'll come up, and suddenly I'm in. I say, "How fascinating! Why should that .... What's the difference between those sounds," and then you see faces light up in the control room. Suddenly you find the right combination, and you're on the track. You've got to carry everybody with you.
Относительно любимой "акустики":
Q: What's your favorite acoustic?
KR: Right now I've got that new replica of the L-1, the Gibson, which they gave to me and which I put a lot of on this record. I overlayed some of that. They've done a lovely job on that. It's a great-sounding guitar, and I don't like new guitars, generally speaking. I like ten or twenty years on'em. This L-1 is the same one Robert Johnson played. I have one that was made in 1934, but they do wear out. There's a possibility that in a couple of years it will sound just like the guitar that Johnson was playing, because it's new. His guitar was probably four or five years old when he played it. They're not sturdily built; they won't last forever. But within four or five years, these replicas, being as well made as they are, might have just the right amount of ring and bite on them.
September 17, 1992