Guitar Gear

Until 2021 when I bought a 7-string (because I couldn’t find parts to build one I’d like), my only electric guitars were ones I built myself (with help). I used Ernie Ball EVH 5150 strings until 2007 (discontinued), and Ernie Ball Super Slinky’s since.

Guitar 1 has the thickest neck (I like it the least) and flatter frets (I also dislike) but sounds better.

My first electric back in 1984 was a cheap copy of a black Gibson Les Paul (inspired by Ace Frehley of Kiss), followed by my first “real” electric guitar, a white Gibson Explorer (inspired by Matthias Jabs, Scorpions).

Since 2005 I use a Peavey Triple XXX head and slanted cab, heard on all rock albums. From the beginning I’d used a ProCo Rat distortion pedal and a Peavey Backstage Plus. For years I used no amp, just a Digitech GSP 2101 LE, and from 2001-2005 I only played through my computer using a SansAmp PSA-1 software plugin, which is actually still what I use at home. The amp comes out when I leave the house (rehearsal, gig, or to re-amp guitars in a studio for an album).

At home I record direct through a Aphex 207D Preamp into the computer, listening to the SansAmp. I only hear my Triple XXX after the album is done and re-amped.

On the original 2004 release of The Firebard I got stuck with the SansAmp sounds and some bad experiments I’d done. This is one of several reasons that album has been re-recorded and re-released, the original now unavailable.

My first guitar in 1984 was a Yamaha acoustic I soon traded in for a used, slightly beat up black Alvarez that sounds gorgeous. Virtually all of the acoustic music I’ve written was composed on this. In 2005 I bought a 12-string from Alvarez, then a matching 6-string in 2008, and finally an Alvarez acoustic bass in 2009 (so far only used on Serenade of Strings).

In 1990 I bought an electric Yamaha classical guitar, later used for my degree and heard on The Lost Art and Serenade of Strings. It sat unused in its case from 1996 when I developed tendonitis until 2009 when recording the latter album.

Black 6-string

6-string

Classical guitar

12-string

Bass

Live, I use very little of what’s on my pedal board – the Digitech GSP 2101 LE for lead guitar volume boost and echo with more reverb. Then the Morley Bad Horsie 2 wah and a noise gate, maybe the Boss CH-1 Super Chorus if going clean.

On my acoustic instrumentals, and probably on some ballads for Black Halo, I’ve used my percussion: tambourine, cabasa, wood block, and shakers. As of around 2009, I’ve also owned a Roland TD-12 V-drum kit I bought used off eBay. This was used for Now Weaponized! and The Firebard. The kit was also used on Black Halo’s Utopia album, except we used the drummer’s real cymbals.

As of 2026, I have Meinl cymbals of my own and which are used on Acoustic Wonders and probably every album after that.

In 2005, I assembled a third guitar, with Seymour Duncan contributing pieces directly but stopping short of an endorsement. Prior to having it painted, I briefly attached parts to create the needed holes.

I asked Mattias Noren (who did the The Firebard album cover and my logo) to help draw my artwork concept. Daneen Bronson then painted it, but the paint hadn’t cured long enough when shipping it back to me, so I had to remove the marks left all over the surface, by wet sanding, first with 1500 grit and then 2000 grit paper, and buffing.

Then I truly assembled the guitar for the first time, starting with the body, then tuners, truss rod adjustment, attaching the neck, then stringing the guitar. I adjusted the Floyd Rose spring tension, then wired the guitar’s two pickups, volume knobs, a switch, an output jack, and a grounding wire for the bridge.

The all-important setup completed the guitar, starting with adjusting the action by lowering the bridge, then adjusting the pickup height, and finally setting the intonation for each string. I bought most parts from Warmoth, who made an error cutting the nut slot, which required several shims to adjust it properly, and it ultimately went to the local shop for this and to finish off my setup, which I couldn’t get quite right. I didn’t have the shims for one, but I grew tired of adjusting the Warmoth truss rod in the neck, since you need to take off the neck each time, adjust it, put it back on and restring it, and see how far off you are. The guy at the shop told me even the pros have trouble with the Warmoth rods, so I felt better about not getting it right.

One thing I’ve always told people is that I make the guitars to have them, not brag about having built them, so it’s never mattered to me that I’ve always needed help along the way. It’s still fun and I like these guitars better than anything I’ve ever played from a manufacturer.