![]() When out on the road, if I've got seven or eight guitars with me, it's nice to get two or three days out of some of those guitar strings. I've played just about every string out there, but for me it's basically a durability thing. But we've been using Dean Markley Blue Steels. It's something about the acid in my sweat. I loved them but they just go away real quickly and I'm not sure why. I've been using Dean Markley strings since halfway through the second record. We used the new Dimebag Wah (Dunlop DB01) more than any other. We yanked out all the old stuff we had from our closets. For this record, everything was old floor pedals, the original Phase 90, TC Electronic's pedals, and Electro-Harmonix. Then I gravitated toward the more studio-oriented stuff, like Lexicon and TC. I used a lot of the Rocktron gear for a while. I went through a stage using nothing but rack mount stuff. That's one of my go-tos.Įffects are funny, a means to an end for me. We didn't have to cut anything because the extra preamp was already in there. I have a push/pull pod on the front of the amp. We actually put that tube inline so it has an extra gain stage. I never used the extra preamp it has for the tremolo. The coolest thing about it is that no matter where you set the EQ you can't make it sound bad. ![]() I've got one, a '71 Supertremolo, that has been on every record we've ever done. But I do have about five or six old Marshalls that will always end up on the records, too. That's pretty much what I've been using, the Titan and the V-Max for the solid-states, and RM100s for the tube side. They sent us two of them when we were making Seasons, a rack mount and a head version for the studio. That was pretty much it.Īnd then they approached me about this new RM100 that they had. What'd I tell these guys I'm going to do?" But they dropped the gear off and we used it on the record. There were some empty holes in there, 5:30 in the morning and all, you know. I kind of remembered the conversation and kind of didn't. Two or three weeks later, they showed up to a Chicago show with gear. ![]() 5:30 in the morning he calls up Doug and Dave over at Randall. That was pretty much how I started my relationship with Randall.Īctually, it goes back one step further than that. Ben admitted later that it was the best sounding amp he'd heard that day. ![]() I actually recorded some tracks with it and then we took a break. He just kind of looked at me and said, "What're you gonna do with that?" I said I just wanted to listen to it, plug it in and see what it does. Ben had his Diesels and old Marshalls, and all of his boutique amps and stuff. But yeah, Randall sent the two to the studio. Diesels need to be played the same way older Boogies need to be played. I'm used to plugging into an old 100 watt Super Lead and just beating the piss out of it, and having it do what it needs to do. They don't do what I'm used to an amp doing. I play through them and I sound like an idiot. Randall sent a Titan and a Cyclone to the studio when we were making 'Animosity'. And coming from a Marshall background, and then switching into some of the more solid-state stuff, Randall has always been one of the solid-state frontrunners. Live I've always used tube tops and solid-state bottoms, four cabinets. That's pretty much how I got hooked up with Randall in the first place, not because of their tube stuff. It's a very cool design, especially for Randall, being pretty much a solid-state amp company for years. You can actually sit there and mod them yourself. The whole channel just pops right out so you can swap off the tubes, capacitors, and whatnot. You can put different tube modules into it. Basically, the Randall RM100 is a three channel head. Everything on the record was Randall and Marshall amps.
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