Nels Cline
Sounds cool. You should do it!
Yeah, I still wiggle my fingers around and do
these shred-like things, because I think that’s
exciting. When I heard Jimi Hendrix or John
McLaughlin or George Benson as a boy, I got
really hyper listening to that prodigious technique, but only because it sounded like it
meant something. It wasn’t just a display of
some gymnastic-like ability. But, I still hear a
million notes in my head when I try to shred.
Maybe it just appeals to my inner-13-year-
old [laughs]. I don’t do a lot of shredding in
Wilco. It’s much harder and more important
to play economically and play the right thing
for the song. I feel my goal for Wilco is to
be part of the orchestra. If there’s a time to
amp things up, then maybe the shred thing
comes in handy.
instincts. I think that one can hone those instincts
with the knowledge that comes with studying
theory or ear training and by just paying attention. It’s about listening beyond your instrument.
In other words, while you’re playing, you’re hearing everybody, not just yourself. I think if that’s
happening, then your instincts are razor sharp—
and that’s crucial to being a good improviser.
What’s your advice for guitarists?
How important is instinct when playing guitar?
Cline’s Schroeder DB7 amp, ‘ 69 Fender Jaguar (left),
Bil T Jazzmaster-style, and ‘ 62 Jaguar (right).
Photo by Anne Erickson
I think that in music in general, and particularly
as an improviser, it’s crucial to trust in one’s
Well, if my life or experience means anything,
it shows that persistence and patience might
be the ticket to playing guitar or doing any-
thing. I played music for a really long time.
I wasn’t really playing commercial music. I
didn’t try to “succeed.” But my life is beauti-
ful now. I’m making great music and I have
great opportunities to play. Lots of people
won’t make it all the way down that road,
and they’ll give up—because it’s hard. So, if I
do have a message, it would have to be that
if you really love sound as much as somebody
like me, just hang in there.
Nels Gearbox
Dying to know what’s in Nels Cline’s rig for the 2010 Wilco world tour?
We’ve got the lowdown below.
Guitars:
Two 1959 Fender Jazzmasters with original soapbar pickups and a Mastery Bridge
designed by John “Woody” Woodland
Chambered, all-rosewood Jazzmaster-style
guitar made by Bill Henss and Tim Thelen of
Bil T Guitars in Des Moines, Iowa
1962 Fender Jaguar
1969 Fender Jaguar with Charlie Christian
neck pickup and Seymour Duncan Antiquity
bridge pickup
Jerry Jones Neptune “Shorty”
Octave 12-string
Jerry Jones Neptune 12-string with
three pickups
Jerry Jones double-neck baritone
2009 Bill Nash Tele-style “He makes them
out of kit parts and puts Lollar pickups on
them, which are really good for Telecasters,
and then he relics them.”
Gibson BR- 9 lap steel
National lap steel
Amps:
Custom Schroeder DB7 built by Tim
Schroeder of Schroeder Guitar & Amp
Repair in Chicago
Marshall JTM45 2x12 reissue given to
him by Jeff Tweedy
’
Effects:
Boss DD- 3 Digital Delay
Boss VB- 2 Vibrato
Boss AB- 2 2-Way Selector
Boss volume pedal
Boss CS- 3 Compression Sustainer
Crowther Audio Hotcake
Zoom UF-01 Ultra-Fuzz
JAM Pedals Rattler
Fulltone ’ 69 Fuzz
Fulltone Deja Vibe
Digi Tech Whammy
Electro-Harmonix Pulsar
Klon Centaur
MXR Phase 45
Z. Vex Fuzz Factory
The Last Temptation of Boost
(made by Alan Yee in Memphis)
Original Electro-Harmonix
16-Second Digital Delay
Electro-Harmonix Deluxe Memory Man
Electro-Harmonix Holy Grail Reverb
Korg KP2 KAOSS Pad
Boss TU- 2 Chromatic Tuner
Voodoo Lab Pedal Power 2 Plus
Mics & Cables:
Sennheiser e906 dynamic mic
Planet Waves instrument cables
Strings & Picks:
GHS .012s on all six-strings except the
Telecaster, which has .011
D’Addario lights on 12-strings
Dunlop Ultex 1. 14 mm picks
Straps:
Various custom designs from
Souldier Straps
Couch Guitar Straps. “I’ve had neck and
shoulder problems, and the Couch strap is
vinyl so it seems to be a little more comfy.”
