FEATURE
I DO LOVE A SUPER REVERB
—IT IS REALLY HARD TO BEAT
The songwriting on Dirty Side Down has a
real cohesiveness to it. How did the material come together?
FOR A CLUB AMP.
Is the Super Reverb stock?
It has an external speaker out, but I never
use it. So I had my amp guy convert it to a
line level out—which is something like an
effects send. There is no return on the Super
Reverb. I could have one put in, but I don’t
want to do anything to a vintage Super
Reverb that can’t be undone. Converting
the external speaker out to a send is no big
deal—they can put that back pretty easily.
Everyone had some ideas and we got
together in small groups. We actually live
pretty far apart—some guys live in California,
others in Nashville, and some here in
Atlanta. We got a couple of us together at
a time, here and there. One time we had
four of us together and started putting ideas
down on a four-track. Everybody’s ideas got
put down on tape, and the next thing you
knew, we had a whole new batch of material
mixed with some older stuff that had never
been recorded on a studio album before.
How do you divide the guitar parts
between you and John Bell?
What do you use the line level out for?
I send the signal to a volume pedal and
then to a digital reverb of some type. Then
I return it to the power amp of another
amp and set the mix on the reverb unit to
100 percent wet. That way I have the dry
sound coming out of the Super Reverb and
you can bring the reverb in from another
source with the volume pedal. If I need
more reverb, I just step down. Basically, all
I use is a couple of volume pedals—one
for the main amp and another for the
reverb—along with a Hughes & Kettner
Tube Factor.
We just kind of hit it. Sometimes we are conscious of the register that we are playing in.
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