What was it about the sound of the hollowbody guitars?
It just seemed like the right sound for the
music. I always think back to B.B. King,
Freddie King, and Albert King. That was the
sound I was looking for, and they played a
lot of hollowbodies. Of course Albert played
a V, but his sound was distinctive. We just
wanted to find something that matched the
music more than anything else.
Did you use a multi-amp setup?
Yeah, it was usually a combination of two or
three amps we recorded separately during the
session and then blended during the mixing.
I used a Trainwreck amp I borrowed from
a friend because my gear was all in New
York. Because we were recording in Texas,
it wasn’t possible for me to bring all of my
vintage gear. So I just brought a few things
and then borrowed the rest. Most of the amp
sounds were the Trainwreck, an old Fender
Vibrolux, or a ’60s Fender Super Reverb.
You and Gordie Johnson have worked
together before. When you’re in the
gordie JoHnson Talks abou T
Cap Turing Haynes’ Tone
How did the physical studio space contribute to the sound of the album?
There’s a lot of room at Pedernales. We had
several different size rooms for isolation. I
put the Leslie for Ivan Neville’s Hammond
B- 3 out in the lobby, which has Mexican
tiles on the floor, a wooden ceiling, and
Willie Nelson’s platinum records on the wall.
It’s really reflective in there, and it made
Ivan’s Leslie sound like an organ in church.
What mic’ing techniques do you use to
capture Warren’s tone?
We have a technique that we use from
time to time, which is really mic-intensive.
Say we have a 4x12 cab, a 4x10 cab, and a
mini-amp with a single 10" speaker. I will
mic all three of those rigs with about twelve
microphones. I tell you what though, I
have also recorded him on a number of
occasions through a 15-watt amp, and I
just put a mic in front of it. I have used
dynamic mics, condenser mics, old fancy
Neumanns, newer Shure mics, whatever.
So it mostly depends on the situation and
feel you are going for on a particular song?
I just mic it in whatever way might excite
him in the moment and create a nice vibe.
Sometimes the vibe is, “Hey man, let’s just
put one mic on this sketchy little amp I
found in the closet.” If he
thinks its cool, then we
are going to get a good
performance out of it. If
the prospect of putting