Guitarists, by nature it seems, tend to be obsessed with gear. I am no exception; my gear is extensive - and ever-expanding. There's a name for it: "G.A.S.", or Gear Acquisition Syndrome. The principle electric guitars in my studio are: G&L "ASAT", G&L "Legacy", Zachary "Z2-T", Parker "Classic Fly", and a 1979 Gibson Les Paul Custom 25/50 Anniversary issue.

To support these guitars sonically, I normally employ either an analogue pedal chain, or I use 19" multi-effect processors, in combination with a MIDI foot controller. The choice depends mostly on the context and the specific project. For years I used the Lexicon MPX G2 for more "advanced" types of art music which, by very definition, often demand either extensive patch programming or multiple patch settings and changes within the course of a given work. (I added the t.c. electronic "G-Force" 2 years back and now use this exclusively - that is, along with a Roland FC-300.) The analogue pedals - which I prefer engaging from the sonic perspective - are employed more often than not in musics which call for a more "traditionally-oriented" guitar sound - whatever that actually is supposed to be ...

Some of the analogue pedals which I use in various combinations include the original Digitech WH-1; overdrive/distortion pedals ("RAT", Barber's "Direct Drive", Ibanez' Tube Screamer 30th Anniversary, subdecay's "Liquid Sunshine", Amptweaker's "BigRock", and Friedman's "Dirty Shirley"); "Deep Six" by Walrus Audio (compression); "Sea Machine" by Earthquaker Devices (chorus); Electro Harmonix "POG II" (harmonizer), EH "Dr. Q"(envelope follower); EH "SuperEgo"; Red Panda's "Particle 2", Pigtronix "Infinity" (Looper); DD-7 and DD-6 by Boss; Neunaber's "Wet" and "Immerse"; RMC Wah-Wah; EQ by source Audio; "Hush" by Rocktron; Eventime's "Timefactor"; a "JamMan", Moog's "MoogerFooger", Lehle's "D.Loop SGoS" and "Sunday Driver"; Empress' Tremolo; and, a Mono-Volume pedal by Lehle.

There's nothing more beautiful than a tube-amp sound. At home I've worked with an old Fender Twin and, for ease of transport (i.e. saving my back from another slipped disc), I employ a Gallien Krueger on occasion - actually a transistor amp, but possessing some decent sonic qualities. I've recently added a Fender Junior Blues and a 1978 Fender Princeton Reverb.

My instrument collection also includes an array of fretted acoustic instruments, including a Vega 1924 tenor banjo, a Deering 5-string banjo, a Dobro Pre-WW II slide guitar (all three discovered at Mandolin Bros. in Staten Island!), a steel-stringed acoustic by Breedlove, and a classic guitar from Imai.

Lastly, a specially designed "A-Series" classic guitar by the English Luthier, Gary Southwell rounds off my collection. His craftsmanship is stellar, the design forward-looking - at the same time poetically referential. Here's some information about Gary and his work: