You rock some Teles too. What are the differences between your ’72 Thinline and ’63 Custom Shop Teles?
The Thinline works great for a lot of the heavier stuff because the pickups are a little hotter. [I use it] when I need a lot of feedback and sustain; for instance on “War Song,” I use that guitar all over that song. The ’63 Custom Shop Tele I use for a lot of the lighter stuff—the glassy and twangy kind of vibe, ya know, that traditional, old-school Tele tone. Each guitar has its own voice and character that can truly breathe more life into a song. While I think every guitar has its own place within each of our songs, I would say 80 percent of the time I’m using that ’63 John Cruz Strat.
In acoustic settings, you’ve been seen using a Taylor model. What kind is it, and what drew you to Taylor’s acoustics?
Out on tour I’m using a 314ce, which I believe is one of their lower-end models. They sound unbelievable and allow me to play whatever I need. I got linked to them through Mark Roberge [lead vocals, guitars] because he has an endorsement with Taylor. They’re great touring guitars because you can just plug and play and have no worries about tuning or other issues while going from gig to gig. Taylors are definitely my all-around favorite acoustic guitar out there.
You’re using two very different amps—the Two-Rock Signature Custom Reverb is a modern rock monster and the Fender Supersonic pulls from the ’65 Vibrolux and ’66 Bassman—how do you incorporate both into your rig live and in the studio?
I know it sounds cliché to stereotype amps by saying a Two-Rock shouldn’t be playing on a certain song, or a vintage Bassman should be on this song, but some of our songs have that vintage-y, classic rock sound and I definitely use the Fender for those jams. It’s got that unmistakable chimey tone that’s a foundation of rock.
When I need a little more power, volume and more modern tone, I turn to the Two-Rock. It has a bark all its own. However, the clean channel on my Two-Rock is fantastic and it’s the clean channel on a lot of our glassy reggae-ish, offbeat stuff. When it comes to lead tones I tend to blend the two amps. It’s just nice having those two distinct options behind me, but at the same time, its great knowing that I can blend them together to create a killer lead sound for my solos.
You play a fair amount of outdoor festival-type gigs. Why do you prefer the 60-watt Fender Hot Rod DeVilles for backline situations?
I’ve just found those amps to be the most consistent. When you’re playing with a rented backline you’re basically rolling the dice because you really never know what to expect of the gear and its quality. I mean, you never know who had the amp before you and how many beers he spilled on it. I’ve just been able to trust the sound and durability that the DeVilles crank out. When you travel with a few guitars, an on-the-go pedalboard and have to jump on stage at a festival gig, you don’t have sound checks or any prep time so it’s just plug and go. In these situations, you’re just hoping to get some kind of a tone that resembles your own rig. Thankfully, the rented DeVilles I’ve used thus far haven’t let me down. On one-off shows, it’s all about what backline amp can give me the least amount of anxiety [laughs].
What are some effects you currently have on tour that help you achieve the wide range of tones and sounds covered in O.A.R.’s songs?
The one sound or tone that is a staple in our band is Line 6’s Sweep Echo on their DL4 delay pedal. The funny thing with those pedals is that we seem to break them all the time. We have a drawer full of assorted DL4 parts from previous pedals already broken. But obviously, that sound really caught our ear and has done wonders for the band, so when one does break, we have
to buy another one. We even wrote a couple of songs based solely on that sound.
Now that I’m using a foot controller and everything is MIDI, our sax player is letting me borrow his rackmount version, so hopefully I won’t be breaking stuff anymore. I also have a ‘70s Electro-Harmonix Small Stone Phase Shifter that I bought a long time ago for like $30 and its been with me since the beginning. It has needed some occasional surgery, but I’ve never heard another Small Stone like it.
|Richard On's Gearbox
|’63 John Cruz Fender Masterbuilt Strat
’63 Fender Custom Shop Tele
’72 Fender Thinline Tele
314ce Taylor Acoustic
|100W Two-Rock Signature Custom Reverb 2x12–open back bottom
Fender Supersonic with matching 4x12 cab
2-60W Fender Hot Rod DeVille’s 4x10 (backline setup)
|Buddha Bud Wah
Line 6 DL4 Delay (rackmount)
Crowther Audio Hotcake
Radial Tonebone Classic
Original Electro-Harmonix Small Stone Phase Shifter
Electro-Harmonix Holy Grail
Line 6 Tap Tremolo
RJM Music RG-16 MIDI switcher unit
As for the dirt in my signal, I’ve been using a Crowther Audio Hotcake, which I love because it’s versatile and mixes great with any amp that I put it through. Some others on my board are a Radial Tonebone Classic distortion, Electro-Harmonix Holy Grail for reverb and an ISP Decimator.
Chronicling your tone from The Wanderer to All Sides, what would you consider a trademark setup/signal chain for your signature OAR tone?
Well, it’d all have to start with that ’63 John Cruz Strat. I’ve played so many other guitars, swapped out pickups and I always come back to that Strat. Players, myself included, are always looking for new gear or something to break them out of a rut, but no matter what I’ve found, I’m always going back to that Strat. That guitar is one of the important aspects of O.A.R.’s tone.
Next in the signal chain would be the amp. Whether it’s the Two-Rock or the Fender Supersonic, I just need a big, open clean amp—just something that doesn’t tend to break up. I used to play a lot of Hiwatts because I could never get the clean to break up. I like to get my dirt and other stuff from stompboxes and rackmount gear. But ideally, the amp would come somewhere from the Fender world because you can’t beat a Fender clean. And for that one effect, like I said before, it’d have to be that Line 6 DL4 delay with the Sweep Echo feature.