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- This 1953 Fender Telecaster is Vince’s No. 1 guitar. He picked up the guitar at Del City Music in Del City, Oklahoma, nearly 30 years ago. According to Gill’s tech, Benny Garcia, everything is totally original except for a Seymour Duncan pickup in the neck position.
- This all-original 1959 Fender Stratocaster was purchased by Gill from Duane Eddy’s son. Each night, Gill changes his set list, and even what guitars he uses on each song, but recently he has been using this on “Pretty Little Adriana.”
- Gill acquired this 1952 Fender Tele, formerly owned by Larry Black, a few years ago and uses it on “Which Bridge to Burn.”
- This 1960 Fender Tele Custom used to belong to Gill’s writing partner Will Owsley. Tragically he took his own life. Gill tunes it down a half step and uses it on “I Still Believe in You” and “Take Your Memory.”
- 1960 Gibson ES-335 Dot Neck with a stop tailpiece.
- These Martin guitars are based on a George Gruhn design. The Quad 28 (left) has a herringbone inlay and the Quad 18 is a stripped-down version. Both feature D-Tar pickups.
- Mid-2000s Gibson Les Paul Deluxe with a chambered body. Gill usually keeps this guitar tuned down a half step.
- This Duesenberg Double Cat 12 is sometimes used on “Never Alone.”
- At a recent performance with Sting, Gill used this Duesenberg Mandola 12-String on Sting’s “Fields of Gold.”
- This mid-’60s Fender Thinline Telecaster goes through several different setups during the course of a tour. Here, Gill removed the sixth string and tuned it a la Keith Richards to open G (D–G–D–G–B–D). This guitar survived the Nashville flood, thanks to Joe Glaser.
Gill routes his signal through a pair of Little Walter VG- 50 amps. Each head contains a pair of 50-watt Little Walter amps that are built into a special chassis that fi ts in a standard size head. Each amp has a Volume, Bass Roll Off, and Tone controls and are powered by a pair of Octal tubes in the preamp section (a 6SC7 and a 6SL7 Phase Inverter), and 6L6s in the power tube section. The top head is used for his Teles, with all the other guitars going through the bottom head. Each amp goes to its own Little Walter 1x12 cabinet, which were built to the exact dimensions of a Fender Deluxe Reverb, and loaded with Celestion G12T-75 speakers.
Custom Audiotech Guitar Systems A/B splitter, EBS UniChorus, Boss TR-2 Tremolo, Robert Keeley-modified Boss DD-3 Digital Delay, Boss DD-3 Digital Delay, Hermida Audio Zendrive, Creation Audio Labs MK.4.23 Clean Boost Pedal, Boss CS-3 Compression Sustainer, (2) Boss TU-2 (one for electric, one for acoustic), Wampler Faux Spring Reverb, Benado Effects Pedalboard.
On Gill’s main pedalboard he uses an EBS UniChorus, Boss TR-2 Tremolo, a Robert Keeley-modifi ed Boss DD-3 Digital Delay, a stock Boss DD-3 Digital Delay, Hermida Audio Zendrive, Creation Audio Labs MK.4.23 Clean Boost, Boss CS-3 Compression Sustainer, 2 Boss TU-2 tuners (one for electric and one for acoustic), and a Wampler Faux Spring Reverb. A Voodoo Lab Pedal Power 2 powers all of the pedals and he puts the signal through an Audiotech Guitar Systems A/B splitter and then out to all four inputs of his amps. Gill also uses a Benado Effects pedalboard with reverb, delay, overdrive, distortion, and compressor units enclosed.
D’Addario .010–.046 on standard-tuned guitars, D’Addario .0105–.048 for guitars tuned down a half step, Planet Waves medium picks, Voodoo Lab Pedal Power.