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You also have a left-handed Mexican Strat strung righty. When does that come into play? The only time I played that was when we did 90 minutes of Hendrix for Halloween. Every Halloween and New Year’s Eve, we have thematic shows. This past Halloween we did 90 minutes of Hendrix and I played three different Strats. That left-handed one was one of them.
Do you change amps for the various groups you’re involved with? Well, I use different amps for different sounds in each band. In the Allman Brothers, I’ve been using a 100-watt PRS 25th Anniversary head that works great—it really fits that music well. But I didn’t want the same sound for the Warren Haynes Band because it’s a much cleaner approach, more of a traditional blues sound—B.B. King, Freddie King, Albert King. So for that I use a PRS 100-watt Super Dallas. I also have a Cesar Diaz CD-100 I’ve used for a long time, and I’ve also been known to a Super Dallas EJ model on special occasions.
With Gov’t Mule, I sometimes use a Soldano SL0-100 head. That sound has been on a lot of those records, so it’s important to have it live. But I didn’t use it on the new record. Instead I played my 1969 100-watt Marshall plexi.
What was that rotary effect in the beginning of “Whisper in Your Soul?” That was a real Leslie that has been modded so you can run a guitar through it. In my normal rig, I have a Hughes & Kettner Rotosphere, which I use quite often.
What are some other staple pedals? For most of my sounds, I just plug straight into the amp. The dirtier sounds are just the amplifier working. Very seldom do I use pedals for distortion, but when I do, it’s a Klon Centaur.
The effects in my rig are a Boss octaver, Chandler delay, that Rotosphere, a DiscumBOBulator, which is an auto wah, and a G-Lab signature wah-wah, which I really like a lot. I also have a Bob Bradshaw stereo tremolo, but I use it in mono so I can have two separate speeds. I’ll experiment with pedals here and there, but for the most part, I just like the sound of the amplifier doing the work.