
Segall’s favorite Travis Bean guitar figured prominently into his latest album, “Hello, Hi,” as did a vintage Martin D-35 and a Neumann U67.
Segall’s new album “Hello, Hi” sounds just like Southern California. A heady mix of sun-drenched folk and exuberant psych-rock, it materialized at his home-based Harmonizer Studio—a brimming lab where vintage and custom outboard gear, 2" tape, a classic top-end microphone, and plenty of coffee helped fuel his giddy return to the acoustic guitar.
On a much-needed break from the first leg of his current tour with his road-tested Freedom Band, Ty Segall takes a seat in his mood-lit studio control room, mug of hot java in hand, and looks around with a visible expression of what can only be described as wonder. “You know, to have my own place to work on stuff is just pure joy,” he says. “I’m often like, ‘How did this even happen?’ It’s a great place to hone my skills and to get weird ideas going, with no pressure. The clock’s not running. We’re not burning a budget here. You get to do whatever you want. It’s just totally insane.”
Segall has made a career out of being prolific, so it was probably inevitable that he’d pool his resources into designing the three-room complex he calls Harmonizer, named for the album it spawned after he put the finishing touches on the studio build-out, completed in early 2021 at his home in the Santa Monica Mountains just outside Los Angeles. Compact but state-of-the-art, Harmonizer not only stands as testament to the long hours Segall has logged on his way to becoming an A-list producer, but it also plays a key role as an instrument in Segall’s arsenal that’s just as crucial to his sound as his trusty Travis Bean TB1000S or, more recently, his vintage Martin D-35 acoustic.
Ty Segall "Hello, Hi" (Official Visualizer)
Title track from "Hello, Hi", available on LP/CS/CD on July 22, 2022 from Drag City.Preorder now:https://ffm.to/tyhellohiAll three figured prominently, in fact, into the making of “Hello, Hi”—Segall’s latest studio realization of what he calls a “back to basics” album. “It was about coming back to the acoustic guitar, to be honest,” he clarifies. “I think a lot of the records I make have to do with my relationship to songwriting at that time. And I hadn’t really played the acoustic or written on it since probably Freedom’s Goblin, which at this point is maybe five years ago. So, to me it was really like falling back in love with the acoustic guitar. It was a very nice experience to have.”
If there’s a modern California sound—a throwback to the late-’60s Laurel Canyon “freak folk” vibes of the Byrds, Buffalo Springfield, and many more, but infused with a wild and rambunctious onslaught of psychedelic garage rock—then Segall’s music radiates it, and “Hello, Hi” might be the closest he comes to creating a West Coast “concept album” without openly admitting it.
From the lovely waking dissonance and pastoral colors of songs like “Good Morning,” “Blue,” and “Looking at You” to the thick, hard-knocking grooves of the title track and the sublime coda, “Distraction,” Segall touches on themes of reflection and connection that feel immediate, palpable, and deeply moving. It can be a bit of a nostalgia trip, but he pulls off the balancing act with well-wrought songs that convey a sense of longing without a trace of schmaltzy artifice.
“You know, to have my own place to work on stuff is just pure joy. “I’m often like, ‘How did this even happen?’”
At the heart of that authenticity is the Martin, which inspired Segall not only to write with renewed vigor, but also spurred him to get his hands on a microphone that could do it justice. “For all the records that I’ve done, I try to get one piece of gear, and that’s the expense of the record,” he explains. “This one was pretty crazy. I got a [Neumann] U67. That’s basically the guitar sound on the whole record.”
Among studio heads, the U67 is a legendary, and legendarily expensive, microphone that has been central to the sound of classic albums from the ’60s and ’70s, perhaps most notably Bob Dylan’s Highway 61 Revisited and Blonde on Blonde. The mic can harness a huge arc of low end without distorting, but it can also preserve an elusive and intimate “proximity effect” on vocals and acoustic instruments that has made it one of the most desirable, and essential, pieces of gear in any major studio.
“I couldn’t help myself with the wild-style production move on that one. You know, you’re at the restaurant and you’re like, ‘Ah fuck it, I’ll get the lobster!’”
The album’s closing suite of songs, beginning with the whimsically titled “Saturday (Part 1),” probably best signifies how Segall was able to use the U67 to his advantage. The opening acoustic filigree and Segall’s hypnotic vocal combine to recall vestiges of White Album-era Beatles, but with a startling presence and stereo imaging that creates a real under-the-skin sensation.
“Saturday (Part 2)” brings in the Freedom Band’s Charles Moothart on drums and Mikal Cronin on saxophone, with Segall on bass and electric guitar, gradually stoking a psychedelic heat that would take the Doors to task. When Cronin crashes into the mix with a horn solo that consists of two stacked takes, the in-your-face blast suddenly elevates the song to a completely different level.
Ty Segall’s Harmonizer Studio Gear
“The clock’s not running. We’re not burning a budget here. You get to do whatever you want. It’s just totally insane,” says Ty Segall about working in his own studio.
Photo by Denée Segall
Guitars
- Late-’70s Travis Bean TB1000S (tuned to D standard)
- ’69 Les Paul
- Vintage Martin D-35
- Gibson B-25 (for live shows)
- ’68 Gibson EB-0 bass
Amps
- Fender Quad Reverb
Effects
- Boss FZ-2 Hyper Fuzz
- Death by Audio Apocalypse, Fuzz War, and Octave Clang
- DOD Performer Flanger 575
- Electro-Harmonix Nano Small Stone
- Electro-Harmonix Sovtek Deluxe Big Muff Pi
- Moog Minifooger MF Delay
- Roland Space Echo RE-201
- Univox Super-Fuzz
Studio Console & Select Outboard Gear
Trident 88 Console (“Hello, Hi” was tracked on Segall’s TAC Scorpion Console, now retired)
Studer 2" tape machine (circa mid-’80s)
Ampex 351 Preamps (vintage)
Antelope Audio Orion 32 AD/DA audio interface
Electrical Audio EAPreQ
Eventide H949 Harmonizer (four units)
Highland Dynamics BG2 compressors
Normaphone custom preamps (designed by Greg Norman at Electrical Audio)
SPL Transient Designer
Universal Audio Classic 1176 Compressor (vintage)
Strings & Picks
- .011-gauge strings
- .88 mm picks (no preferred brand for either)
“I couldn’t help myself with the wild-style production move on that one,” Segall jokes. “You know, you’re at the restaurant and you’re like, ‘Ah fuck it, I’ll get the lobster!’ It was fun, and Mikal just obviously rips. He came over to the studio for maybe an hour, and after it I was like, ‘Amazing dude, thank you!’”
It’s worth mentioning here that Segall records almost obsessively to 2" tape, which lends another layer of analog thickness to “Hello, Hi” that isn’t easy to reproduce with a strictly digital setup (although he has recently started transitioning to hybrid digital-analog recording). “I demo on tape, which is insane,” he reveals, “but I do like the idea of burning over something if it’s not good. For me, keeping something bad is just a waste of tape. If there’s a cool idea there, rip a shitty mix to the computer so you have it, and then roll over it. I don’t want to be the kind of studio that has 50 reels just stacked in a corner, you know?”
Tape saturation plays a role in the Led Zeppelin II-like sound of the album’s closer, “Distraction,” which features Moothart channeling the ghost of John Bonham on drums, but the real secret sauce boils down to Segall’s ability to adapt as an engineer and producer.
Ty Segall’s Harmonizer Studio was named after his 2021 album, which he was inspired to make after building out a three-room recording space in his home in the Santa Monica Mountains. Note his MVP Neumann U67 at center.
Photo by Denée Segall
“Like the rest of the record, as far as the writing went, it was a coffee-in-the-morning thing,” he says. “After the acoustic demo, I did the first version with Charles, and it sounded big and electric, but I miked the drums wrong and the room treatment was wrong, so I had to start from scratch.”
Moothart’s drum kit was set up in Harmonizer’s isolation room, which Segall retreated by adding more sound-deadening panels and stripping down the microphone scheme. “I just re-miked everything in a simpler way, and then I cooled off on the compression and EQ because I thought it would be a better vibe to not be so heavy-handed. And that was when I got my Trident [mixing console]. I took a whole day to mix it, which you don’t get in studios when you’re paying for time. So that song has three versions out there. That’s not rare for me. Some have three or four, because I’m constantly looking to redo something if it’s not right.”
This Trident 88 Console is a new acquisition to Ty Segall’s Harmonizer Studio. “Hello, Hi” was tracked on a TAC Scorpion Console, which Segall has since retired.
Photo by Denée Segall
Segall held to simplicity when recording his beloved Travis Bean TB1000S, which he always routes through a beat-up Fender Quad Reverb. He comes back to the album’s moshpit-ready title song as an example. “I just felt like the record needed one ripper, so I picked that one and it worked,” he says.
“For me, keeping something bad is just a waste of tape. If there’s a cool idea there, rip a shitty mix to the computer so you have it, and then roll over it. I don’t want to be the kind of studio that has 50 reels just stacked in a corner, you know?”
He added a Boss FZ-2 Hyper Fuzz to the signal chain, giving the guitar an explosive sound that comes very close to peeling paint at the volume Segall usually plays. “That’s the U67 on almost everything except the bass. I mean, I have to say it again, that mic just makes it so easy to record the guitar. I always do the hand trick, where you spread out your fingers and place it about a hand’s width away from the speaker. Source and signal are not gonna hurt that mic—just turn it up and there it is. I think I used my Ampex for the mic preamp, but that’s it.”
A Martin D-35 inspired Ty Segall not only to write with renewed vigor, but also spurred him to get his hands on a microphone that could do it justice. “The U67 really just changed the feeling of everything,” he says. “I always ended up going back to pointing it at the 12th fret, usually somewhere between six-to-eight inches away.”
Photo by Denée Segall
“Hello, Hi” is Segall’s 14th album in an unbroken stretch of feverish creativity that began in 2008 with his self-titled debut—an ultra-raw slab of sinewy protopunk surf garage that still holds its charms, but Segall is in a completely different headspace now.
“Sure, you know, it always feels great to get the sound you’re looking for,” he says. “Even though I just wanted to keep this one classic, I feel like there’s always a question mark until a record is out, and until you have time away from it. When I was fully finished with it, I wasn’t sure, but now that I’ve had some time apart from it, it is what it is. And I really love what it is.”
We’d still love to call it the first wave of a new California sound, but maybe that’s best left to the producer, too, until next time.
Ty Segall & Freedom Band - Full Performance (Live on KEXP)
In this recent KEXP studio concert, Ty Segall digs right into his Travis Bean TB1000S, introducing a full-on guitar feedback attack as the Freedom Band follows suit in the feverishly funky, fuzzed-out “Whisper,” from Segall’s 2021 album, Harmonizer.
Empress Effects is proud to announce the release of the Bass ParaEq, a bass-specific parametric EQ pedal.
Building on the success of their acclaimed ParaEq MKII series, which has already gained popularity with bassists, the Bass ParaEq offers the same studio-grade precision but with features tailored for bass instruments.
Basses of all types – including electric and upright basses with active and passive electronics – can benefit from the Bass ParaEq’s tone-sculpting capabilities.
The new pedal follows the success of the Empress Bass Compressor and ParaEq MKII Deluxe, which have become some of the company’s best-reviewed and top-selling products. The Bass Compressor’s popularity confirmed what Empress had long suspected: bassists are eager for tools built with their needs in mind, not just adaptations of guitar gear.
The Bass ParaEq retains the line’s powerful 3-band parametric EQ and studio-style features while introducing a bass-optimized frequency layout, a selectable 10MΩ Hi-Z input for piezo-equipped instruments, a dynamically-adjusted low shelf, and automatic balanced output detection—perfect for live and studio use alike.
The Bass ParaEq also offers an output boost, adjustable by a dedicated top-mounted knob and activated by its own footswitch, capable of delivering up to 30dB of boost. It’s perfect for helping your bass punch through during key moments in live performance.
Whether dialing in clarity for a dense mix or compensating for an unfamiliar venue, the Bass ParaEq offers precise tonal control in a compact, road-ready form. With 27V of internal headroom to prevent clipping from even the hottest active pickups, the Bass ParaEq is the ultimate studio-style EQ designed to travel.
Key features of the Bass ParaEq include:
- Adjustable frequency bands tailored for bass instruments
- Selectable 10MΩ Hi-Z input for upright basses and piezo pickups
- Auto-detecting balanced output for long cable runs and direct recording
- Three sweepable parametric bands with variable Q
- High-pass, low-pass, low shelf, and high shelf filters
- Transparent analog signal path with 27V of internal headroom
- Buffered bypass switching
- Powered by standard 9V external supply, 300mA (no battery compartment)
The Bass ParaEq is now shipping worldwide. It can be purchased from the Empress Effects website for $374 USD and through authorized Empress dealers globally.
Kiesel Guitars has introduced their newest solid body electric guitar: the Kyber.
With its modern performance specs and competitive pricing, the Kyber is Kiesel's most forward-thinking design yet, engineered for comfort, quick playing, and precision with every note.
Introducing the Kiesel Kyber Guitar
- Engineered with a lightweight body to reduce fatigue during long performances without sacrificing tone. Six-string Kybers, configured with the standard woods and a fixed bridge, weigh in at 6 pounds or under on average
- Unique shape made for ergonomic comfort in any playing position and enhanced classical position
- The Kyber features Kiesel's most extreme arm contour and a uniquely shaped body that enhances classical position support while still excelling in standard position.
- The new minimalist yet aggressive headstock pairs perfectly with the body's sleek lines, giving the Kyber a balanced, modern silhouette.
- Hidden strap buttons mounted on rear for excellent balance while giving a clean, ultra-modern look to the front
- Lower horn cutaway design for maximum access to the upper frets
- Sculpted neck heel for seamless playing
- Available in 6 or 7 strings, fixed or tremolo in both standard and multiscale configurations Choose between fixed bridges, tremolos, or multiscale configurations for your perfect setup.
Pricing for the Kyber starts at $1599 and will vary depending on options and features. Learn more about Kiesel’s new Kyber model at kieselguitars.com
PRS Guitars celebrates 40 years with the limited edition McCarty SC56. Featuring vintage-inspired design and modern innovations, this single-cutaway guitar pays tribute to Ted McCarty and his impact on the industry. With only 400 pieces available, this instrument is a must-have for collectors and performers alike.
PRS Guitars today announced the 40th Anniversary McCarty SC56 Limited Edition. With a classic PRS single-cutaway body shape and carefully chosen specifications, the McCarty SC56 is both a tribute to tradition and a reliable tool for the modern performer. Only 400 pieces will be made.
“The SC56, signifying Singlecut and 1956, model is our most recent tribute to my late mentor Ted McCarty and his impact on the guitar industry. We started with our take on a classic late ‘50s singlecut body. 1956 marks the year that Ted first had guitars made with his newly coined 'humbucker' pickups. It also happens to be the year I was born. Bringing vintage design into the modern era, we loaded this model with our McCarty III pickups, meticulously designed to deliver warm, clear, vintage tone with exceptional note separation and dynamics,” said PRS Guitars Founder & Managing General Partner, Paul Reed Smith.
Anchored by a maple top and mahogany back, the 24.594” scale length and 22-fret Pattern Vintage neck work with Phase III non-locking tuners and PRS two-piece bridge to promote its musical sustain. The PRS McCarty III pickups are controlled by a simple layout — two volume controls, two tone controls, and a three-way toggle on the upper bout.
Single-cutaway guitars are known to be heavier than their double-cutaway counterparts. The McCarty SC56 Limited Edition design incorporates weight-relief, decreasing the weight of the guitar by about 2/3 of a pound, while maintaining several points of attachment between the guitar top and back to eliminate the “hollow” sound of the cavities and promote tone transfer.
With appointments like binding on the fretboard, classic bird inlays, and a vintage-inspired nitrocellulose finish, the 40th Anniversary McCarty SC56 Limited Edition blends heritage and innovation into a timeless instrument.
PRS Guitars continues its schedule of launching new products each month in 2025.
For more information, please visit prsguitars.com.
40th Anniversary McCarty SC56 Limited Edition | Demo | PRS Guitars - YouTube
The Future Impact V4 is an incredibly versatile pedal with an exceptional range of sounds. In addition to producing synthesizer sounds such as basses, leads and pads, it can function as an octaver, chorus, flanger, phaser, distortion, envelope filter, traditional wah-wah, tremolo, reverb, etc., and even has a built-in tuner. It can potentially replace an entire pedalboard of dedicated single-effect pedals.
The very powerful signal processor of the Future Impact V4 is able to replicate the various oscillator, filter, amplifier and envelope generator blocks found in classic synthesizers. In addition, it contains signal processing blocks more traditionally used for processing the sound of an instrument such as a harmonizer block and audio effects such as chorus, distortion and EQ. These architectures complement each other in a very flexible way.
Setting the standard for the bass guitar synth pedals since 2015, together with an enthusiastic community and long line of great artists, the Future Impact V4 is the guitar synth platform for the next decade.