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Hello and welcome back to Mod Garage. This month we'll continue with our aging series that began in May 2020 ["DIY Relic'ing: Break the Shine"]. Let's take a closer look at the electronics of our Harley Benton DC-Junior guitar, which is a copy of a Gibson Les Paul Junior double-cut, and consider some part swaps before we keep relic'ing. If you need a refresher, we covered aging of the pickup in the last part of this series ["Mod Garage: DIY Relic'ing—Aging a P-90 Pickup"].
When doing aging work to the body and the neck of this guitar (which we'll cover in a later part of this series), it's important to remove everything from the guitar that's removable, so I took out all of the electronics. Taking a closer look at the removed guts, I found two metric standard (24 mm) sized pots from the Alpha company: a 500k linear pot for the volume and a 500k audio pot for tone with a 0.022 uF polyester film cap attached to it, all connected with plastic-coated shielded wire. I also found a small-sized budget output jack, connected with plastic-coated shielded wire.
The circuit of the guitar was wired in the typical "modern" style, and you can take a look at it on the website for Roswell, which is the company that makes the P-90 pickup on this guitar.
While the overall quality of the electronics isn't bad, there's still some headroom that could be added to enhance everything and put it a little closer to the vintage Les Paul Junior tone we're going for. To spruce up usability, here is my list of electronics and optional mods for tweaking this guitar. You can see a photo of the "guts" in Image 1.
I've known players who've gotten serious cuts on their hands from these. To avoid this, I prefer blunt-tip pointers with rounded tips and minimized risk.
1. Pots
Using two 500k pots follows the original formula of the Les Paul Junior, but using a linear volume pot in a passive guitar circuit doesn't make any sense. It should have two audio pots for much better usability, preferably with a 60:40 or at least 70:30 taper. In the last part of this series on aging the pickup, we discussed the stock pickup's treble response.
If you decide to keep the stock pickup like me, it's a good idea to use a mixed configuration with a 250k audio volume and 500k audio tone pot to get the best of both worlds. The 250k pot will smooth the high-end a little bit, and, as a positive side effect, the sweep control is much better compared to a 500k pot with the same taper—the nature of the passive beast. I decided to use two U.S. inch-measurement military-grade audio pots with a 60:40 taper: 250k for volume and 500k for tone.
To make these pots fit, you'll have to slightly enlarge the metric holes in the guitar. You can easily do this with a reamer or a simple half-round file. Because it's only a smidge, you should stay away from any other method! To minimize the risk of damaging the wood, don't use a drill press with a super sharp milling drill bit, etc.
2. Tone Caps
While 0.022 uF is the quasi-standard for single-coil pickups and the correct value if you want to stay as close as possible to a Les Paul Junior (0.02 uF), I decided to change the tone cap and convert the tone control into a warmth control—something we've covered in Mod Garage before. I decided to use a NOS military-grade 3300 pF paper-in-oil cap on this guitar, which will add some oomph to the tone. With the extremely low capacitance of the cap, it'll be possible to fine-tune the high-end and treble response of the pickup very precisely. If you want super dark jazzy tones, you should stay with the 0.022 uF value. This is a wide field to experiment with if you're inclined. Gibson also used paper-in-oil tone caps in their early Juniors—the famous Sprague "Black Beauty" caps.
3. Wire
While plastic-coated wire works, I decided to use the vintage stuff from the '50s, just like in the original guitars: cloth-covered wire.
The original vintage wire was AWG22 7-strand, tinned copper, consisting of seven individually tinned and twisted copper strands, with a woven Celanese overwrap, followed by a waxed cotton overbraid. Such wires are available as reissues from several companies. I also decided to skip the plastic-coated wire from the volume pot to the output jack, like in the original wiring, using shielded braided wire. The length of this wire is very short, so there's not much chance for hum and noise to creep in. If you want to stay as close as possible to the original, use cloth wire and shielded braided wire for connecting the output jack.
4. Output Jack and Wiring
The quality of the stock mini output jack is very decent, but upgrading it to a full-sized version is a good idea in terms of reliability and longevity.
The early Juniors were set up with '50s wiring, which is part of their special tone, and different from the modern-wiring style our Harley Benton came with. Because I will have to rewire everything already when I put this guitar back together, I decided to convert it to the traditional '50s wiring as shown in Fig. 1. This is also why I decided not to use an additional treble-bleed network on the volume pot. Usually, the treble response is perfect the way it is with traditional '50s wiring when rolling back the volume.
5. Knobs
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Using U.S. inch pots, the stock metric knobs will not fit anymore, so you'll need new knobs for the guitar. Taking a closer look at the stock knobs shows that Harley Benton uses the right and historically correct knobs (black "top hats" with bright numbers), but the size of the numbers is not correct (too big), and the printed numbers are pure white. The numbers on vintage guitar knobs usually turn a yellowish color over the years—something that's difficult (but not impossible) to mimic when you have knobs with pure white printing. So, I decided to get a new pair of knobs that fits U.S. inch pots and has the yellowish discolored embossed numbers in the correct size. You can clearly see the difference between the two knobs in Image 2. The stock knobs are made with modern plastics while the new knobs use vintage material from the '50s: fully tinted cellulose acetate butyrate (CAB for short). Besides the different look, the feel is also different to the touch.
6. Pointers
The guitar comes stock without any pointers, but, for a more vintage look, I decided to add them. Take care to get pointers with the right hole for your pots (metric or U.S. inch). Enlarging holes that are too small is not a fun project. Vintage correct are nickel pointers with 90-degree pointed arrowhead tips. Personally, I don't like the very sharp tips of these pointers because the risk of injury is high. I've known players who've gotten serious cuts on their hands from these. To avoid this, I prefer blunt-tip pointers with rounded tips and minimized risk to hurt you.
7. Jack Plate
Gibson used nitrate 3-ply (black/cream/black) jack plates on their early Juniors, while our Harley Benton guitar comes with a single-ply, solid-black jack plate. Initially, I wanted to swap the jack plate for a vintage-correct one, but while doing so I realized the Gibson jack plate won't fit the Harley Benton, which uses a smaller jack plate. Sure, it would be possible to make a custom jack plate out of the correct 3-ply material using the stock plate as a pattern, but I decided to simply leave the stock jack plate on the guitar, sacrificing some of the vintage look. Because I decided to upgrade the output jack to a full-sized version, I had to slightly enlarge the hole in the plate with a reamer. The four stock screws are chrome, so I decided to swap them for nickel versions, which will provide a more authentic look when aging them later.
8. Back Plate
Gibson used a black nitrate single-ply back plate in the '50s. Harley Benton did the same, but with modern plastic material. This is okay for me and will look very close to the original after aging it a bit. The two stock screws are chrome, so I decided to swap them for nickel versions for a more authentic look when aging them.
That's it for now. In the next part of this series, we'll cover the aging process for the hardware parts listed above and take a closer look at the pickguard.
Until then ... keep on modding!
- Mod Garage: Decouple Your Les Paul's Volume Controls - Premier ... ›
- Mod Garage: '50s Les Paul Wiring in a Telecaster - Premier Guitar ›
- Mod Garage: Three Ways to Wire a Tone Pot - Premier Guitar ›
Drew Berlin, left, and Alexander Dumble, right, first met in the early ’70s through luthier Jim Foote. “Within an hour or so, I went and got one of my amps from home, and he modded it for me. And that started the relationship,” remembers Berlin.
The mystery stems from how Mr. Dumble kept a tight-knit circle of friends he trusted with his amplifiers. That’s why, when he passed in 2022, many wondered what would become of his builds, designs, and company. Fortunately, Dumble had a plan and entrusted the keys to his kingdom to two of his closest friends: Drew Berlin and Matt Swanson.
Judging by Berlin’s résumé, the brand is in good hands. An early adopter of the amplifiers as a professional guitarist, he even helped Dumble voice many of them. But beyond the Dumble sphere, he is a titan of the vintage guitar gear community. As one half of the famed “Burst Brothers,” he was key in shaping Guitar Center’s early vintage program and still deals in some of history’s most priceless, sought-after, and collectible guitars and amps.
Berlin’s connection to Dumble was far more personal. From the day they first met until Dumble’s passing, their friendship centered on caring for each other, whether that meant amp modifications or healthcare. Berlin was a constant presence.
“I even had a deal with my wife where, if I wasn’t home by midnight, she’d call Mr. Dumble,” he said with a chuckle. “He was so charming. He’d sweet-talk her: ‘Oh yes, Diana. Drew’s here, and we’re getting a lot done. He’s really helping, so I’ll need him a bit longer.’ And she’d say, ‘Okay.’ [laughs] That went on for 20 years.”
Here’s “Woody,” a Dumble Special that was often used to “audition” potential customers. It’s a single-channel design that has beautiful, smooth compression. And like many of Dumble’s amp designs, there’s nowhere to hide.
At 74, Berlin’s love and devotion to Dumble and his amps remain unwavering. While many are lucky to glimpse one in person, he owns several, still gigging them regularly. More crucially, he and Swanson own the brand’s name and trademark, a job he takes very seriously setting up the Dumble Preservation Society to safeguard everything, service existing Dumble amplifiers, and, though he didn’t know it at the time, build new ones.
But before anyone questions his motives, it’s vital to understand where Berlin is coming from. His passion for the amps and profound devotion to his friend and the legacy he left was even visible over our video call from his California recording studio. Every decision he makes balances protecting the legacy with navigating the future, and is always guided by the question, “What would Mr. Dumble have wanted?”
Thankfully, if anyone can answer that, it’s Berlin. And he was generous enough to share why that is with us.
How did you and Mr. Dumble first meet?
I knew about Dumble and the tone in the early ’70s, and I started becoming more and more familiar with it, of course, through Jackson Browne, David Lindley, and Stevie Ray Vaughan. Because of that, and being that I was “the vintage guy,” a mutual friend, Jim Foote, thought that it would be interesting for Mr. Dumble to meet me.
He set up an appointment, and Dumble came in with a small Special called “Woody,” which we actually just displayed at NAMM. I plugged into the amp and started playing, and we started talking. Within an hour or so, I went and got one of my amps from home, and he modded it for me. And that started the relationship.
It began with gear, but it seems your friendship grew into something much deeper.
You know, it absolutely did. He was brilliant, and we had a lot in common beyond music. So, I started trying to be there for him as much as possible, sometimes like eight or 10 hours at a time, day after day after day.
Pretty soon, it was hard for him to get around, so I found a vehicle for him and was able to help him out. I felt really honored to be able to do that, because I was getting such great advice from him, and he was really intelligent on so many levels. My family even did a lot of outings together where we included him as part of the family. He loved my children, so they grew up knowing him as Uncle Alexander.
Given your close connection to both the man and his amplifiers, what would you say defines the “magic” of his amplifiers?
He liked to say that the frequencies were enhanced, and there were more highs, more lows, more mids. It was a blossoming of frequencies. Most of his amps were touch-sensitive, so if you dug in harder, it would change the tone. You could express more, and notes would do different things.
But as far as for me, it's more than just something that you hear. When you're playing it, the expression that you're able to create, it's something you feel in your chest, in your heart. And I like that they never hurt. Some amp tones are irritating and hurt your ears, especially if it's too loud. Dumbles never did. The louder, the better.
At first glance, this would appear to be a Special, but in 1989 Dumble modified it to be a 150-watt Steel String Singer for Stevie Ray Vaughan while his SSS was in for repairs.
Players often point to the Steel String Singer’s cleans and the Overdrive Special’s distortion. Did Dumble approach those as separate designs, or did he see a unifying thread in his creations?
It was very important for him to be really happy with the way the amp sounded in the clean, lush mode before you kick in the overdrive.
The way he explained it, it starts in the power section of an amplifier. It needs to be clean, powerful, and warm. Then you get a really warm, clean, lush sound and add the overdrive section to that. Getting that right is more challenging than the overdrive section. The overdrive was a balance of how much crunch you wanted and how much sustain. So that was secondary.
There are rumors of the incredible time he took building each amp and how particular he was about every detail. Are they true?
Yes. And he liked to do everything himself. He never let anyone even touch a build that he was working on. I understand now more than I did, as far as how difficult and how time-consuming that was.
He would change out 20, 30, 40, or 50 parts on an amp. It would take forever. And then after he finally came up with the right combination, the artists would come over and play it. If it wasn’t quite what they wanted, he’d go back to the drawing board. And it took several tries, in some cases, to get the amp exactly where the artist and Mr. Dumble both agreed was the right sound.
Then he’d have to make sure that it was roadworthy before he would send it out on the road.
“Some amp tones are irritating and hurt your ears, especially if it's too loud. Dumbles never did. The louder, the better.”
How did he sustain that level of commitment and detail throughout his career?
Well, the amps were so complex, there were so many stages, and there’s so many different variances that it did become overwhelming towards the end of his life. He stopped making Steel String Singers and Overdrive Reverbs a long time ago because they were too much work. There were 11 Steel String Singers, and I think 12 Overdrive Reverbs were made. But he stuck with the Overdrive Specials. He had some health issues on and off through the years, so he did the best he could.
Did you and Dumble ever discuss your role in the future of his brand?
Well, we talked about it. My partner, Matt Swanson, and I were left to protect Dumble, his legacy, and his intellectual property. And a lot of people showed interest in wanting to take the Dumble name. The trademark was expiring and we had to act.
That’s when we started the Dumble Preservation Society. We offer amp service with the right schematics and parts. We have two techs. One was a close friend of Dumble’s that he personally approved, and the other is incredibly passionate and skilled. Since Dumble passed, we’ve serviced over 50 of his amps.
Matt Swanson (left) and Drew Berlin set up the Dumble Preservation Society to safeguard the brand, service existing Dumble amplifiers, and, though they didn’t know it at the time, build new ones.
Was your initial focus just to maintain the amps he’d already built?
That, and honoring his legacy. There’s so much he created that you hear all the time on records, in movies, on the radio. His sound is everywhere. It’s important for people to understand what he did. The Preservation Society stems from that: keeping awareness of his tone and his genius, servicing amps, and secondarily, building them.
What led you to start building new Dumble amps?About six to eight months into his passing, we found out that in order to keep the trademark, we had to actually manufacture and sell something. That’s when I made the decision. It wasn’t about profit. It was either do it ourselves or let someone else take it. He left us in charge for a reason, and he trusted our judgment.
Who’s building the new amps?
There are two guys, who don't want recognition. They don’t think it’s important, and I respect that. One is someone I’ve known and trusted for 35 years. He’s an incredible technician who was very close to Dumble. He told me he had promised Dumble he wouldn’t use any of the knowledge Dumble had shared with him to build amps. I said, “I understand that, but would you rather have people who didn’t know Dumble, weren’t connected to him, and aren’t trying to preserve his legacy do this? Or would you rather help us do what’s necessary?” He agreed.
Another is a friend who I’ve known for at least 20 to 25 years. He’s an amp repair tech who’s incredibly knowledgeable and passionate about Dumble amps. When things needed to be done and Dumble couldn’t do them himself, this was one of the only guys he ever trusted with anything.
You’ve mentioned several close associates deeply connected to and influenced by Dumble. It’s like he was building his company the whole time.
You’re right. He kind of was. I don’t think it was chance that he put us together.
I had been taking care of him for years, and he and Matt became great friends. One day, Dumble pulled him and me aside and said, “Drew, I really appreciate everything you’ve done, but I think moving forward, you’re going to need Matt’s help.”
I think he understood that we would need to work together to keep his legacy alive. I’m really grateful because I couldn’t have accomplished a lot without Matt. Together, we’ve kept the Dumble name alive and treasured, and that’s what we wanted to do.
One of Dumble’s biggest supporters was Carlos Santana, who owned several Dumble amps over the years.
With the new amps now emerging, what can players anticipate from this next chapter?
I wish I could answer that, but I’m not sure where we’re going in the future or how we’re doing it. I can tell you, the few that we’ve made were very time consuming, as if Mr. Dumble did it himself: hand-cutting the boards, everything done by hand, the parts being as close as possible to what Mr. Dumble was using. We’re trying to get the sound as close as possible, to where you don’t just hear it, you feel it.
Right now, it’s just a handful of players, the Dumble family, in a way. I helped screen people for Mr. Dumble that I thought were great players and great people, people worthy of his amps. It’s still got to be like that. So, right now, we’re working with a few of Mr. Dumble’s favorite players, giving them some amplifiers and trying to tweak them the way he would have.
Are you adhering closely to Dumble’s original designs with these new builds?
We’re not trying to reinvent the wheel right now. We’re happy if we can get our amps sounding really close to what Mr. Dumble did. We're not trying to enhance or come up with new ideas for them, at least not at this point.
For those who’ve played the new amps, what’s been their reaction so far?
Well, the first one we did has already been on a couple of sessions. It went to a really talented pro player, and we’ve heard nothing but good things. And, a couple of weeks ago, I had a session where I brought one of the amps we had at NAMM. I have several Dumbles I use, and I kind of forgot that it wasn’t one of mine.
It’s exciting to have people playing them, wanting them, and wanting to take them on the road and record with them. Seeing guys I really respect, players, producers, and people making records really like it gives me confidence. The magic that Mr. Dumble had, his ears, his musical talent, his experience in electronics, I don’t see anyone else having that combination.
You stayed out of the design and building process during his lifetime. How do you think that shapes your perspective for what you’re doing now?
Now that we’ve done this, I feel like maybe it would have been better for him if I had pushed a little harder to let people help him when he was alive. He just wanted to do everything himself. I really appreciate that about him, but I never pushed him to say, “Let me help you.” I helped him in other ways, but I never got involved in building amps or letting others help him.
As both a fan and a friend, where do you hope to see the Dumble brand head in the future?
I wish I could give you an exact response, but I don’t know fully right now. This is still new for me, and I’m not sure where it’s going or how I’m going to feel about it.
I do know that as long as the brand is respected, I’ll be okay with it. If people could understand that Dumble did this from his heart. He had the magic to give people something to create with, and that’s what he lived for. He wanted to give artists a tool to help them become better musicians. As long as I can help carry that forward, I feel like I’m doing something useful.
With Is, My Morning Jacket turned to an outside producer, Brendan O’Brien, who has worked with Pearl Jam, Stone Temple Pilots, and many others.
Their latest album, Is, represents not just a continuation of the rebirth that began with 2021’s self-titled effort, but a profound evolution in their creative process: Currently, MMJ—which also includes guitarist Carl Broemel, bassist Tom Blankenship, keyboardist Bo Koster, and drummer Patrick Hallahan—find themselves in the midst of what Broemel characterizes as a “special and interesting era,” one marked by newfound inner peace, a willingness to relinquish control, and, as James simply puts it, “the freedom to do whatever the fuck we want,” that has resulted in some of their most focused and dynamic work to date.
Is emerges as the product of this revitalized My Morning Jacket, distilled from a wealth of material that James had accumulated, throwing “every single idea into the pot,” he says, rather than reserving some for solo projects as he’d done in the past. The result is both concentrated and adventurous, a tightly focused 10-song collection that still, in characteristic MMJ fashion, roams freely across stylistic boundaries. From the soaring leadoff track “Out in the Open,” a sort of rootsy take on U2’s widescreen anthem rock, to the evocative and soulful first single “Time Waited,” the heavy-riffing “Squid Ink” to the hypnotic psych-folk workout “Beginning From the Ending,” the lilting, harmony-laden pop nugget “I Can Hear Your Love” to the ominous minor-key prowl “River Road,” the album covers vast musical territory. “Jim has a giant archive of song ideas and it’s always growing,” Broemel says, and then laughs. “I think it’s the good and the bad thing about having a digital recording device in your hand at all times—you can capture every idea. So we had so much to work through.”
SoundStream
But Is also marks something of a letting go for James, who, for the first time in years, welcomed an outside producer into the fold. And not just any producer, but capital-P producer Brendan O’Brien, whose extensive resume spans music’s biggest names, from Pearl Jam, Stone Temple Pilots, and Rage Against the Machine to Bruce Springsteen, Neil Young, and AC/DC. For James, who had long acted as the band’s producer in an effort to “play all the positions myself,” this surrender of control was unusual. As for why they went with O’Brien, James says, “The thing that really struck me about Brendan was once I started playing him demos, he immediately had ideas and opinions that were really constructive without making it about his ego. He’s really great about telling you, ‘Ah, I don’t think this song’s as good as the rest.’ Or, ‘I don’t really like this chorus, what if we replaced it with something else?’ He was just always about the song.”
Adds Broemel, “He managed to pull us out of us, if that makes sense.”
“I think it’s the good and the bad thing about having a digital recording device in your hand at all times—you can capture every idea.” - Carl Broemel
To be sure, many of these songs both took shape and transformed in the studio. “I Can Hear Your Love” and “Beginning From the Ending,” for example, evolved from solo recordings with drum programming and sound effects into fuller band arrangements. But perhaps the most dramatic metamorphosis was “Out in the Open.” The song originated during the pandemic as a ukulele riff that James found so complex he “couldn’t even play it,” and that he eventually arranged into what he calls “kind of a ballad.” It sat for a couple years before he brought it to the band during these sessions. “When we listened to it, everybody had the same feeling as I did: ‘We like the riff, but where does it go? What does it do?’” James recalls. O’Brien provided the breakthrough. “He said, ‘What if we turn this into a rock song? Bring in the electric guitar, amp it up, and keep it getting bigger?’” The final version blends James’ original ukulele recording with a full-band, big-rock arrangement—what he describes as “a really cool merging of the unknown inspired by Brendan.”
Jim James' Gear
In addition to his Flying V, Jim James’ Gibson arsenal includes three ES-335s, an ES-355 prototype, a vintage Gibson Barney Kessel, a modded 1962 Reissue Les Paul Custom (pre-SG), and a Hummingbird.
Photo by Nick Langlois
Guitars
- Gibson ES-335 (black)
- Gibson ES-335 (sunburst)
- Epiphone Jim James ES-335
- Gibson ES-355 prototype
- Fender Custom Shop Tele
- Fender Custom Shop Strat
- Reuben Cox Custom Plywood T-Style
- Gibson Barney Kessel (vintage)
- Gretsch Country Gentleman (vintage)
- Modified Gibson 1962 Reissue Les Paul Custom (pre-SG)
- Gibson Flying V
- Gibson Hummingbird
- Gibson J-45
Amps
- 3 Monkeys Orangutan
- 3 Monkeys cab
- Rivera Silent Sister isolation cabinet with Mesa/Boogie Celestion speaker
Effects
- Devi Ever US Fuzz Monster
- MXR MC406 CAE Buffer
- ISP Deci-Mate G Decimator
- Boss BD-2W Waza Craft Blues Driver
- Boss OC-2
- Electro-Harmonix MEL9
- Malekko Spring Chicken
- EarthQuaker Devices Ghost Echo
- EarthQuaker Devices Spatial Delivery V2
- Universal Audio Golden Reverberator
- Universal Audio Astra Modulation Machine
- Universal Audio Starlight Echo Station
- Spaceman Orion
- SoloDallas The Schaffer Boost
- Radial SGI-44
- Strymon blueSky
- Boss DD-7 Digital Delay
- Strymon Zuma
- Strymon Ojai
- D’Addario CT-20 Tuner
Strings & Picks
- D’Addario Pure Nickel (.009–.045)
- D’Addario Phosphor Bronze Acoustic Extra Light (.010–.047)
- Dunlop Tortex .73 mm
This anything-goes mindset extended to the band’s approach to guitars and amplification. While James and Broemel brought their recent arsenal—including James’ Fender Princeton amp, his Gibson ES-335 signature model, a Gibson ES-355 prototype “that Gibson made me when we were first figuring out my guitar that I use a lot in the studio,” and his custom Reuben Cox plywood T-style guitar, alongside Broemel’s treasured 1988 Bigsby-equipped Les Paul Standard and Duesenberg Starplayer TV—O’Brien’s studio offered what Broemel describes as “a disgusting amount of amazing guitars.” The amp selection was equally impressive, running the gamut of Fender classics (“the brown amps, the black amps, the silver amps,” as Broemel puts it) along with discoveries like a Port City head that became a frequent go-to. Rather than being fussy about gear choices, the band found themselves drawn to whatever served the song best. “Half the time I wound up with one of Brendan’s SGs in my hand through one of Brendan’s amps,” James recalls. “I used to be more precious about it, but now I really just don’t give a shit at all, as long as it sounds right with the song.” This approach yielded particularly dramatic results on “Die For It,” where Broemel created a massive guitar solo by positioning two amps—“a Super Reverb and something else,” he says—in the middle of the room, capturing what he calls a “giant stereo thing that’s so wide and washed-out and crazy, kind of like what it feels like at our shows.”
“Half the time I wound up with one of Brendan’s SGs in my hand through one of Brendan’s amps.” - Jim James
It’s this sort of liberation from old habits that has helped recharge the band after almost three decades together. Although, James admits, “It ebbs and flows. There’s been periods where it’s been very easy and periods where it’s been very difficult.” Is reflects this hard-won wisdom; its title speaks to the fact that the music “just is what it is,” James says. “The record always makes itself. You really have to let go.”
Carl Broemel's Gear
Carl Broemel’s favorite 6-string is his 1988 Bigsby-equipped Les Paul Standard, which he puts to the test here during a Savannah, Georgia, concert.
Photo by Chris Mollere
Guitars
- 1988 Gibson Les Paul Standard with Bigsby
- Duesenberg Starplayer TV
- Duesenberg Caribou
- Creston Custom
Amps
- Carr Slant 6V head
- Emperor 4x12 cab with Warehouse speakers
- Rivera Silent Sister isolation cabinet with Warehouse speaker
Effects
- Hologram Electronics Chroma Console
- Electro-Harmonix POG
- Kingsley Harlot V3 Tube Overdrive
- JAM Pedals Delay Llama Xtreme
- Origin Effects SlideRIG Compact Deluxe MkII Compressor
- Eventide H9
- Boss TU-2
- Strymon Zuma
- GigRig G3 Switching System
Strings & Picks
- D’Addario EXL140 (.010–.052)
- Dunlop Tortex .73 mm
It’s a perspective that has enabled My Morning Jacket to find a path forward. As Broemel notes, “In some ways, all we want to be is like a brand-new band again, but that’s impossible. So we’ve just gotta keep going.” One thing that never changes, he adds, “is that the feeling of playing a good show never gets old. It’s like catching a huge fish. That’s evergreen for me.”
James agrees, noting that the band has never sounded better. “Music’s infinite,” he says. “We’ll never exhaust all the possibilities. As long as you’re trying something new, that’s what keeps it fun and fresh, hopefully for us and for the listener.”
YouTube It
Broemel, with his Creston Custom, and James, with a Fender Strat (and purple heart-shaped sunglasses), lead My Morning Jacket through the heavy riffs, deep grooves, and big unison bends of “Squid Ink” on Jimmy Kimmel Live!
