A look into Warr guitars through the eyes of their creator, Mark Warr, and their most prominent player, Trey Gunn.
Editor''s Note: There are many videos of artists mentioned in this piece that show how these unique instruments are played and sound. We''ve embedded links to these in the text, so whenever you see this symbol: Ā» with a linked word, it will take you to the related video. |
The Warr Guitar is the worldās most advanced ātouchā guitar, an instrument that combines bass and melodic strings on a single broad fretboard to provide the sonic range of a keyboard, and an expressive range from ethereal to bombastic. Slung over the shoulder somewhat in the manner a traditional guitar, the Warr can be adjusted to a vertical position for two-handed tapping like a Chapman Stick, or held more horizontally for the strumming, plucking, picking and slapping techniques that are familiar to all guitarists and bass players. The instrument is available in both mono and stereo configurations, with magnetic and piezoelectric pickups, MIDI-triggering options, and from seven to 14 strings.
In various string configurations and tunings, the Warr Guitar has been Treyās beast of burden for nearly 15 years. He has become the instrumentās most prominent artist and advocate, performing and recording internationally with King CrimsonĀ» and his Trey Gunn BandĀ». Heās now working with Warr-percussion duo TUĀ» with fellow Crimson alumnus Pat Mastelotto; the trio KTUĀ», which adds Kimmo Pohjonen on accordian and vocals; the UKZ quintet featuring legendary violinist/keyboardist Eddie Jobson; and the new multimedia musical storytelling project QuodiaĀ» with long-time collaborator Joe Mendelson. Along the way he has backed up an array of artists including David Sylvian, Toni Childs, Vernon Reid, John Paul Jones and Eric Johnson. His new solo album, Music for Pictures, is a compilation of new recordings of scores heās done for film, and will be available online at the end of May.
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Growing up in Texas, Gunn started his musical training at the age of seven on the classical piano before taking up the guitar and bass. Although he became an accomplished player, he increasingly felt that his musical vision was fenced in by the guitar.
A young Trey Gunn with Chapman Stick in 1995 |
āAnd I had this epiphany that it had to do more with the tuning than with the instrument. Thatās when the Chapman Stick came to my mind. I thought, that thingās tuned in fifths, and a cello is tuned in fifths. I wonder if there is a whole other way of playing the guitar. I had a feeling that If I was playing in fifths, it would open up a whole new vocabulary without this blues specter hanging over it.ā
Trey might have quickly moved in the direction of the Stick if he had not met Robert Fripp, the founder of King Crimson and the League of Crafty Guitarists, in the mid-eighties. The āCraftyā in Crafty Guitarists refers to the fifth-based tuning that Fripp was pioneering, and which his disciples confidently refer to as New Standard Tuning. Specifically, the Crafty tuning separates the open strings by fifths, except for the highest string, which is raised only a minor third.
āFripp was just starting to use a fifth-based tuning on his guitar,ā Trey recalls. āAnd I put it on my guitar and I it was like, there you go, I was right! Letās leave the past behind and go forward. So that pretty much revitalized my interest in the guitar and kept my interest in the Chapman Stick away for two or three years.ā
But Trey did eventually try the Stick, where he found a new musical home and a new direction. āI finally did pick up the Stick, and as soon as I put the thing on for about a week (I use the term āput it onā because that is the way you play the Stick ā itās like getting into a jousting outfit or something, bound to your body) I realized that all the other instruments I had been working with for the last 10 years were essentially the wrong instruments for what I trying to do. I really needed this two-handed tapping approach.ā
Of course, touch and tapping techniques are not some recent, arcane, virtuoso invention. Touch techniques are part of the traditional approaches used by guitarists in a variety of genres. Hammering on is essentially a touch technique, because the tone is produced not by plucking or strumming, but by downward pressure of the finger causing an impact between the string and a fret. And while the touch and tapping techniques that have become commonplace in shred, metal, rock and jazz were popularized beginning in the seventies by guitarists including Harvey Mandel, Eddie Van Halen and Stanley Jordan, as well as Emmett Chapmanās innovative hands-free Stick, a working touch-guitar prototypeĀ» was invented more than a half century ago.
The realization that two-handed touch technique suited Treyās musical vision turned out to be the easy part. āAfter about five or six hours, I realized how difficult it was really going to be to play this instrument with the fluidity that great musicians can do. There are so many strings and so many frets, but I wanted to be fluid across the whole thing, which would take an enormous amount of work, calisthenically, so I decided to limit myself. My left hand would only play the bass in the first seven frets and my right hand would only play between fret 10 and 17. So I reduced the instrument to a third of its range and worked on that for a year or so.ā
But he didnāt just sit in his New York room woodshedding. āI figured the best way to learn how to play it was to be playing with other people, so I went on about a hundred auditions as a bass player with no intention of joining the band whatsoever. I was just putting myself in a context that would be a challenge to me, and learning by playing with other people. I auditioned for dozens of rock bands, of course, but also celtic, jazz, country⦠anything at all. I just showed up with this instrument and faked it as best I could.ā
And it must have worked, because Gunn found himself touring and recording with Fripp and David SylvianĀ» for several years.
A Path to Warr
Randy Strom playing a Warr "Artist" model |
While Gunn was demonstrating mastery of the Chapman Stick on the worldās stages, Mark Warr, a keyboard player and a captain with the Oakland Country Fire Department, was designing and building string touch instruments in his garage for his personal use. He engaged ace pickup maker Bill Bartolini, who custom-wound pick-ups specifically for the unique requirements of Markās touch instruments. The original Warr instruments were massive creatures, laid horizontally on a series of drum stands. As he advanced the design, he retired the old instruments or just gave them away.
āI started off building them for myself, but guitarist Randy Strom had been bugging me for a long time to build him an instrument. I eventually did, just because I needed some extra dough to buy a keyboard,ā Mark explains. āRandy was just on my case, āWeāve got to make this thing hang like a guitar.ā I fought with that design for weeks, staying up all hours of the night trying to get it to balance correctly, to the point where I actually gave up and decided that it canāt be done. And then one night I woke up in the middle of the night and thought, āI havenāt tried this.ā I was out in the garage at 3 oāclock in the morning with saws and drills, and I got very close. Within a week I was able to get it to work very well.ā That was 1991.
Meanwhile, the band that Gunn was touring with happened to set down in the town where Strom was performingĀ» on the new, guitar-styled Warr instrument, and the connection was made.
āI was leery about the instrument at first,ā Trey admits. āThe Stick is such a simple design. Thereās just a neck and the way itās held up against your body is really cool ā itās really light, super futuristic and you donāt have to hold the instrument in place. The Warr Guitar is held by a strap on your should like a traditional guitar, and at first it seemed like going backwards a bit. It looks like a guitar and I had left the guitar behind. But I knew there was something really cool about it, too. It seemed like it was an evolution. The sound of his instrument was fantastic.ā
So Trey gave Mark a call. āA drummer I was playing with and I were both big fans of King Crimson,ā Mark says. āWe had just read an article that Crimson was forming again, and we were all jazzed up about that, when, out of nowhere, I heard this guy named Trey Gunn on my answering machine ā the guy that we had just been reading about.
āOnce he told me he wanted an instrument, I had to think about it, because I realized what the ramifications would be. I figured that, once I made one for Trey, Iād have a lot of people knocking at my door, and I had to decide if I was committed to that. And so I decided to give him a call back and tell him that I would build him an instrument at a particular price, hoping that it would make him go away ā but it didnāt.ā With that, Warr Guitars as a full-time commercial enterprise was born.
āWhen I first started working with Mark, he pretty much built me almost exactly what I asked for,ā Trey says. āHe did a prototype first, and I made, like, three pages of suggestions ā improve this, move this, change the weight ā then about four weeks later I had a new instrument with all the changes. And then I was completely sold. That King Crimson tour, right after the 1994 THRAK recording, is the first time I took the instrument out, and Iāve been playing it ever since.ā
And Mark was right about the impact of a musician of Gunnās stature showcasing his unique-looking and great-sounding instruments in concerts and recordings. Guitarists likely have one of two responses when they see and hear the Warr Guitar: āThatās really interesting, but kinda weirdā or āI gotta GET me one of THOSE.ā The phone did start ringing, and over the past two decades, several thousand musicians have become converts to the revolutionary Warr.
Developing Warr Models
At first, Mark heard from mostly Stick players, but as interest mounted, his company evolved new styles and configurations. The earliest commercial Warr Guitars are still represented in his Artist Series, available in eight, ten and 12-string models with ācrossed tuningā ā the lowest bass string is in the middle, with the bass strings on the top and the melodic strings on the bottom.
Mark later introduced the Phalanx SeriesĀ» with an āuncrossedā tuning that offers an easier transition to touch playing for guitarists and bassists accustomed to the traditional string arrangements. The recognizable configurations of bass and melodic strings are side by side, with the bass strings on the bottom. Mark says that the uncrossed tuning now accounts for about half of the companyās sales: āThis enables musicians to play what they know, and then incorporate the other aspects of the instruments.ā
Trey Gunn Signature Warr |
And what does Trey want? Increased sustain, for one, so Mark tilted the headstock back 14 degrees and added string trees to create more tension behind the nut. He also raised the nut slightly, so that the distance between the strings and the frets is increased on the lowest frets, making the use of those frets more sonically productive. āThe way the physics of the instrument are, the farther you have go to hit the fret, the more sound there is,ā Trey explains. āSo thereās less energy the closer you get to the nut.ā
And Trey likes pudauk, a red African wood that gives the instrumentās lowest bass strings a distinctive timbre he prefers. āThey hate working with it, because itās toxic and when you sand it, it produces a super-fine dust that gets all over your work space,ā Trey says. āSo they have to cover the whole work space in plastic and they have to wear masks. I hear about that every time they build me something new, and I kinda feel bad for them, but it has this kind of growly sound in the low bass frequency that I really like.ā
āIt stains all the heavy-duty metal tools red,ā Mark adds. āItās almost like spray-painting or something. We always try to steer people away from pudauk, but every instrument we make for Trey is sure to have some pudauk in it.ā
Trey''s Warrs
Treys instruments employ a combination of magnetic and piezoelectric pick-ups. āMy main instruments use four batteries ā two for the Bartolinis ā and I also have piezo pickups, which have the MIDI-RMC converters on them. So the electronics are pretty crazy, even though I have a rather simplified version. Some people have a lot of tone controls. I donāt have tone controls. I have volume control and a fade between the piezo and the regular pickups.ā
Treyās fans and imitators might be surprised to learn, given the spectrum of sounds, moods and expressive nuances he is able to coax from the instrument in concert and recordings, that he is something of a technological minimalist.
For one thing, he rarely used the instrumentās MIDI capability, and has now abandoned it entirely, preferring to shape the sound through his physical relationship with the instrument and carefully selected processing. āI never used MIDI that much,ā he says. ā I used it some with King Crimson and āProjeCKts,ā to make a fake feedback. I would take a flute sound up an octave and route the regular guitar sound and this flute sound into my distortion. I could fade up the flute and it would sound like I was going into overtone feedback. Now Iāve found a way to get that effect with pitch-transposition plug-ins.ā
In fact, as a musician who travels the globe from his Seattle base, he is always looking to minimize the weight and bulk of his gear. You wonāt find him tending a huge array of pedals and effect buttons. āIāve got to put the thing in a case and carry it around the world,ā he says. āIām always looking for ways to make my gear smaller, cheaper and more convenient to move around the world. I am almost entirely away from using amps. Iāve used full-range Euphonic amps ā my bass-side goes up into the guitar register. With Crimson I used SWR bass cabinets. But pretty much Iām a direct guy, as much as I can be ā I like to trim down the rig so that itās small enough that I can get on an airplane and fly anywhere with everything I need.
āI use Native Instruments software on my laptop for the melody side. A little compression to squeeze the dynamics. I send the guitar side into the laptop and the bass side into a little Raven Lab bass preamp and then out to the house. And I carry a couple of fuzzboxes on the bass side for live performance.ā
Over the years, Warr Guitars has built Trey a variety of instruments, including a streamlined eight-string mono version he used on the King Crimson āProjeCKts,ā and a nylon-stringed, fretless piezo instrument ā with no magnetics at all ā that he has used with King Crimson and on his new CD.
Although there has been a close collaboration between Trey and Mark in product development, there is also a sense that he does not receive special treatment. When you visit the Warr Guitars website, you will see sections devoted to the various ālinesā of instruments ā the Artist Series, the Artisan Series, the Trey Gunn Signature Series, the Phalanx Series ā but Warr Guitars are not off-the-shelf instruments, shipped from a mass-produced standing inventory. The company is still small enough ā with a staff of four ā that each instrument is custom-built to meet the exact specifications of each musician, just like Treyās instruments are made for his.
The choice of woods, electronics, string design, and a variety of other elements are at the discretion of the individual. Mark not only collaborates on custom designs, but every customer gets the same attention to detail and quality under Markās direct supervision. āI make sure every instrument is top-of-the-line,ā he says proudly. āWe look through a thousand board feet of wood until we find enough wood for a single neck. So we donāt just grab a bunch of maple, or whatever we use. We donāt have to buy that much to get it, but we have to look through that much. Itās a very time-intensive process.ā
The Challenges of Warr
The Warr Guitar is developing in two directions simultaneously: The design and engineering is progressing at the same time that an ever-growing community of musicians is exploring and expanding its playing techniques and stylistic possibilities.
Much of the Warr design and engineering is proprietary, accumulated through Markās many years of designing and building experience, but the peculiar challenges of producing top-of-the-line, stereo touch instruments with wide dynamic and pitch ranges are constants. For example, graphite reinforcement and dual truss rods enable the massive fingerboard to cope with the tension of so many strings.
āOne of the original challenges of these stereo instruments was getting isolation between the two sides,ā Trey explains. āThey have separate outputs and separate pickups, but the strings are very close together so if the bass side is bleeding into the melody side, the effects on one side are heard on the other side.ā Part of the solution to this ācross-talkā lies in electronic developments in the pickups, but Mark also employs high-end audiophile techniques in the engineering of the instrumentsā bodies.
Another challenge is to achieve a consistency of sound in all parts of the instrument. Output must be somehow balanced for each string. Treyās strings range in gauge from 9 ā the ālightā gauge for the traditional guitar high āEā string ā to 128 for the heaviest bass string. āThe little strings are such a small sound compared to the bass side,ā he points out. āYou have incredible dynamic range, but you canāt output it like that because you need the high strings to sound as loud as the low strings. Thatās quite a challenge, but he figured out how to do it.
āWith all traditional instruments, the sound comes from the right hand ā how they use a pick, or the fingers or the thumb. Weāve taken that element away with touch guitars. There arenāt that many options for articulating a note. So thatās another obstacle we were working with ā I was always wrestling with a really clear, fat bass sound ā so we did some research and discovered some ways to improve the bass sound while reducing the mass of the instrument. When you touch the string, itās such a light, little touch, and to get a lot of sound out of it, you need specially wound pickups and you need the mass of the instrument to respond.ā
That āunconsciousā muting technique is representative of the playing-technique challenges that confront musicians as they take up any touch instrument. āYour finger technique requires you to do something that is not applicable on any other instrument,ā Trey says. āOn a keyboard, you move left to right across in front of you, which we have, too, but also we have forward and backwards. You need to be able to move and articulate each finger very specifically, and you have to hit the string in the right spot. You want to hit the string right behind the fret. When I say it, itās hard to believe we can actually do it, but itās not as crazy as it sounds.
āYou are using your fingers in a completely different way. I wish I could say itās easy, but itās not. Youāve got to have energy behind it to get the sound, but you have to use the right use of energy of the fingers. Even though itās light, itās got to be the right force. And that force determines the quality of the sound.ā
Once a musician has come to grips with the physical challenges of the touch technique, they find that the Warr Guitar is remarkably versatile. Randy Strom is an example of a musician who uses the range of the instrument to play like a jazz pianist ā or, in guitar terms, to play bass and melodic lines simultaneously. Other artists have used the instrument to play everything from Indian ragas to the avant-metal of Behold the ArctopusĀ».
The Future of Touch Style
At this point musicians have developed at least 26 documented tunings for the Warr Guitar, using both crossed and uncrossed string deployments. Some tunings expand the range of the instrument, while others may make playing patterns more symmetrical; some are more reminiscent of traditional guitar tunings, while others take the instrument into entirely new territory. Some artists are even experimenting beyond stereo, using three sets of strings on one neck, processed through three separate channels.
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Although Trey is the Warr Guitarās most prominent artist, his approach to the instrument is decidedly idiosyncratic. āYou build your own genre as you go,ā he says. āI kind of treat it more as an African instrument or a big marimba or mbira ā or as a single instrument that just has that incredible range. Iām not interested in being the bass player and the soloist at the same time. Itās hard enough doing one thing at once ā I donāt need to be doing two things at once. Iād rather be creating new music instead of spending all the time thatās necessary to be able to be good at that thing. What those players do is quite amazing, but itās just not what Iām interested in doing.ā
So what is the next step in the Warr Guitar evolution? About five years ago, while Trey was still with King Crimson, he began returning to the Warr Guitarās roots ā playing with the instrument horizontal on a stand ā and that approach has deepened with his new projects. āNot only is it easier on the wrists, but the kind of dynamic you can get, with the wrists in a straight line from the arms and letting gravity help with the fingers, and ability to shape a musical phrase ā it doesnāt even compare,ā he says. āIn the guitar position the stress on the hands keeps it from happening.
āThe dynamics just expand. Itās terrifying, actually. Itās like going back to kindergarten. Oh my god, Iām thinking, I donāt even have the technique to deal with this kind of dynamic range. Iāve been researching keyboard technique and Iāve discovered some interesting things. So we are in the process of completely destroying the instrument again.ā
At the same time that the upper limits of design and engineering are being expanded ā with the corresponding prices ā Warr Guitars is also working on simpler, less-expensive instruments to make the touch-guitar experience accessible to young musicians with more limited means.
And, although Mark is playing his cards close to the vest, he promises that there are other exciting new developments that are about to emerge. Stay tuned.
For more information:
Trey Gunn
Warr Guitars
MayFly Le Habanero Review
Great versatility in combined EQ controls. Tasty low-gain boost voice. Muscular Fuzz Face-like fuzz voice.
Can be noisy without a lot of treble attenuation. Boost and fuzz order can only be reversed with the internal DIP switch.
$171
May Fly Le Habanero
A fuzz/boost combo thatās as hot as the name suggests, but which offers plenty of smoky, subdued gain shades, too.
Generally speaking, I avoid combo effects. If I fall out of love with one thing, I donāt want to have to ditch another thatās working fine. But recent fixations with spatial economy find me rethinking that relationship. MayFlyās Le Habanero (yes, the Franco/Spanish article/noun mash-up is deliberate) consolidates boost and fuzz in a single pedal. Thatās far from an original concept. But the characteristics of both effects make it a particularly effective one here, and the relative flexibility and utility of each gives this combination a lot more potential staying power for the fickle.
āLe Habaneroās fuzz circuit has a deep switch that adds a little extra desert-rock woof.ā
The fuzz section has a familiar Fuzz Face-like tone profileāa little bit boomy and very present in that buzzy mid-ā60s, midrangey kind of way. But Le Habaneroās fuzz circuit has a deep switch that adds a little extra desert-rock woof (especially with humbuckers) and an effective filter switch that enhances the fuzzās flexibilityāespecially when used with the boost. The boost is a fairly low-gain affair. Even at maximum settings, it really seems to excite desirable high-mid harmonics more than it churns out dirt. Thatās a good thing, particularly when you introduce hotter settings from the boostās treble and bass controls, which extend the boostās voice from thick and smoky to lacerating. Together, the boost and fuzz can be pushed to screaming extremes. But the interactivity between the tone and filter controls means you can cook up many nuanced fuzz shades spanning Jimi scorch and Sabbath chug with tons of cool overtone and feedback colors.
IK Multimedia is pleased to announce the release of new premium content for all TONEX users, available today through the IK Product Manager.
The latest TONEX Factory Content v2 expands the creative arsenal with a brand-new collection of Tone Models captured at the highest quality and presets optimized for live performance. TONEX Tone Models are unique captures of rigs dialed into a specific sweet spot. TONEX presets are used for performance and recording, combining Tone Models with added TONEX FX, EQ, and compression.
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TONEX Pedal
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Gig-ready Tones
For the TONEX Pedal, the first 30 banks deliver an expansive range of amp & cab tones, covering everything from dynamic cleans to brutal high-gain distortion. Each bank features legendary amplifiers paired with cabs such as a Marshall 1960, ENGL E412V, EVH 412ST and MESA Boogie 4x12 4FB, ensuring a diverse tonal palette. For some extremely high-gain tones, these amps have been boosted with classic pedals like the Ibanez TS9, MXR Timmy, ProCo RAT, and more, pushing them into new sonic territories.
Combined with New FX
The following 5 banks of 15 presets explore the depth of TONEX's latest effects. There's everything from the rich tremolo on a tweed amp to the surf tones of the new Spring 4 reverb. Users can also enjoy warm tape slapback with dotted 8th delays or push boundaries with LCR delay configurations for immersive, stereo-spanning echoes. Further, presets include iconic flanger sweeps, dynamic modulation, expansive chorus, stereo panning, and ambient reverbs to create cinematic soundscapes.
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The TONEX Pedal's A, B, and C footswitches make navigating these presets easy. Slot A delivers clean, smooth tones, Slot B adds crunch and drive, and Slot C pushes into high-gain or lead territory. Five dedicated amp-only banks provide a rich foundation of tones for players looking to integrate external IRs or run directly into a power amp. These amp-only captures span clean, drive, and high-gain categories, offering flexibility to sculpt the sound further with IRs or a real cab.
Must-have Stompboxes
TONEX Pedals are ideal for adding classic effects to any pedalboard. The next 5 banks focus on stompbox captures, showcasing 15 legendary overdrive, distortion, and fuzz pedals. This collection includes iconic models based on the Fulltone Full-Drive 2, Marshall DriveMaster, Maxon OD808, Klon Centaur, ProCo RAT, and more.
For Bass Players, Too
The last 5 banks are reserved for bass players, including a selection of amp & cab Tone Models alongside a few iconic pedals. Specifically, there are Tone Models based on the Ampeg SVT-2 PRO, Gallien-Krueger 800RB, and Aguilar DB750, alongside essential bass pedals based on the Tech21 SansAmp, Darkglass B7K and EHX Big Muff. Whether it's warm vintage thump, modern punch, or extreme grit, these presets ensure that bassists have the depth, clarity and power they need for any playing style.For more information and instructions on how to get the new Factory
Content v2 for TONEX, please visit:
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Darkglass Electronics unveils ANAGRAM, a flagship bass platform designed to redefine tone, flexibility, and performance. The pedalās extraordinarily deep feature set includes multiple effects and modeling, an on-board looper and tuner.
Best of all, ANAGRAM brings together these creative tools in a streamlined, rugged format thatās designed for ease of use. Onstage and in the studio, bassists can quickly access and fine-tune their sound via the ANAGRAM interface:
- 7-inch high-brightness touchscreen for clear and intuitive control.
- Three footswitches for live performance control.
- Six high-resolution endless rotary knobs for precise parameter adjustments.
- Flexible input and output configuration.
With ultra-low latency, extensive customization, and seamless integration into the Darkglass ecosystem, it supports both studio precision and stage performance. Combining 15 years of innovation with cutting-edge processing power, ANAGRAM offers a purpose-built solution for bassists seeking unparalleled sound-shaping capabilities.
Anagram
Powered by a state-of-the-art hexacore processor and 32-bit/48kHz audio processing,ANAGRAM delivers ultra-low latency, pristine clarity, and studio-grade sound. Its intuitive blocks-based architecture lets players create signal chains in series (12 blocks) or parallel (24blocks) using a high-resolution touch display. ANAGRAM features three control modesāPreset,Scene, and Stompāfor instant switching, parameter adjustments, and traditional pedalboard-style operation. With a curated collection of distinct preamps, 50+ customizable effects, a looper, tuner, and user-generated IR support, ANAGRAM delivers unmatched creative flexibility.Seamless integration with the Darkglass Suite allows for expanded control and functionality. Additionally, Neural Amp Modeler (NAM) integration provides access to thousands
of high-quality amp and effect models, expanding tonal possibilities from analog warmth to futuristic textures.
"Anagram represents the culmination of years of research and development," says Marcos Barilatti, Managing Director of Darkglass Electronics. "We set out to create a product that not only pushes the boundaries of bass tone but also inspires musicians to explore new sonic territories."
Housed in a rugged anodized aluminum chassis, ANAGRAM is road-ready, compact, and powered via 9V or USB-C (PD). With flagship features at a compelling price, ANAGRAM represents the new standard for bassists seeking a modern platform for their performance.
Street $1199.99 USD
Alongside Nicolas Jaarās electronics, Harrington creates epic sagas of sound with a team of fine-tuned pedalboards.
Guitarist Dave Harrington concedes that while there are a few mile markers in the music that he and musician Nicolas Jaar create as Darkside, improvisation has been the rule from day one. The experimental electronic trioās latest record, Nothing, which released in February on Matador, was the first to feature new percussionist Tlacael Esparza.
Taking the record on tour this year, Darkside stopped in at Nashvilleās Brooklyn Bowl, where Harrington broke down his complex signal chains for PGās Chris Kies.
Brought to you by DāAddario.
Express Yourself
Harrington bought this mid-2000s Gibson SG at 30th Street Guitars in New York, a shop he used to visit as a kid. The headstock had already been broken and repaired, and Harrington switched the neck pickup to a Seymour Duncan model used by Derek Trucks. Harrington runs it with DāAddario NYXL .010s, which he prefers for their stretch and stability.
The standout feature is a round knob installed by his tech behind the bridge, which operates like an expression pedal for the Line 6 DL4. Harrington has extras on hand in case one breaks.
Triple Threat
Harringtonās backline setup in Nashville included two Fender Twin Reverbs and one Fender Hot Rod DeVille. He likes the reissue Fender amps for their reliability and clean headroom. Each amp handles an individual signal, including loops that Harrington creates and plays over; with each amp handling just one signal rather than one handling all loops and live playing, thereās less loss of definition and competition for frequency space.
Dave Harringtonās Pedalboards
Harrington says he never gives up on a pedal, which could explain why heās got so many. Youāre going to have to tune in to the full Rundown to get the proper scoop on how Harrington conducts his three-section orchestra of stomps, but at his feet, he runs a board with a Chase Bliss Habit, Mu-Tron Micro-Tron IV, Eventide PitchFactor, Eventide H90, Hologram Microcosm, Hologram Chroma Console, Walrus Monument, Chase Bliss Thermae, Chase Bliss Brothers AM, JHS NOTAKLĆN, two HexeFX reVOLVERs, and an Amped Innovations JJJ Special Harmonics Extender. A Strymon Ojai provides power.
At hip-level sits a board with a ZVEX Mastotron, Electro-Harmonix Cathedral, EHX Pitch Fork, Xotic EP Booster, two EHX 45000 multi-track looping recorders, Walrus Slƶer, Expedition Electronics 60 Second Deluxe, and another Hologram Microcosm. A Live Wire Solutions ABY Box and MXR DC Brick are among the utility tools on deck.
Under that board rest Harringtonās beloved Line 6 DL4āhis desert-island, must-have pedalāalong with a controller for the EHX 45000, Boss FV-50H volume pedal, Dunlop expression pedal, Boss RT-20, a Radial ProD2, and another MXR DC Brick.