PG Jason Shadrick is on location checking out the gear that Lindsey Buckingham brings out on the road, including his #1 Turner Model One that he has used since the '70s.

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Lindsey still brings out his #1 Turner Model One that he has used since the '70s (pictured), as well as two other Model Ones set up with different tunings, and backups for each. On the back of the guitar is a control to adjust the angle of the pickup, which is adjusted to the sweet spot then set. He uses Taylor 814 acoustics with Fishman Prefix electronics, as well as Renaissance nylon-strings, both baritone and regular, with Roland GK pickups to trigger a synth that he wasn't using on this tour. All of his guitars are tuned slightly differently (as detailed in the video), and each is set up for a song or songs with a specific strap length depending upon the difficulty of the song.

Amps and Effects
Buckingham's backline is separated into three different signal paths: acoustic, electric, and nylon. For his acoustic sound, he uses a pair of SWR California Blonde amps with an extension cab. The two Mesa/Boogie Dual Rectifier Trem-O-Verbs are routed through a 2x12 cabinet for this electric sound. The Trace Elliot and Fishman amps power his nylon/synth sound.

He uses minimal effects, just a Boss SD-1 and Boss DD-3 Delay for his electric rig and a Boss DD-3 delay and Boss RC-30 looper with background vocals and a little bit of guitar for a few acoustic songs. For nylon-string, he uses chorus and reverb from the amps.

For at least a decade, the classic Ampeg SVT was the dominant bass amp for power and tone.

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From the giant, hefty beasts of yore to their modern, ultra-portable equivalents, bass amps have come a long way. So, what's next?

Bassists are often quite well-informed about the details of their instruments, down to the finest technical specs. Many of us have had our share of intense discussions about the most minute differences between one instrument and another. (And sometimes those are interrupted by someone saying, "It's all in the fingers.") But right behind our backs, at the end of our output cables, there is a world of tone-shaping that we either simply ignore or just don't want to dive into too deeply. Turning a gear discussion from bass to amp is a perfect way to bring it to an abrupt end.

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  • Develop a better sense of subdivisions.
  • Understand how to play "over the bar line."
  • Learn to target chord tones in a 12-bar blues.
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Playing in the pocket is the most important thing in music. Just think about how we talk about great music: It's "grooving" or "swinging" or "rocking." Nobody ever says, "I really enjoyed their use of inverted suspended triads," or "their application of large-interval pentatonic sequences was fascinating." So, whether you're playing live or recording, time is everyone's responsibility, and you must develop your ability to play in the pocket.

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