Steve Wariner worked closely with Gretsch to design his signature G6120T-SW Nashville Gentleman. The 6120 body features a 25.5" scale neck and a pair of TV Jones pickups (Classic Plus in the bridge and a Paul Yandell Duo-Tron in the neck). Wariner also uses a custom set of D’Addario strings (.010–.014–.017–.028–.038–.048) and small Dunlop thumbpicks.
For most of his career, Wariner’s No. 1 was this 1986 Joe Glaser Telecaster loaded up with a B-bender and Ron Ellis custom pickups.
Wariner has more vintage instruments than we can list here, but a few of his favorites include this 1954 Fender Telecaster that still has the original bridge pickup and a Seymour Duncan pickup in the neck.
For that middle pickup vibe, Wariner plays this 1960 Fender Stratocaster. It’s all original but did recently have a refret.
One of Wariner’s first gigs was playing bass for country legend Dottie West. This ’61 Fender Jazz served him well during those years and still has a spot in his studio.
This matching ’61 Fender Showman was used by Wariner along with the Jazz bass on the Dottie West gig. Both were a gift from his uncle who bought them new.
For this rundown, Wariner played his like-new 1958 Fender Bassman. A few other favorites included a 1965 Fender Deluxe Reverb, a 1966 Fender Pro Reverb, and a Todd Sharp = JOAT 20.
Wariner’s expansive board was built and designed by XTS in Nashville. From the guitar, the first thing on the board is a custom interface designed by XTS. From there it hits a Vox wah, XTS Fermata Compressor, MXR Phase 90, Crowther Hot Cake, Maxon OD808, Ernie Ball Volume pedal, Austone Vibro-Stomp, a vintage Boss CE-1, Dunlop Echoplex, Electro-Harmonix Deluxe Memory Man, and a TC Electronic Hall of Fame Reverb.
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D'Addario XT Strings:https://www.daddario.com/XTRR
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Peterson StroboStomp Mini Pedal Tuner
| The StroboStomp Mini delivers the unmatched 0.1 cent tuning accuracy of all authentic Peterson Strobe Tuners in a mini pedal tuner format. We designed StroboStomp Mini around the most requested features from our customers: a mini form factor, and top mounted jacks. |
But by gosh, if delay—and its sister effect, reverb—haven’t always been perfect for the music I like to write and play. Which brings us to the Fishman EchoBack Mini Delay. The EchoBack, along with the standard delay controls of level, time, and repeats—as well as a tap tempo—has a toggle to alternate between analog, tape, and digital-delay voices.
I hooked up my Washburn Bella Tono Elegante to my Blues Junior to give the EchoBack a test run. We love a medium delay—my usual preference for delay settings is to have both level and repeats at 1 o’clock, and time at 11 o’clock. With the analog voice switched on, I heard some pillowy warmth in the processed signal, as well as a familiar degradation with each repeat—until their wake gave way to a gentle, distant, crinkly ticking. Staying on analog and adjusting delay time down to 8 o’clock and repeats to about 11:30, some cozy slapback enveloped my rendition of Johnny Marr’s part to “Back to the Old House,” conjuring up thoughts of Elvis trapped in a small chamber, but in a good way. It sounded indubitably authentic. The one drawback of analog delay for me, generally, is that its roundness can feel a bit under water at times.
Switching over to tape, that pillowy warmth evaporated, and in its place came a very clear replication of my tone—but with just a bit of the highs shaved off the top. With the settings at the medium-length mode listed above, I could see the empty, glass hall the pedal sent my sound bouncing down. I heard several pronounced pings of repeats before the signal fully faded out. On slapback settings (time at 8 o’clock, repeats at 11:30), rather than Elvis, I heard something more along the lines of a honky-tonk mic in a glass bottle. Still relatively crystalline, which actually was not my favorite. I like a bit more crinkle—so maybe analog is my bag....“That pillowy warmth evaporated, and in its place came a very clear, pristine replication of my tone—but with just a bit of the highs shaved off the top.”
Next up, digital. Here we have the brightest voice, and as expected, the most faithful repeats. They ping just a few times before shifting to a smooth, single undulating wave. When putting its slapback hat on, I found that the effect was a bit less alluring than I’d observed for the analog and tape voices. This is where the digital delay felt a little too sterile, with the cleanly preserved signal feeling a bit unnatural.
All in all, I dig the EchoBack for its replications of analog and tape voices, and ultimately, lean towards tape. While it’s nice having the digital delay there as an option, it feels a bit too clean when meddling with time of any given length. Nonetheless, this is surely a handy stomp for any acoustic player looking to venture into the land of live effects, or for those who are already there.
