Witness how this Ecuadorian-via-Switzerland duo evokes everything that’s beautiful and bleak from the desert, using hollowbodies, a serendipitous Strymon, and rhythmic hypnosis to paint an Ennio Morricone soundscape.
When some people travel, they take photos on their phone to remember the trip. Old-soul voyagers will recount their adventures with pen and paper. But for Alejandro and Estevan Gutiérrez, who together make the globetrotting Ecuadorian-Swiss duo Hermanos Gutiérrez, their experiences conjure soundtracks, and a visit years ago to the American Southwest changed their sound forever.
A couple years after forming their duo, the brothers took a trip through Death Valley and the Mojave Desert. “It just blew our minds,” Estevan told PG. The desert, he says, “is where our music was born.”
“Part of what we’re doing is traveling together as brothers,” Alejandro told PG in 2022. “We go to places, we come back and we’re feeling inspired, and we feel like we’ve gotta write something about this place.”
After finding bountiful inspiration in the West, the duo began turning out mystical compositions, like sonic souvenirs and passport stamps on their consciousness. “It’s just beautiful where we can go with this music,” Alejandro said last year. “It’s just my brother and I together, and we’re so happy to have this.”
The sold-out Hermanos Gutiérrez concert at Nashville’s Basement East on June 20th marked their first time performing in Music City since recording El Bueno Y El Malo with Dan Auerbach at Easy Eye Sound in 2022. The pair invited PG’s Chris Kies onstage to decode their spellbinding cinematic sounds. The conversation touched on their symbiotic alchemy, enchanting hollowbodies, and how a single Strymon reset their slow-burn backdrop.Brought to you by D’Addario Nexxus 360 Tuner.
Like their muse the desert, the brothers’ setups are sparse. Each one totes a single hollowbody. Alejandro travels with his 1963 Silvertone 1446, which is stock except for a refret and custom-made, snake-like Bigsby arm, both done by longtime Dan Auerbach tech Dan Johnson. (You might recognize Dan from his three different Black Keys Rig Rundowns. Check out the latest one from 2019!)
Alejandro is a fingerstyle player (inspired by Estevan) and, at the suggestion of Johnson, uses Pyramid Gold Heavy (.013–.052).
For songs like “Tres Hermanos,” Alejandro gets down with this 1940s Rickenbacker Electro NS lap steel.
Estevan connected with Dan Auerbach’s 1958 Gretsch 6120 “Rudy” while tracking El Bueno Y El Malo at Easy Eye Sound last year. For road duties, he never leaves home without his own Gretsch G6120T-59 Vintage Select 1959 Chet Atkins hollowbody. Inspired by a random YouTube video of an older gentleman playing Santo & Johnny’s “Sleep Walk,” Estevan built a partnership with the 6120. “I’ve tried many, many guitars, but none of them gives me the sound that is me except this Gretsch,” he says. Estevan puts D’Addario EXL 115 (.011–.049) strings on his creamy crusader.
Check out all the hip hardware substitutions and rattlesnake-approved artwork on Estevan’s 6120.
Given that Nashville and Easy Eye have become an oasis for Hermanos Gutiérrez, it makes sense they would take advantage of the studio’s library of vintage and vibey gear. For the Basement East show, Alejandro borrowed a 1960s Fender Deluxe Reverb from Easy Eye and plugged into the first input of the vibrato circuit.
Spaghetti in Stereo
When creating El Bueno Y El Malo, Estevan plugged into Auerbach’s vintage Magnatone for the whole recording process. (You can really hear the amp’s magic vibrato pulsing during the album’s opening title track.) For this show, he compromised by running his 6120 into a modern Magnatone Panoramic Stereo model.
Alejandro Gutiérrez’s Pedalboard
Alejandro packs light with a compact board that holds a MXR Dyna Comp Mini, a Boss GE-7 Equalizer, a Strymon Flint, and the influential Strymon El Capistan. While Estevan discovered the El Cap and unlocked its magic for Hermanos Gutiérrez (more on that in a second), Alejandro has molded it to his sound in different ways. “I use it as a layer,” he explains. “Really subtle. My brother uses it more as a delay. He has this horse sound, like this galloping sound he can create with his slapping, which only he can do.” A Boss TU-3 Chromatic Tuner keeps the Silvertone in line.
Estevan Gutiérrez’s Pedalboard
You can see that Estevan utilizes nearly every square inch of his pedalboard. Overlaps between the brothers’ boards include the MXR Dyna Comp Mini, the Strymon Flint, and the aforementioned Strymon El Capistan. You might think their setup is basic now, but they used to play sans pedals. Eventually, Estevan discovered the Strymon El Capistan, and their sound was never the same. “I remember that day,” he recounted to PG about first playing the pedal. “I fell in love. I knew it was gonna change something in our sound.” As soon as he purchased the El Capistan, he called his brother and said, “You have to buy this. This is gonna be next level for us.”
The remaining effects for Estevan include a Malekko Omicron Vibrato, a Boss RC-500 Loop Station, and a Boss TU-3 Chromatic Tuner (off the board) keeps his Gretsch in check. Lastly, you’ll notice a G7th Performance 3 ART Capo on the pedalboard, too.
From rocking garages to filling arenas, Dan Auerbach’s gear has always been odd and eccentric. Still keeping it weird, he spotlights axes from a teenage hero, a custom build influenced by an industry master, and a token of his success in the shape of a Holy Grail Gibson.
So, what led to The Black Keys ending their unannounced hiatus? Well, for Auerbach, it was the same guitar that started the ascent up this crazy rollercoaster—Glenn Schwartz’s 10-string hollowbody. James Gang and Eagles ace Joe Walsh was jamming with Auerbach at Easy Eye and the two brought up Schwartz and how his ferocious playing impacted them both. Auerbach spent any free time he had during high school to make the trek from Akron to Cleveland to see Schwartz play. Walsh coincidentally looked to Glenn as a guitar hero and eventually took over for him in the James Gang when Schwartz left the band, moved to California, and formed Pacific Gas & Electric. (You can see the trio of guitarists jam at Nashville’s famed Robert’s back in 2016.)
Auerbach and Walsh got Schwartz down to Nashville to record him at Easy Eye Sound Studio. The session was inspiring and provided Auerbach the visceral memory of why he loved the Black Keys. The next day he called Carney, they put a session on the books and Let’s Rock was made.
Premier Guitar made the comfortable drive south to Atlanta’s State Farm Arena to not only check in with Auerbach’s longtime tech Dan Johnson, but the guitar master himself makes a cameo to talk all things guitar, including Glenn’s aforementioned 10-string that was loaned to him after a recent Cleveland gig. Other 6-string highlights include a gold-foil-loaded Peavey Razer gunning for the T-Model Ford mojo, a lawsuit-era Ibanez SG, a custom-build (by Dan Johnson) that echoes back to industry heavyweight Paul Bigsby, and surprisingly enough, a ’59 burst. While there, we also spoke with new bandmembers Delicate Steve, and the Gabbard brothers (Andy — above left — and Zach who are also 2/3 of the Buffalo Killers) from Akron, who all show off the goodies they bring to the arenas to back their longtime buds.
Here’s the 10-string that was used and abused by one of Auerbach’s guitar heroes, Glenn Schwartz. Some notable things Glenn did to this instrument are the extended f-holes, swapped in the solid-brass tailpiece that goes through the whole guitar, and because Glenn was very religious, he believed that if you played music for the Lord, you played a 10-string instrument, so he added the four strings to the lower bout. All of Auerbach’s instruments take SIT .011–.050 strings.
Inspired by Mississippi juke-joint legend T-Model Ford, aka James Lewis Carter Ford, Auerbach tracked down this Peavey Razer. The homage is complete with the “T Model The Taledragger” stickers that were on Ford’s beloved Razer. The electronics have been upgraded and the stock pickups have been substituted with DeArmond gold-foils from a Harmony. The tailpiece is from a Kay and tech Dan Johnson machined the bridge and vibrato arm from brass.
Here is one from the old days—a lawsuit-era Ibanez modeled after a 1961 Les Paul Custom aka the first SG.
“I gotta admit, I got this guitar because of these absurd furniture nails,” admits Dan Auerbach. This lawsuit guitar was upgraded with Lollar Lollartrons and an old Bigsby off his Gretsch Duo Jet. Dan Johnson believes this came from one of Neil Young’s guitars as the vibrato was a gift from longtime Young tech Larry Cragg. Ironically, after purchasing the guitar and sitting with it in his living room, he realized it’s the same lawsuit guitar on Junior Kimbrough’s All Night Long, which was a major influence. Billy Sanford, the guitar man behind the “Oh, Pretty Woman” lick, coined the guitar “Nails in My Coffin” because of the guitar body’s rivets the nameplate on the nut cover. Perfect!
It’s no shock to any guitar dork that Auerbach is attracted to odd-shaped instruments. A Gretsch employee reached out to Dan Johnson and wanted to send Auerbach a G6138 Bo Diddley Firebird. The band received it while rehearsing for the Let’s Rock tour at the Wiltern in Los Angeles. The Dans agreed that the guitar needed to be stripped of its red top, so Johnson got to work. Once it was removed, they wanted to stain it like a piece of furniture from the ’70s, but it was late and Johnson didn’t think he could find a hardware store open around midnight. Lucky enough, a Wiltern maintenance worker knew where in the basement he could find the necessary woodworking supplies. Beer in hand, Johnson stained the guitar and let it dry overnight.
Here is a copy of a copy of a copy. Let us a explain. The Italian brand Eko made a signature guitar in the mid-’60s for their version of the Beatles, the Rokes. (Think along the lines of Mosrite building Ventures models coinciding with the surf-rock juggernauts.) Then the Japanese company Kawai made a copy of that in the late ’60s and it was nicknamed the “Flying Wedge.” And as Auerbach does, he bought a Kawai model on eBay and it was shipped directly to Johnson. It was cheap. It was horrible. It wasn’t playable. So, to make good on the bad bargain, Johnson started his own flying-wedge project. It incorporates flavors from its misfit predecessors including Lonnie-Mack’s-Bigsby-Flying-V workaround and machined parts reminiscent of Paul Bigsby’s early work. It has a chambered bird’s-eye maple body and Firebird-style mini-humbuckers. The project was finished just before the Atlanta show on November 9th and played onstage for the first time that same night.
This is a one-owner 1959 Gibson Les Paul that Dan Auerbach bought this year. He’s already recorded with it at Easy Eye and has truly enjoyed owning it. While he admits that a ’59 ’burst isn’t a guitar you’d attach to him because so many other famous guitarists have forged history with it, he couldn’t turn down the opportunity to have such an inspiring instrument. “I had no intention of buying a ’burst,” says Auerbach. “I’ve never even seen one before I walked into that guitar store and bought it from the owner’s sister.”
No, you’re not looking at a Stonehenge-sized Tetris wall, it’s Auerbach’s current lineup of amps.
While doing tour rehearsals at Easy Eye, they were going through the gear vault and brought out the usual suspects—The Marshall, the Danelectros, the Fender Quads. But something was lacking, so the Dans headed down to Nashville’s Carter Vintage and scored two early ’70s silverface Fender Bandmaster Reverb TFL5005D heads (shown above). They were keen on getting a fresh Fender wrinkle because Auerbach needed the squishier punch you get from a tube rectifier. The other one tours alongside its brother and stays in the wings as a backup.
As seen in the 2012 and 2014 Rig Rundowns, a big part of Auerbach’s tone was provided by this Fender Quad Reverb platform. (Again, a nod to Ohio hero Glenn Schwartz who used two of these beasts onstage.) Now the Quads are extension cabs for the Bandmaster Reverb head and are loaded with 12" Tubby Tone Alnico 25-watt Hempcone speakers.
While Auerbach did have a 40-watt Danelectro Challenger in his last Rundown (1956 model), he now travels with two different ones from 1949 and 1950. It does have a 15" speaker in it, but the 1950’s speaker is bypassed and feeds into both the Marshall 8x10s. The 1949 Challenger goes direct to FOH for clean baseline tone.
Here’s the backside of this gem.
While the Bandmaster Reverb does have some ’verb dialed into its sound, the bulk of the dark, deep, lush, springy goodness you hear is from the Premier Reverberation unit that’s coupled with a Maestro Echoplex EP-4 for space-rock guitar solos.
The Canadian company helped BTO’s Randy Bachman after he unsuccessfully ran a Fender Champ into his Marshall head. It probably sounded uh-mazing before the combo was fried. So the Garnet H-Zog was invented to allow Bachman to run a lower-powered tube head, as a preamp, before his full stack. Auerbach adopted the approach and uses the no-load tube preamp in front of all his amps. The H-Zog itself is a tube amp with a single 12AX7 and a single 6V6 powering it.
Steve Marion aka Delicate Steve uses this 1966 Melody Maker SG a lot playing behind the Black Keys. In a 2019 interview with PG, he had this to say about it, “The guitar I played on the whole record [Till I Burn Up] was sold to me by my friend, a guitarist named Ofir Ganon, who is the only guitar snob-gear guy whose opinion I care about at all. Ofir sold me a ’66 Gibson Melody Maker SG, which had PAFs in it. The whole album is that guitar.” Steve normally plays .009s because he likes how they’re harder to control and the subtly of strings moving around, but he went with .010s to have more consistent sound for the Keys gig.
On previous Delicate Steve projects before 2019’ Till I Burn Up, Marion used an Epiphone Ltd. Ed. Joe Bonamassa 1958 “Amos” Korina Flying-V. He was gifted this Gibson Custom Shop Flying V VOS from the historic company before embarking on the Let’s Rock tour. It is all original and comes loaded with Custom Buckers.
Appropriately, Steve Marion uses this 2015 Gibson Firebird on the new Let’s Rock song “Eagle Birds.”
Definitely the most Black-Keys-ish of Steve Marion’s arsenal, this 1960 Silvertone Jupiter 1423 sees stage time for songs like “Tighten Up” and “Thickfreakness.”
The only request that Dan Auerbach gave the rest of the bandmates was to try and work with the Fender Super Reverb. (More of a suggestion than demand.) Delicate Steve has enjoyed his time with the Supers because they’re very different than his typical setup. In Delicate Steve he uses an Orange Micro Terror that provides a squashed, overloaded, overdriven sound whereas the Super he uses with the Keys offers the neutral pedal platform that needs to cover all the synth and keyboards with his guitar.
A part of his solo setup that’s crept in the Keys show is this custom-built HammerTone head that is chasing the sound of an old tweed Gibson GA-5 Skylark combo. Dan Johnson suggested that Marion run the head through a Palmer PGA-4 speaker simulator/load box and into the Fender Deluxe Reverb’s speaker.
To replicate all the synth, keys, and organ tones heard on the Keys’ albums Brothers, El Camino, and Turn Blue, Steve Marion travels with a hefty board of goodies starting with the Auerbach-favorite Electro-Harmonix Russian-font Big Muff. The rest of the stomp station has an MXR Carbon Copy Deluxe, Xotic EP Booster, JHS Colour Box, EHX C9 and Pitch Fork, Boss TR-2 Tremolo, ZVEX Mastotron, Valeton Coral Mod (a Delicate Steve fave), Pigtronix Octavia, and a Styrmon BigSky. Everything is harnessed by the RJM Mastermind PBC/10 loop controller.
Zach Gabbard and his brother Andy have a longtime connection with the Keys. They were at the band’s first show in Akron and their band Buffalo Killers’ second LP Let It Ride was produced by Auerbach. Coming full circle, Zach was recruited to play bass and sing background vocals on the Let’s Rock tour. Zach’s No. 1 is this Gibson SG Standard Bass—his first short-scale instrument and he absolutely loves it: “I’ve been working too hard for to long [laughs].” It’s a completely stock 2019 model and is strung up with flatwounds.
For this gig, Zach Gabbard moves the Earth with an all-tube Ampeg SVT-VR 300-watt head that powers a matching 8x10 cab.
In addition to running through his cabs, Zach Gabbard uses a Palmer PDI-CTC to provide FOH a clean, pure signal from the Ampeg SVT-VR.
At Zach Gabbard’s feet rest two pedals—an old EarthQuaker Devices Monarch fuzz and a Boss TU-3 Chromatic Tuner keeping his notes in check.
“This is my favorite guitar I own because it’s the best feeling guitar I’ve ever played,” declares Andy Gabbard on his Gibson Les Paul. He safely added the Bigsby via a non-invasive Vibramate, but the rest of the guitar is stock. Gabbard sees his role in the current three-guitar attack is to trust his feeling, following the duo, and accent everything that Dan is doing.
Another guitar, another Gibson for Andy Gabbard. This 2019 Firebird was a pre-tour gift from Gibson. Andy digs it because “it looks cool and it cuts through.”
“This is the guitar I’ve always wanted,” admits Andy Gabbard. This Gibson Les Paul Standard '50s P-90 Gold Top. Gabbard remarks that he had to put a Bigsby on their because his picking hand while hit the strings and then phantom shake because he’s so used to the vibrato arm being used.
For Andy, it doesn’t get any better than Gibson guitars into a Fender amp, and the combo in this equation is a Super Reverb.
An MXR Brown Acid Fuzz, Pigtronix Gate Keeper Micro, and EarthQuaker Devices Dispatch Master are the few stomps help Andy Gabbard get the job done.
The 72-year-old Delta bluesman’s Auerbach-produced Cypress Grove captures the raucous sounds of the juke joint.
Bluesman Jimmy “Duck” Holmes is an American treasure. The 72-year-old is the foremost torchbearer of a deep and esoteric style of Mississippi Delta music associated with the town where he has spent his entire life: rural Bentonia. He’s also the proprietor of the nation’s longest operating juke joint, the Blue Front Café, which his parents established there in 1948. Holmes learned the Bentonia blues style at the side of its originators, including Henry Stuckey and the more famous Skip James, who had a renaissance during the ’60s folk blues revival. Every year in June, Holmes celebrates the music that’s in his DNA by hosting the Bentonia Blues Festival on his family’s farm.
But there’s a less formal celebration every weekend, when the Blue Front stays open late, cold beer flows like rain, and the music gets loud, raucous, and unpredictable. That’s the spirit that producer Dan Auerbach has captured on Holmes’ new album, Cypress Grove.
The song we’re premiering, “All Night Long,” is a robust, free-ranging original built along the thorny backbone of Holmes’ guitar, with interjections by Auerbach, adding fills and commentary, and an essay on hot-butter slide by Marcus King. The album is packed with 6-string highlights, built around Holmes’ rusty freight-train rhythms and tonal surprises, like the feedback drone Auerbach makes sing like an Indian tanpura on the title track.
In Nashville’s Easy Eye Sound studio, Auerbach and Holmes run through the bones of one of Holmes’ durable culled-from-life numbers before showing it to the studio band and firing up the tape recorder.
Just because the album was recorded at Auerbach’s Easy Eye Sound studio in Nashville doesn’t mean it’s not authentic down-home Mississippi blues. The Black Keys’ frontman explains his modus operandi: “I like to work with people who inspire me, and Jimmy inspires me. Jimmy’s music is rough and tumble, and it can shatter a lot of preconceptions purists have about Delta blues. At the Blue Front, you never know who’s going to show up, or what instrument they’ll be playing. There could be three guitars, bass, drums, mandolin, and fiddle one weekend, and then the next weekend a banjo player or a saxophonist shows up. So the sound always reflects the ages and experiences and styles of the musicians who are there, and that keeps it fresh, modern, and totally unpredictable.”
In addition to Dan Auerbach and Marcus King, Holmes’ new album includes contributions from Mississippi blues bass MVP Eric Deaton and drummer Sam Bacco, who is a percussionist in the Nashville Symphony.
If you’d like to know more about Bentonia blues and Jimmy “Duck Holmes,” check out our interview with him from September 2016. And you can also dig into Ryan Lee Crosby’s Bentonia Blues lesson from September 2019.