John Mayer – Continuum

At 4:05 in the video, the camera points towards the floor, revealing John's pedalboard, including the EHX POG. He also mentions that he used the POG to get the organ sound in "In Repair".

Used for vocals and as an ambient mic for the electric guitar on Continuum, as stated by recording engineer Chad Franscoviak in this October 1, 2006 Mix Online interview.

For Mayer's vocal chain, Franscoviak says that most of the songs were recorded with a Neumann U47. For a couple of songs, he sang into a Neumann M269c, and on “I'm Gonna Find Another You,” which was recorded at Royal Studios in Memphis, he sang into Al Green's RCA 77 ribbon mic. From there, the chain included a Neve sidecar stocked with 1073 mic pre's and then a UREI silver-face 1176. “On a couple of songs, we did experiment with splitting his vocals into two channels — one of them would be kind of a clean and one of them would be kind of a gritty — and we would take the second channel and put it through a Fairchild 670 and really crush it,” Franscoviak explains. “Then we would either blend it together or choose one or the other for the mix."

(...) Miking Mayer's guitar rig depended on the song's mood. On “The Heart of Life,” Franscoviak threw a ribbon mic in the middle of the main room as a pair of amplifiers boosted Mayer's tracks. On the majority of the tracks, though, Franscoviak would put a Shure SM57 and a Beyerdynamic M88 right next to each other, about two fingers' width from the guitar cabinet's grille. He would take that track, blend it and send it to one channel. In addition, Mayer likes to hear room ambience on his guitar tracks. To accomplish that, Franscoviak would point either a pair of U67s or U87s about three feet from the edge of the semi-circle of amps, and then either a U47 or a Telefunken 251 in front of them all.

Used for vocals on Continuum, as stated by recording engineer Chad Franscoviak in this October 1, 2006 Mix Online interview.

For Mayer's vocal chain, Franscoviak says that most of the songs were recorded with a Neumann U47. For a couple of songs, he sang into a Neumann M269c, and on “I'm Gonna Find Another You,” which was recorded at Royal Studios in Memphis, he sang into Al Green's RCA 77 ribbon mic. From there, the chain included a Neve sidecar stocked with 1073 mic pre's and then a UREI silver-face 1176. “On a couple of songs, we did experiment with splitting his vocals into two channels — one of them would be kind of a clean and one of them would be kind of a gritty — and we would take the second channel and put it through a Fairchild 670 and really crush it,” Franscoviak explains. “Then we would either blend it together or choose one or the other for the mix.

“[Mayer] loves hearing his vocals really compressed, so he can be as dynamic as he wants to and it always sounds present to him,” he continues. “He likes way too much reverb when he's tracking, and then when we proceed into the mix, it will be reeled in a little bit. Generally, I will compress lightly going to tape or Pro Tools, and then in Pro Tools cream it with usually the Renaissance Vox.”

Used as an ambient mic for the electric guitar on Continuum, as stated by recording engineer Chad Franscoviak in this October 1, 2006 Mix Online interview.

Miking Mayer's guitar rig depended on the song's mood. On “The Heart of Life,” Franscoviak threw a ribbon mic in the middle of the main room as a pair of amplifiers boosted Mayer's tracks. On the majority of the tracks, though, Franscoviak would put a Shure SM57 and a Beyerdynamic M88 right next to each other, about two fingers' width from the guitar cabinet's grille. He would take that track, blend it and send it to one channel. In addition, Mayer likes to hear room ambience on his guitar tracks. To accomplish that, Franscoviak would point either a pair of U67s or U87s about three feet from the edge of the semi-circle of amps, and then either a U47 or a Telefunken 251 in front of them all.

“Then, every once in a while, if he wanted a beefy sound, I would use a [Yamaha] NS10 speaker that had been reversed,” Franscoviak says. “I would put that right up on the cone of one of his cabinets to get that real low-end thing.” The best example of that, he adds, is the solo in “I'm Gonna Find Another You.” Mayer's acoustic guitar chain was an AKG C24 microphone into 1073s.

Used as an ambeint mic for the electric guitar on Continuum, as stated by recording engineer Chad Franscoviak in this October 1, 2006 Mix Online interview.

Miking Mayer's guitar rig depended on the song's mood. On “The Heart of Life,” Franscoviak threw a ribbon mic in the middle of the main room as a pair of amplifiers boosted Mayer's tracks. On the majority of the tracks, though, Franscoviak would put a Shure SM57 and a Beyerdynamic M88 right next to each other, about two fingers' width from the guitar cabinet's grille. He would take that track, blend it and send it to one channel. In addition, Mayer likes to hear room ambience on his guitar tracks. To accomplish that, Franscoviak would point either a pair of U67s or U87s about three feet from the edge of the semi-circle of amps, and then either a U47 or a Telefunken 251 in front of them all.

“Then, every once in a while, if he wanted a beefy sound, I would use a [Yamaha] NS10 speaker that had been reversed,” Franscoviak says. “I would put that right up on the cone of one of his cabinets to get that real low-end thing.” The best example of that, he adds, is the solo in “I'm Gonna Find Another You.” Mayer's acoustic guitar chain was an AKG C24 microphone into 1073s.

Used as an ambient mic for the electric guitar on Continuum, as stated by recording engineer Chad Franscoviak in this October 1, 2006 Mix Online interview.

Miking Mayer's guitar rig depended on the song's mood. On “The Heart of Life,” Franscoviak threw a ribbon mic in the middle of the main room as a pair of amplifiers boosted Mayer's tracks. On the majority of the tracks, though, Franscoviak would put a Shure SM57 and a Beyerdynamic M88 right next to each other, about two fingers' width from the guitar cabinet's grille. He would take that track, blend it and send it to one channel. In addition, Mayer likes to hear room ambience on his guitar tracks. To accomplish that, Franscoviak would point either a pair of U67s or U87s about three feet from the edge of the semi-circle of amps, and then either a U47 or a Telefunken 251 in front of them all.

“Then, every once in a while, if he wanted a beefy sound, I would use a [Yamaha] NS10 speaker that had been reversed,” Franscoviak says. “I would put that right up on the cone of one of his cabinets to get that real low-end thing.” The best example of that, he adds, is the solo in “I'm Gonna Find Another You.” Mayer's acoustic guitar chain was an AKG C24 microphone into 1073s.

Used for the acoustic guitar on Continuum, as stated by recording engineer Chad Franscoviak in this October 1, 2006 Mix Online interview.

Mayer's acoustic guitar chain was an AKG C24 microphone into 1073s.

Used for vocals and acoustic guitar on Continuum, as stated by recording engineer Chad Franscoviak in this October 1, 2006 Mix Online interview.

For Mayer's vocal chain, Franscoviak says that most of the songs were recorded with a Neumann U47. For a couple of songs, he sang into a Neumann M269c, and on “I'm Gonna Find Another You,” which was recorded at Royal Studios in Memphis, he sang into Al Green's RCA 77 ribbon mic. From there, the chain included a Neve sidecar stocked with 1073 mic pre's and then a UREI silver-face 1176. “On a couple of songs, we did experiment with splitting his vocals into two channels — one of them would be kind of a clean and one of them would be kind of a gritty — and we would take the second channel and put it through a Fairchild 670 and really crush it,” Franscoviak explains. “Then we would either blend it together or choose one or the other for the mix." (...) Mayer's acoustic guitar chain was an AKG C24 microphone into 1073s.

Used for vocals on Continuum, as stated by recording engineer Chad Franscoviak in this October 1, 2006 Mix Online interview.

For Mayer's vocal chain, Franscoviak says that most of the songs were recorded with a Neumann U47. For a couple of songs, he sang into a Neumann M269c, and on “I'm Gonna Find Another You,” which was recorded at Royal Studios in Memphis, he sang into Al Green's RCA 77 ribbon mic. From there, the chain included a Neve sidecar stocked with 1073 mic pre's and then a UREI silver-face 1176. “On a couple of songs, we did experiment with splitting his vocals into two channels — one of them would be kind of a clean and one of them would be kind of a gritty — and we would take the second channel and put it through a Fairchild 670 and really crush it,” Franscoviak explains. “Then we would either blend it together or choose one or the other for the mix.

“[Mayer] loves hearing his vocals really compressed, so he can be as dynamic as he wants to and it always sounds present to him,” he continues. “He likes way too much reverb when he's tracking, and then when we proceed into the mix, it will be reeled in a little bit. Generally, I will compress lightly going to tape or Pro Tools, and then in Pro Tools cream it with usually the Renaissance Vox.”

Used for vocals on "a couple of songs" from Continuum, as stated by recording engineer Chad Franscoviak in this October 1, 2006 Mix Online interview.

For Mayer's vocal chain, Franscoviak says that most of the songs were recorded with a Neumann U47. For a couple of songs, he sang into a Neumann M269c, and on “I'm Gonna Find Another You,” which was recorded at Royal Studios in Memphis, he sang into Al Green's RCA 77 ribbon mic. From there, the chain included a Neve sidecar stocked with 1073 mic pre's and then a UREI silver-face 1176. “On a couple of songs, we did experiment with splitting his vocals into two channels — one of them would be kind of a clean and one of them would be kind of a gritty — and we would take the second channel and put it through a Fairchild 670 and really crush it,” Franscoviak explains. “Then we would either blend it together or choose one or the other for the mix.

“[Mayer] loves hearing his vocals really compressed, so he can be as dynamic as he wants to and it always sounds present to him,” he continues. “He likes way too much reverb when he's tracking, and then when we proceed into the mix, it will be reeled in a little bit. Generally, I will compress lightly going to tape or Pro Tools, and then in Pro Tools cream it with usually the Renaissance Vox.”

Used for vocals on Continuum, as stated by recording engineer Chad Franscoviak in this October 1, 2006 Mix Online interview.

For Mayer's vocal chain, Franscoviak says that most of the songs were recorded with a Neumann U47. For a couple of songs, he sang into a Neumann M269c, and on “I'm Gonna Find Another You,” which was recorded at Royal Studios in Memphis, he sang into Al Green's RCA 77 ribbon mic. From there, the chain included a Neve sidecar stocked with 1073 mic pre's and then a UREI silver-face 1176. “On a couple of songs, we did experiment with splitting his vocals into two channels — one of them would be kind of a clean and one of them would be kind of a gritty — and we would take the second channel and put it through a Fairchild 670 and really crush it,” Franscoviak explains. “Then we would either blend it together or choose one or the other for the mix.

“[Mayer] loves hearing his vocals really compressed, so he can be as dynamic as he wants to and it always sounds present to him,” he continues. “He likes way too much reverb when he's tracking, and then when we proceed into the mix, it will be reeled in a little bit. Generally, I will compress lightly going to tape or Pro Tools, and then in Pro Tools cream it with usually the Renaissance Vox.”

A "reversed" NS10 speaker was used "every once in a while" to mike the electric guitar on Continuum, particularly for the solo on "I'm Gonna Find Another You", as stated by recording engineer Chad Franscoviak in this October 1, 2006 Mix Online interview.

“Then, every once in a while, if he wanted a beefy sound, I would use a [Yamaha] NS10 speaker that had been reversed,” Franscoviak says. “I would put that right up on the cone of one of his cabinets to get that real low-end thing.” The best example of that, he adds, is the solo in “I'm Gonna Find Another You.”

A known performance of this is playing I'm Gonna Find Another You with Wynton Marsalis. The guitar can be seen on the 'In Repair' recording video. CES stands for Cutaway Electric Spanish.