Johnny Marr – Call The Comet

Nevern Square, Earls Court. William It Was Really Nothing, Please Please Please, How Soon Is Now writing session.

"I got this J160 from Denmark Street when I moved to Earl's Court in 1984. I wanted one because John Lennon used one on the early Beatle's albums and I liked 'I Should've Known Better' and 'I'll Be Back'. I wrote 'Please Please Please Let Me Get What I Want' on it and 'William It Was Really Nothing'."

Source: www.smithsonguitar.com/2008/12/johnny-marrs-gear.html

This interview with Marr for Premier Guitar magazine, regarding the recording of his 2018 album Call the Comet, includes a list of gear currently he used during the sessions. The Casino is among the guitars on the list.

In this interview with Premier Guitar magazine regarding the recording of his 2018 album Call the Comet, Marr explains how he got the tone on the track "Hey Angel." He says, "The main rhythm guitar on there is a 1973 Les Paul Custom, like the one James Williamson used in the Stooges. That guitar was running through a Fender Bassman cranked up very hot. The solo and lead parts were done with the Carl Martin PlexiTone pedal, which is a great-sounding thing!"

This interview with Marr for Premier Guitar magazine, regarding the recording of his 2018 album Call the Comet, includes a list of gear currently he used during the sessions. The Brown Source pedal is among the effects on the list.

This interview with Marr for Premier Guitar magazine, regarding the recording of his 2018 album Call the Comet, includes a list of gear currently he used during the sessions. The Doppelganger pedal is among the effects on the list.

This interview with Marr for Premier Guitar magazine, regarding the recording of his 2018 album Call the Comet, includes a list of gear currently he used during the sessions. The King of the Britains pedal is among the effects on the list.

This interview with Marr for Premier Guitar magazine, regarding the recording of his 2018 album Call the Comet, includes a list of gear currently he used during the sessions. The Mr. Vibromatic pedal is among the effects on the list.

This interview with Marr for Premier Guitar magazine, regarding the recording of his 2018 album Call the Comet, includes a list of gear currently he used during the sessions. The Mel9 pedal is among the effects on the list (erroneously listed as the "M9 Mellotron").

This interview with Marr for Premier Guitar magazine, regarding the recording of his 2018 album Call the Comet, includes a list of gear currently he used during the sessions. The DL-4 pedal is among the effects on the list.

This article on the making of Marr's 2018 Call the Comet album by MixOnline.com touches on some of the gear used during the recording process. "The use of pedals on all the instruments is prevalent on Call the Comet. Marr favors Carl Martin pedals for their musicality: Delayla for delay, Plexitone for distortion, AC-Tone for overdrive. He also likes Lovetone’s Doppelganger, Ring Stinger, Brown Source and Big Cheese for more extreme modulation and flange effects."

This article on the making of Marr's 2018 Call the Comet album by MixOnline.com touches on some of the gear used during the recording process. "The use of pedals on all the instruments is prevalent on Call the Comet. Marr favors Carl Martin pedals for their musicality: Delayla for delay, Plexitone for distortion, AC-Tone for overdrive. He also likes Lovetone’s Doppelganger, Ring Stinger, Brown Source and Big Cheese for more extreme modulation and flange effects."

In the second video of the "Making of Council Skies" series, Johnny Marr is observed preparing to contribute to Noel Gallagher's "Council Skies" record. During this segment, a Boss TR-2 Tremolo is visible on the bottom left of Johnny's pedalboard between the 11:16 and 11:20 mark. This visual evidence confirms the use of the Boss TR-2 Tremolo by Johnny Marr, as documented in the YouTube video directed by Anaïs Gallagher.

This interview with Marr for Premier Guitar magazine, regarding the recording of his 2018 album Call the Comet, includes a list of gear currently he used during the sessions. It indicates that Johnny prefers 2242 RPS 11 strings.

This interview with Marr for Premier Guitar magazine, regarding the recording of his 2018 album Call the Comet, includes a list of gear currently he used during the sessions. It indicates that Johnny prefers to use an EB medium pick.

This article on the making of Marr's 2018 Call the Comet album by MixOnline.com touches on some of the gear used during the recording process. "An example of this is 'Walk Into the Sea,' where the Oberheim DMX drum machine, rather than a Roland 808 or 909, is used and then put through pedals with echo—what Marr thinks of as an 'Industrial North' approach."

This article on the making of Marr's 2018 Call the Comet album by MixOnline.com touches on some of the gear used during the recording process. "'[Marr] adjusts setting along with the music, essentially playing the effects to the beat, building the rhythm track dynamically as the song develops,' explains James Doviak, Marr’s co-producer on Call the Comet, as well as his longtime engineer, Pro Tools expert and touring guitarist. 'On "New Dominions," the rhythm track is a Roland CompuRhythm CR-78 through guitar distortion and delay pedals and a flange, with the Ring Stinger making a great odd, nasty sound on the second verse.'"

This article on the making of Marr's 2018 Call the Comet album by MixOnline.com touches on some of the gear used during the recording process. "'There is hardly any processing on the guitars, maybe a little cut if too bright or boost if too dull, and a highpass filter,' says Doviak. 'Sometimes the guitar sound is thickened with an Eventide H3000 or Lexicon PCM81 guitar doubler effect, which I run as an insert or auxiliary channel in Pro Tools. But nearly all the guitar sounds and effects on Call the Comet come straight from the pedals and amps. The instant feedback and imperfections can be more difficult and slower to reproduce in the plug-in world.'" (While the engineer is providing this feedback, the gear is housed in Marr's own Crazy Face studios, which contains gear he's collected over his decades in the music industry.)

This article on the making of Marr's 2018 Call the Comet album by MixOnline.com touches on some of the gear used during the recording process. "'There is hardly any processing on the guitars, maybe a little cut if too bright or boost if too dull, and a highpass filter,' says Doviak. 'Sometimes the guitar sound is thickened with an Eventide H3000 or Lexicon PCM81 guitar doubler effect, which I run as an insert or auxiliary channel in Pro Tools. But nearly all the guitar sounds and effects on Call the Comet come straight from the pedals and amps. The instant feedback and imperfections can be more difficult and slower to reproduce in the plug-in world.'" (While the engineer is providing this feedback, the gear is housed in Marr's own Crazy Face studios, which contains gear he's collected over his decades in the music industry.)

This article on the making of Marr's 2018 Call the Comet album by MixOnline.com touches on some of the gear used during the recording process. "The Shure SM58 is the preferred microphone for his vocals for its grittiness, run through the 1081 into a Tube-Tech CL 1B with low compression ratios to even everything out." (While the engineer is providing this feedback, the gear is housed in Marr's own Crazy Face studios, which contains gear he's collected over his decades in the music industry.)

This article on the making of Marr's 2018 Call the Comet album by MixOnline.com touches on some of the gear used during the recording process. "The Beyer is mainly placed outside drummer Jack Mitchell’s kick drum. An SM57 is placed at the top of the snare, with Coles 4038 and Neumann KM 184 as overheads, equidistant from the snare. These might have some compression through a UREI 1178, all going through the Neve 1081 preamp, with a few of the microphones going into a UA 2-610." (While the engineer is providing this feedback, the gear is housed in Marr's own Crazy Face studios, which contains gear he's collected over his decades in the music industry.)

This article on the making of Marr's 2018 Call the Comet album by MixOnline.com touches on some of the gear used during the recording process. "On 'Spiral Cities,' a Josephson C700 microphone is on the acoustic guitar. While it is not an obvious-sounding mic, Doviak finds its capabilities nuanced and a great match for Crazy Face’s live room." (While the engineer is providing this feedback, the gear is housed in Marr's own Crazy Face studios, which contains gear he's collected over his decades in the music industry.)

This article on the making of Marr's 2018 Call the Comet album by MixOnline.com touches on some of the gear used during the recording process. "The core idea behind the recording was to have it be close to what the band does live. The band records together in the live room quite a bit, although not always. For Marr’s guitars, Doviak places a Shure SM57 and AKG C414 in 60/40 blend up to the amp grille through the Neve 1081s with very little EQ, just a touch of brightness and bite to the SM57 and scooping out of muddiness. This gives an accurate representation of what you would hear standing in front of Marr’s amp at a show. " (While the engineer is providing this feedback, the gear is housed in Marr's own Crazy Face studios, which contains gear he's collected over his decades in the music industry.)

This article on the making of Marr's 2018 Call the Comet album by MixOnline.com touches on some of the gear used during the recording process. "The Shure SM58 is the preferred microphone for his vocals for its grittiness, run through the 1081 into a Tube-Tech CL 1B with low compression ratios to even everything out." (While the engineer is providing this feedback, the gear is housed in Marr's own Crazy Face studios, which contains gear he's collected over his decades in the music industry.)

This article on the making of Marr's 2018 Call the Comet album by MixOnline.com touches on some of the gear used during the recording process. "The bass, played by Iwan Gronow, goes through a Fender Bassman 100 or 300 through an 8x10 speaker. When not going DI, either an Electro-Voice RE20 or Neumann TLM 103 or beyerdynamic m380 microphone is used." (While the engineer is providing this feedback, the gear is housed in Marr's own Crazy Face studios, which contains gear he's collected over his decades in the music industry.)

This article on the making of Marr's 2018 Call the Comet album by MixOnline.com touches on some of the gear used during the recording process. "The bass, played by Iwan Gronow, goes through a Fender Bassman 100 or 300 through an 8x10 speaker. When not going DI, either an Electro-Voice RE20 or Neumann TLM 103 or beyerdynamic m380 microphone is used." (While the engineer is providing this feedback, the gear is housed in Marr's own Crazy Face studios, which contains gear he's collected over his decades in the music industry.)

This article on the making of Marr's 2018 Call the Comet album by MixOnline.com touches on some of the gear used during the recording process. "The bass, played by Iwan Gronow, goes through a Fender Bassman 100 or 300 through an 8x10 speaker. When not going DI, either an Electro-Voice RE20 or Neumann TLM 103 or beyerdynamic m380 microphone is used." (While the engineer is providing this feedback, the gear is housed in Marr's own Crazy Face studios, which contains gear he's collected over his decades in the music industry.)

This article on the making of Marr's 2018 Call the Comet album by MixOnline.com touches on some of the gear used during the recording process. "The Beyer is mainly placed outside drummer Jack Mitchell’s kick drum. An SM57 is placed at the top of the snare, with Coles 4038 and Neumann KM 184 as overheads, equidistant from the snare. These might have some compression through a UREI 1178, all going through the Neve 1081 preamp, with a few of the microphones going into a UA 2-610." (While the engineer is providing this feedback, the gear is housed in Marr's own Crazy Face studios, which contains gear he's collected over his decades in the music industry.)

This article on the making of Marr's 2018 Call the Comet album by MixOnline.com touches on some of the gear used during the recording process. "The Beyer is mainly placed outside drummer Jack Mitchell’s kick drum. An SM57 is placed at the top of the snare, with Coles 4038 and Neumann KM 184 as overheads, equidistant from the snare. These might have some compression through a UREI 1178, all going through the Neve 1081 preamp, with a few of the microphones going into a UA 2-610." (While the engineer is providing this feedback, the gear is housed in Marr's own Crazy Face studios, which contains gear he's collected over his decades in the music industry.)

This article on the making of Marr's 2018 Call the Comet album by MixOnline.com touches on some of the gear used during the recording process. "The Shure SM58 is the preferred microphone for his vocals for its grittiness, run through the 1081 into a Tube-Tech CL 1B with low compression ratios to even everything out." (While the engineer is providing this feedback, the gear is housed in Marr's own Crazy Face studios, which contains gear he's collected over his decades in the music industry.)

This article on the making of Marr's 2018 Call the Comet album by MixOnline.com touches on some of the gear used during the recording process. "The Beyer is mainly placed outside drummer Jack Mitchell’s kick drum. An SM57 is placed at the top of the snare, with Coles 4038 and Neumann KM 184 as overheads, equidistant from the snare. These might have some compression through a UREI 1178, all going through the Neve 1081 preamp, with a few of the microphones going into a UA 2-610." (While the engineer is providing this feedback, the gear is housed in Marr's own Crazy Face studios, which contains gear he's collected over his decades in the music industry.)

This article on the making of Marr's 2018 Call the Comet album by MixOnline.com touches on some of the gear used during the recording process. "'We used some Lexicon PCM91 outboard reverb and some EchoBoy, not necessarily timed to the track so it could bounce around a bit and fill space,' says [engineer] Doviak." (While the engineer is providing this feedback, the gear is housed in Marr's own Crazy Face studios, which contains gear he's collected over his decades in the music industry.)

This article on the making of Marr's 2018 Call the Comet album by MixOnline.com touches on some of the gear used during the recording process. "'We used some Lexicon PCM91 outboard reverb and some EchoBoy, not necessarily timed to the track so it could bounce around a bit and fill space,' says [engineer] Doviak. 'I usually go for something slightly degraded, like a cheap Tape Echo--something with character that sits in the background, not distracting, but has some integrity. MicroShift Soundtoys is great for vocal doubling and widening effects. I’d often use Decapitator or Radiator for some dirt.'" (While the engineer is providing this feedback, the gear is housed in Marr's own Crazy Face studios, which contains gear he's collected over his decades in the music industry.)

This article on the making of Marr's 2018 Call the Comet album by MixOnline.com touches on some of the gear used during the recording process. "'“We used some Lexicon PCM91 outboard reverb and some EchoBoy, not necessarily timed to the track so it could bounce around a bit and fill space,' says [engineer] Doviak. 'I usually go for something slightly degraded, like a cheap Tape Echo--something with character that sits in the background, not distracting, but has some integrity. MicroShift Soundtoys is great for vocal doubling and widening effects. I’d often use Decapitator or Radiator for some dirt.'" (While the engineer is providing this feedback, the gear is housed in Marr's own Crazy Face studios, which contains gear he's collected over his decades in the music industry.)

This article on the making of Marr's 2018 Call the Comet album by MixOnline.com touches on some of the gear used during the recording process. "'“We used some Lexicon PCM91 outboard reverb and some EchoBoy, not necessarily timed to the track so it could bounce around a bit and fill space,' says [engineer] Doviak. 'I usually go for something slightly degraded, like a cheap Tape Echo--something with character that sits in the background, not distracting, but has some integrity. MicroShift Soundtoys is great for vocal doubling and widening effects. I’d often use Decapitator or Radiator for some dirt.'" (While the engineer is providing this feedback, the gear is housed in Marr's own Crazy Face studios, which contains gear he's collected over his decades in the music industry.)

This article on the making of Marr's 2018 Call the Comet album by MixOnline.com touches on some of the gear used during the recording process. "An SM58 is pointing away from the kit toward the opposite wall, where there are some big windows. This is the only thing that gets squashed and distorted with a Soundtoys Devil-Loc or Decapitator. Slate SSL or Neve plug-ins or Fairchild is used to level off the drums." (While the engineer is providing this feedback, the gear is housed in Marr's own Crazy Face studios, which contains gear he's collected over his decades in the music industry.)