Rival Sons – Hollow Bones

Used on "Hollow Bones, Pt. 1" and "Hollow Bones, Pt. 2", as stated in this Total Guitar interview.

I used that baritone on the title track parts one and two. There was one Dave [Cobb] had hanging up in the control room; a really cool Jerry Jones Longhorn. So it was really bright with the lipstick pickups. Technically a really ugly guitar and it was orange, the pressed board and strange shape… but it was still cool. I think it’s really groovy actually – it’s ugly awesome! I like that you can hear on Part 1 it’s obviously just gobs of fuzz and gain, and then on Hollow Bones Part 2 you can hear that same guitar really cleaned up. A baritone cleaned up really adds more of a Bass VI feel because it’s tuned A to A, so it’s not quite as much a baritone as it is a Bass VI because of the tuning. It’s very almost spaghetti western when it’s very, very clean like that – really cool.

“The Magnatone Twilighter is what I used mainly on this record [Rival Sons' Hollow Bones], which I still don’t own, it was one Dave had so I’ll have to reach out to him and grab one. It’s a really, really great sounding amp. It’s very versatile. So that was my live off-the-floor amp and my friends at Supro sent a bunch of stuff out. I tried all of them and they’re all really good but the one that won for us was the Coronado 2x10. I did all the overdubbing with that amp, it was all we needed; the Twilight and Coronado. I know everybody thinks you need Marshalls and all these huge amps but it’s very difficult to record big amps in the studio and get them to sound big and right. The air, force and volume doesn’t translate through a microphone. It certainly doesn’t translate to Pro Tools, and doesn’t really translate to tape. We’ve just learned through history that these smaller amps really end up sounding much, much larger. And it works every time.”

“The Magnatone Twilighter is what I used mainly on this record [Rival Sons' Hollow Bones], which I still don’t own, it was one Dave had so I’ll have to reach out to him and grab one. It’s a really, really great sounding amp. It’s very versatile. So that was my live off-the-floor amp and my friends at Supro sent a bunch of stuff out. I tried all of them and they’re all really good but the one that won for us was the Coronado 2x10. I did all the overdubbing with that amp, it was all we needed; the Twilight and Coronado. I know everybody thinks you need Marshalls and all these huge amps but it’s very difficult to record big amps in the studio and get them to sound big and right. The air, force and volume doesn’t translate through a microphone. It certainly doesn’t translate to Pro Tools, and doesn’t really translate to tape. We’ve just learned through history that these smaller amps really end up sounding much, much larger. And it works every time.”

Used for vocals on Hollow Bones, as can be seen in "Hollow Bones (the making of) pt. 2" at 0:29.