Saraya – Fire

“Ok, Saraya days (live) I was using the classic ADA MP-1 setup with two Bedrock 4x12 slant cabs/30 Watt Greenbacks in both. Main axe was that Lake Placid Blue ESP strat with a Seymor Duncan in the bridge and a Kramer Sustainer, flip-flop purple/blue. FX were a straight up Lexicon MPX-1 through the FX loop.

When we did the first record, I tracked with that rig (at Bearsville Studios in NY). But we did all the overdubs at Studio-1 in Austin, Texas and Jeff Glicksman, who was producing, brought in this Mashall Plexi that just leveled me. Used it on everything except ‘St. Christophers Medal.’ That track was recorded near 2:00 a.m. and we were drunk, tired and who knows what else, so when the solo came up during basics, instead of staying with the rhythm part, I just went for it. The next day, even though I wasn’t nuts about the tone, I LOVED the solo, so it stayed.

When we did Blackbird (and thank you for the praise... I still love that record), I needed to raise the bar a bit in terms of layers and tone. So I bought a late ‘70s Les Paul Jr. and started getting used to the way it changed my playing. I ended up writing the entire record on that guitar. I did all the demos on my home studio (Korg M1 and Tascam 8-track) and Sandi wrote most of the lyrics in the studio. Funny thing is, we recorded that record just outside of New Orleans and the studio had great vintage gear. So I ended up using a Tele on a LOT of those songs, the Jr., and a Fender Twin, my ADA, and a Roland Jazz Chorus all running together and coming up on six faders.

Danger Danger was another situation like that. The studio had this old Laney Pro-Tube Lead that sounded dope so I used it on the entire record, with my Lexicon MPX-1 and the Blue ESP.”

From https://musicplayers.com/

“Ok, Saraya days (live) I was using the classic ADA MP-1 setup with two Bedrock 4x12 slant cabs/30 Watt Greenbacks in both. Main axe was that Lake Placid Blue ESP strat with a Seymor Duncan in the bridge and a Kramer Sustainer, flip-flop purple/blue. FX were a straight up Lexicon MPX-1 through the FX loop.

When we did the first record, I tracked with that rig (at Bearsville Studios in NY). But we did all the overdubs at Studio-1 in Austin, Texas and Jeff Glicksman, who was producing, brought in this Mashall Plexi that just leveled me. Used it on everything except ‘St. Christophers Medal.’ That track was recorded near 2:00 a.m. and we were drunk, tired and who knows what else, so when the solo came up during basics, instead of staying with the rhythm part, I just went for it. The next day, even though I wasn’t nuts about the tone, I LOVED the solo, so it stayed.

When we did Blackbird (and thank you for the praise... I still love that record), I needed to raise the bar a bit in terms of layers and tone. So I bought a late ‘70s Les Paul Jr. and started getting used to the way it changed my playing. I ended up writing the entire record on that guitar. I did all the demos on my home studio (Korg M1 and Tascam 8-track) and Sandi wrote most of the lyrics in the studio. Funny thing is, we recorded that record just outside of New Orleans and the studio had great vintage gear. So I ended up using a Tele on a LOT of those songs, the Jr., and a Fender Twin, my ADA, and a Roland Jazz Chorus all running together and coming up on six faders.

Danger Danger was another situation like that. The studio had this old Laney Pro-Tube Lead that sounded dope so I used it on the entire record, with my Lexicon MPX-1 and the Blue ESP.”

From https://musicplayers.com/

“Ok, Saraya days (live) I was using the classic ADA MP-1 setup with two Bedrock 4x12 slant cabs/30 Watt Greenbacks in both. Main axe was that Lake Placid Blue ESP strat with a Seymor Duncan in the bridge and a Kramer Sustainer, flip-flop purple/blue. FX were a straight up Lexicon MPX-1 through the FX loop.

When we did the first record, I tracked with that rig (at Bearsville Studios in NY). But we did all the overdubs at Studio-1 in Austin, Texas and Jeff Glicksman, who was producing, brought in this Mashall Plexi that just leveled me. Used it on everything except ‘St. Christophers Medal.’ That track was recorded near 2:00 a.m. and we were drunk, tired and who knows what else, so when the solo came up during basics, instead of staying with the rhythm part, I just went for it. The next day, even though I wasn’t nuts about the tone, I LOVED the solo, so it stayed.

When we did Blackbird (and thank you for the praise... I still love that record), I needed to raise the bar a bit in terms of layers and tone. So I bought a late ‘70s Les Paul Jr. and started getting used to the way it changed my playing. I ended up writing the entire record on that guitar. I did all the demos on my home studio (Korg M1 and Tascam 8-track) and Sandi wrote most of the lyrics in the studio. Funny thing is, we recorded that record just outside of New Orleans and the studio had great vintage gear. So I ended up using a Tele on a LOT of those songs, the Jr., and a Fender Twin, my ADA, and a Roland Jazz Chorus all running together and coming up on six faders.

Danger Danger was another situation like that. The studio had this old Laney Pro-Tube Lead that sounded dope so I used it on the entire record, with my Lexicon MPX-1 and the Blue ESP.”

An added comment from Rey mentioned that his acoustic guitar parts were done on a Gibson J-200 acoustic, which he still owns today.

From https://musicplayers.com/

“Ok, Saraya days (live) I was using the classic ADA MP-1 setup with two Bedrock 4x12 slant cabs/30 Watt Greenbacks in both. Main axe was that Lake Placid Blue ESP strat with a Seymor Duncan in the bridge and a Kramer Sustainer, flip-flop purple/blue. FX were a straight up Lexicon MPX-1 through the FX loop.

When we did the first record, I tracked with that rig (at Bearsville Studios in NY). But we did all the overdubs at Studio-1 in Austin, Texas and Jeff Glicksman, who was producing, brought in this Mashall Plexi that just leveled me. Used it on everything except ‘St. Christophers Medal.’ That track was recorded near 2:00 a.m. and we were drunk, tired and who knows what else, so when the solo came up during basics, instead of staying with the rhythm part, I just went for it. The next day, even though I wasn’t nuts about the tone, I LOVED the solo, so it stayed.

When we did Blackbird (and thank you for the praise... I still love that record), I needed to raise the bar a bit in terms of layers and tone. So I bought a late ‘70s Les Paul Jr. and started getting used to the way it changed my playing. I ended up writing the entire record on that guitar. I did all the demos on my home studio (Korg M1 and Tascam 8-track) and Sandi wrote most of the lyrics in the studio. Funny thing is, we recorded that record just outside of New Orleans and the studio had great vintage gear. So I ended up using a Tele on a LOT of those songs, the Jr., and a Fender Twin, my ADA, and a Roland Jazz Chorus all running together and coming up on six faders.

Danger Danger was another situation like that. The studio had this old Laney Pro-Tube Lead that sounded dope so I used it on the entire record, with my Lexicon MPX-1 and the Blue ESP.”

An added comment from Rey mentioned that his acoustic guitar parts were done on a Gibson J-200 acoustic, which he still owns today.

From https://musicplayers.com/