Elliott Randall

This one really blew my mind. I am a huge fan of Albert’s. His personal model sports 3 Seymour Duncan Strat-type pickups. This one, with 2 DiMarzio humbuckers has quite a different set of sound properties. And the all-rosewood neck is heavenly!

I’ve been playing with an ensemble in which the two other guitarists are using axes that also sport humbuckers. This can prove problematic, with all those very similar sounding pickups, the overall sound can become a bit muddy at times. This guitar solves the problem beautifully. The designers have, in their wisdom, designed a circuit which, with the help of a 5 position switch, gives the user the choices of one coil from each pickup (two separate configurations), which does a most amazing job of “clarifying” the tones of this wonderful instrument.

My first couple of encounters with the TubeMeister series were at music conventions, and those are not really the place to get intimate with any piece of equipment. Next, I was in the studio with my great pickin’ buddy Mick Abrahams (recording his album), and the sounds that his guitar were emitting were simply heavenly. He grinned and pointed to his TubeMeister head, plugged directly (via Redbook) into the console. I decided at that very moment that I had to have one. I got one. I’ve never looked back. Both in the studio and live, it’s an absolute killer, with myriad tonal possibilities. It rocks. And it purrs.

I’d seen it advertised and reviewed in several guitar publications and websites, and reading the various critiques of the unit got my curiosity going. Thanks to my friends at t.c., the newcomer was at my doorstep in a matter of a few days. Chock full of flashing lights, an illuminated screen display, and more sound choices that most of the ’60s and ’70s records put together! It comes with 30 factory pre-sets, and has capacity for 60 more user-defined ones. But “first things first”. How does it sound? I gave it its initial trial last June at Ronnie Scott’s Jazz Club in London. I was a guest of The Ben Waters’ Boogie Woogie band – and in this instance, subtleties can be most important – and were! Bottom line, it sounded great. I had programmed up a couple of pre-set banks a few days earlier – one pretty much emulating what my old Korg board did, and a few other more …adventurous ones. So far, we are most impressed. Recently I’ve been using it in the studio. I thought I’d try plugging it in D.I. with the unit’s “Redbook” speaker emulation. Winner. Those flashing buttons and illuminated do-dads all serve practical purposes. There are memory locations within memory locations! The device is totally midi-compatible, so if you utilise midi in your show, whether at small venues, or in huge arenas, total control of your NOVA can be run via a master midi controller. Yeah, geeky. I’m still discovering a lot about the NOVA, and will of course keep you updated, but I can tell you “it’s a keeper”. There’s much more in-depth info about The Nova System on t.c.’s website here.

Featured in this article by Advanced Audio.

Steely Dan guitarist Elliott Randall used it on vox and both acoustic and electric guitars. Elliott and Wes even made a "how to mic electric cab" video, starring, you guessed it, our CM67se!

Listed on Randall's official JHS artist page.

Listed on Randall's official JHS artist page.

The final compliment on the gear front is the SONUUS WAHOO. It’s their extraordinary wah pedal that is truly 21st Century, in every respect but the great retro sounds it produces. It’s all analog audio components, but controlled by a digital “front end”. Not only will it give you all those classic wah sounds, but an on-board envelope follower and specialised filters for frequency pinpointing bring new dimensions to those who like to take it to the limit. The geeky nature of the designers also brings you a computer interface (USB) where you can chart out the freqs you want (or don’t want) on screen, and drag the curves any which way. Coolness; I’m lovin’ t!

Used for the solo on Steely Dan’s “Reelin’ in the Years”, as stated in the following sources:

Guitar World, Guitar World Presents the 100 Greatest Guitarists of All Time!: From the Pages of Guitar World Magazine (2002) edited by Jeff Kitts & Brad Tolinski, pgs. 154-155 (posted online as “100 Greatest Guitar Solos: No. 40 "Reelin' in the Years" (Elliott Randall)” on October 28, 2008)

“They were having trouble finding the right ‘flavor’ solo for ‘Reelin,’ and asked me to give it a go,” recalls Randall. “Most of the song was already complete, so I had the good fortune of having a very clear picture of what the solo was laying on top of. They played it for me without much dialogue about what I should play. It just wasn’t necessary because we did it in one take and nothing was written. Jeff Baxter played the harmony parts, but my entire lead—intro/answers/solo/end solo—was one continuous take played through a very simple setup: my old Strat, the same one I’ve been using since 1965, plugged directly into an Ampeg SVT amp, and miked with a single AKG 414. The whole solo just came to me, and I feel very fortunate to have been given the opportunity to play it.”

The Guitar Player Book: 40 Years of Interviews, Gear, and Lessons from the World's Most Celebrated Guitar Magazine (2007) edited by Michael Molenda, pg. 194 (excerpted from an interview with Darrin Fox)

"I used my 1963 Fender Stratocaster set on the front—which was a 1960s PAF humbucker,” says Randall. “I didn’t use any pedals at all, I just turned the volume on my Ampeg SVT all the way up. That was the sound and it was very, very loud. There was only one mic used—an AKG C414—and we recorded the whole performance in once take. The moment was just so right. Now and again, you just hook into the musical cosmos.”

Guitar Player, July 2007 (excerpted on Telecaster Discussion Page Reissue by Eric W

That was my '63 Fender Stratocaster with a PAF humbucker in the neck position, straight into an Ampeg SVT bass amp. The SVT wouldn't have been my first choice for an amp—or even my fifth choice—but it worked a storm on that recording!

Guitarist, June 2012, “40 years of Rocking on Reelin’” by Jamie Dickson

“When I moved to LA, the timing was really quite appropriate for Steely Dan’s first recording,” Elliott recalls. “So I was asked to come in. Apparently, Reelin’ in the Years was proving to be a problem for them because – as good as Jeff and Denny were – whatever they were doing wasn’t making Donald and Walter feel as though they had the appropriate guitar intro, solos and outro. So they called me in and asked if I would be interested in playing on it.”

Fresh to the session, Elliott cut what is arguably his most famous solo in a matter of minutes.

“They played the song for me once – the changes are not very complex. Then we took two passes. The first pass, which some of us to this day say was better, wasn’t recorded. It was a run-through and we all went, Whoah! Then we looked at the assistant engineer who had turned ghostly white, and he said, ‘Oh, sorry, I didn’t press the button’. So my second pass was what you hear on the record – it was completely unedited. It was just from top-to-bottom all the way through. And it worked – we all just laughed afterwards.”

Although the wiry, cascading licks of Elliott’s solo on Reelin’ In The Years are firmly within the domain of rock ‘n’ roll, a jazz sensibility lay at the core of his playing.

“What I find in retrospect is that – especially in the introductory measures of the solo – I was playing the equivalent of what a jazz saxophonist would play to a standard tune in that I was quoting the melody,” Elliott says. “It’s what Donald was singing but with my own twist added.”

It’s also testament to Elliott’s can-do attitude that he was able to record the guitar for Reelin’ using an amp most guitarists would find about as useful as a chocolate fireguard.

“It’s actually a beautiful lesson in what working in a studio’s all about,” he says. “The only amplifier in the entire premises was an Ampeg SVT bass amp, which would have been the last thing I ever thought of to use. It had 400 bloody watts and eight speakers!”

“Roger Nichols [sound engineer], looked at me and we were like “Mmm-hmm…” But we just shrugged our shoulders as pros would, and he said, Right, okay, start playing; I’ll keep my ears covered and find the sweet spot. And he did. The sound was basically the guitar, a cable, the amplifier, and one AKG-414 microphone placed where Roger thought it sounded the best. And hence the sound. But we had to really crank it up to 11.”

Although the Ampeg was less than ideal, the tone Elliott achieved with it is not a million miles away from that which he achieved on later Steely Dan records. What does he think are the real foundations of his sound?

“A piece of the tone I got has to be attributed to the Gibson humbucking pickup,” he says, referring to the retro-fitted neck pickup on his ’63 Stratocaster. “The reason I wound up with that pickup is that in 1969 I played the Whisky A Go Go opposite a Canadian group led by a fellow called Domenic Troiano; I’m not sure that many people know who he is but he was an absolutely beautiful player [Dominic, who died in 2005, played with The Guess Who and other bands – Ed].

“He had a Tele with two humbuckers in it,” Elliott continues. “I just went nuts over the guitar, and he and I became instant friends. I said, Where can I get a mod like that? And he said, Come with me. He took me to the Barney Kessel guitar shop in Los Angeles and we had them route out my Strat, put a humbucker in and I’ve never looked back. I’ve just been so pleased with it. It’s a beautiful sound.”

Guitarist, Issue #404 (March 2016), “On Amplifiers Part 2” by Elliott Randall

I suppose the most talked about event in my personal recording history was my solo on Reelin’ In The Years. Upon arrival at Village Recorders in Santa Monica, I discovered, much to my chagrin, that the only amp available that evening was Dennis Weinrich’s Ampeg SVT – a grossly-overpowered beast. I’ve been quoted as saying “not my first choice; not even my tenth choice”. This did not deter us. Roger Nichols and I just looked at each other, chuckled, and simply made it work!

thefretboard.co.uk, “Elliott Randall - Reelin in the years + Steely Dan by guitarsforyou (August 5, 2018) (Testimony about the August 4, 2018 “Elliott Randall” episode of Sounds of the 70s with Johnnie Walker

Happen to be in the car yesterday 4pm ish - Johnny Walker show - And he had Elliott Randall with him for a chat/interview etc

Started talking about the Reelin in the years and the recording of it - Apparently no amps in the studio, so they borrowed one from next door and the only one available was an Ampeg SVT bass rig with the 8x10 cab - so that is what they used, turned up to get some gain - 300 watt amp turned up !!!!! - along with his humbucker equipped Strat

Then later talked about his favourite amps and today it is a Marshall Valve state 80 combo

According to the following sources, Randall’s “number one” guitar since 1965 is a 1963 Fender Stratocaster with a humbucker in the neck and a Zexcoil Strat pickup in the middle (previously a DiMarzio stacked humbucker and another single coil). It was notably used for the solo on Steely Dan’s “Reelin’ in the Years”.

The Mix Vol. 4, No. 6 (May 1980), “New York Session Kings” by Bobby Bank, pg. 38

What about the guitars that you use?

For the acoustic guitar I use a Fylde and for electric, the same Fender Stratocaster since 1965.

Guitar World, Guitar World Presents the 100 Greatest Guitarists of All Time!: From the Pages of Guitar World Magazine (2002) edited by Jeff Kitts & Brad Tolinski, pgs. 154-155 (posted online as “100 Greatest Guitar Solos: No. 40 "Reelin' in the Years" (Elliott Randall)” on October 28, 2008)

“They were having trouble finding the right ‘flavor’ solo for ‘Reelin,’ and asked me to give it a go,” recalls Randall. “Most of the song was already complete, so I had the good fortune of having a very clear picture of what the solo was laying on top of. They played it for me without much dialogue about what I should play. It just wasn’t necessary because we did it in one take and nothing was written. Jeff Baxter played the harmony parts, but my entire lead—intro/answers/solo/end solo—was one continuous take played through a very simple setup: my old Strat, the same one I’ve been using since 1965, plugged directly into an Ampeg SVT amp, and miked with a single AKG 414. The whole solo just came to me, and I feel very fortunate to have been given the opportunity to play it.”

The Guitar Player Book: 40 Years of Interviews, Gear, and Lessons from the World's Most Celebrated Guitar Magazine (2007) edited by Michael Molenda, pg. 194 (excerpted from an interview with Darrin Fox)

"I used my 1963 Fender Stratocaster set on the front—which was a 1960s PAF humbucker,” says Randall. “I didn’t use any pedals at all, I just turned the volume on my Ampeg SVT all the way up. That was the sound and it was very, very loud. There was only one mic used—an AKG C414—and we recorded the whole performance in once take. The moment was just so right. Now and again, you just hook into the musical cosmos.”

Guitar Player, July 2007 (excerpted on Telecaster Discussion Page Reissue by Eric W)

That was my '63 Fender Stratocaster with a PAF humbucker in the neck position, straight into an Ampeg SVT bass amp. The SVT wouldn't have been my first choice for an amp—or even my fifth choice—but it worked a storm on that recording!

Guitarist, June 2012, “40 years of Rocking on Reelin’” by Jamie Dickson

“A piece of the tone I got has to be attributed to the Gibson humbucking pickup,” he says, referring to the retro-fitted neck pickup on his ’63 Stratocaster. “The reason I wound up with that pickup is that in 1969 I played the Whisky A Go Go opposite a Canadian group led by a fellow called Domenic Troiano; I’m not sure that many people know who he is but he was an absolutely beautiful player [Dominic, who died in 2005, played with The Guess Who and other bands – Ed].

“He had a Tele with two humbuckers in it,” Elliott continues. “I just went nuts over the guitar, and he and I became instant friends. I said, Where can I get a mod like that? And he said, Come with me. He took me to the Barney Kessel guitar shop in Los Angeles and we had them route out my Strat, put a humbucker in and I’ve never looked back. I’ve just been so pleased with it. It’s a beautiful sound.”

The Gear Page, September 6, 2019 reply by JoePerkinsMusic

Met Elliott once - very nice chap - and he was playing his old Strat, think it has a humbucker in the neck if memory serves. I can't remember exactly how he was playing RITY, but to me a Strat middle pickup into a small Tweed amp has always sounded closest....has that woody, boxy, quacky sound.

YouTube, Produce Like a Pro, “Iconic Session Guitarist: Elliott Randall Interview (Steely Dan, John Lennon, Peter Frampton)” (July 26, 2021) (@ 26:38)

Elliott Randall: It was my number one Fender Strat, which by that time I had already put the humbucking pickup in the front. Gibson humbucker.

Warren Huart: Do you still have it?

[fadecut to Randall holding the Strat]

Huart: Wow!

Randall: Still number one. Still number one.

Huart: So, so what pickup is that, what— is that a Gibson humbucker?

Randall: Okay, so, this is an old— This was put in in 1969 by the Barney Kessel guitar shop in L.A.

Huart: Wow.

Randall: So, I thought it was a PAF, but I did my research and it was slightly that, so they had the patent already. This [points to the middle pickup] is a Zexcoil. [fadecut] The guy who invents these things is a gentleman called Scott Lawing. He’s got something very, very happening. He just makes these beauty-ful, beautiful pickups. Before that pickup I had a DiMarzio stacked humbucker, which was interesting ‘cause it was… It didn’t have a lot of personality. It was sort of perfect for those parts that wanted the guitar not to have a lot of personality. So it was actually quite utilitarian.

In a Korg ad that appeared at the beginning of both the May 1986 and June 1986 issues of Musician, Randall is quoted saying “I’m not a skilled keyboard player, so an effective sequencer that lets me edit is an integral part of my setup. Korg’s MIDI stuff makes my work a lot easier. The SQD-1 is a beeeze to work with. All the functions are right there in front of you.”

Featured in this June 11, 2021 Facebook post.

Look what arrived this morning! Sounds and plays as sweet as it looks. Go Vintage !!

Visible in this June 11, 2021 Facebook post.

Visible in this June 11, 2021 Facebook post.