Phil Elvrum

Phil has used his green Burns Double 6 frequently live since the transition from "The Microphones" to "Mount Eerie".

At 0:15 in the video you can see Phil’s pedals including his Death By Audio Fuzz War.

In the question asked by u/jooooakes they ask what are some of Phil's favourite compressors and bass distortion. Phil responds with this: "It's hard to beat a Rat pedal, but also I love using the mic input/headphone out on an old cassette deck for distortion. My only compressor is an ADR Comp/Ex"

In the question asked by u/jooooakes they ask what are some of Phil's favourite compressors and bass distortion. Phil responds with this: "It's hard to beat a Rat pedal, but also I love using the mic input/headphone out on an old cassette deck for distortion. My only compressor is an ADR Comp/Ex"

Based on this video, this is a 1940's Kay Archtop.

Phil can be seen in this photo using a Gibson SG.

Phil can be seen here holding a Fender Jaguar HH for an interview with Consequence of Sound.

At 0:15 in the video you can see Phil’s pedals including his Electro-Harmonix Cathedral Reverb.

The notes for the bandcamp release of 11 Old Songs by Mount Eerie contains this statement "This was a strange early half-joke version of these songs, recorded completely on a Casio SK1 keyboard. "

Phil Elvrum is seen using the TASCAM 388 Recording Console, likely for his demo tapes, at the 19:19 mark in the user-uploaded photo.

In this user-uploaded photo, Phil Elvrum is seen playing a Fender Stratocaster Electric Guitar.

Listed for sale on Reverb.com in 2018.

This is reportedly the first drum machine in history, made by Harry Chamberlin in Upland, California.

According to Wikipedia, approximately only ten (10) of these were ever made.

Please Google this machine for more researched specifics (I can't post links here), but basically, this is a very rare and special instrument that is a big part of the history of music. Early keyboard synthesizers grew directly from this technology, tape recordings being played and triggered by keys, Mellotron, etc.

This is a model 40

serial number 1299

14 tape loops with 3 tracks each featuring an actual audio recording of a drummer playing various styles. You move the tape head from loop to loop, and can slide it on the loop to blend tracks.

This machine still holds all 14 original tape loops and plays them perfectly.

Flaws: There is some cosmetic wear on the front panel. The tempo control knob is a little touchy but this is an easy fix and probably due to an aging rubber roller. The spring reverb seems to be out of service, probably also an easy fix. It’s the same type of basic spring reverb that comes in older guitar amps. Also, the speaker is not original. It has been replaced by a Fender speaker, many years ago. Other than that everything else still works well and the tape loops are intact.

MY PERSONAL STORY WITH IT:

In 1999 my great uncle Bill Lowman was dying and my family was gathered around at his house in Anacortes, Washington. He knew I was a musician so he wanted to pass on some of his instruments and amplifiers. His house was full of amazing an peculiar things and he was a total “character”, not enough space here to really get into it. I don’t think he knew that this Chamberlin was as rare or as historically significant as it is, and I don’t know how he came to possess it. He was an amateur musician (piano and violin), but mostly he was a commercial fisherman. At that time I was 21 years old and living in Olympia, Washington and recording music as “the Microphones” for the K label at their Dub Narcotic Studio. This Chamberlin Rhythmate came with me and became a part of the studio. For years we gave the machine the nickname “Karl Blau” (and it’s credited on Microphones albums that way, in quotes) because my real human friend Karl was supposed to be the drummer for a show, opening for Stereolab in Vancouver, but had to bail at the last minute, so we used the Chamberlin and called it Karl Blau. Pointless digression... this machine has been used on countless albums recorded at Dub Narcotic in Olympia (Microphones, Mirah, Mount Eerie, the Blow, etc.) and also at the Unknown in Anacortes from the early 2000s on. I even took it on tour with me once, a solo “Microphones” tour. While getting it adjusted at a guitar shop in Santa Cruz, the tech knew what it was, made some phone calls, and offered to buy it from me for “Neil Young’s studio”. Apparently he’d been looking for one. I said no thanks because I was in the middle of a tour and needed it. Maybe he wants it still?

SHIPPING:

Of course, local pickup in Anacortes, WA would be the safest, but if I am shipping it we’ll double box it securely and can include insurance and whatever other assurances the buyer would like.

15:14 we can see he has one

At the 15:24 mark of the YouTube video titled "The Microphones Live at some house in Bloomington, Indiana sometime in probably the year 2000," Phil Elvrum is seen using a Fender '68 Custom Princeton Reverb 12W 1x10 Tube Guitar Combo Amp.

Here we can see him using one.

Phil Elvrum shared a photo on Twitter featuring his collection of guitar pedals, including the Electro-Harmonix "Black Russian" Big Muff Pi V8, showcasing his use of this fuzz effects pedal.

In this image from Twitter posted by Phil Elverum, among a pile of petals, a Boss TU-3 Chromatic Tuner is seen. This pedal was one of three various pedals used during a set of 2022 tour dates.

In this photo Phil is seen with silvertone 604 acoustic guitar

Phil Elvrum is confirmed to use the EarthQuaker Devices Sunn O))) Life Pedal V3 Octave Distortion + Booster, as it appears in an image within the booklet accompanying Mount Eerie's "Night Palace" vinyl release.

Phil Elvrum is confirmed to use the Visual Sound Route 66 Overdrive Compressor pedal, as it appears in an image within the booklet accompanying Mount Eerie's "Night Palace" vinyl release.

In the header photo of the Deep Voices interview with Phil Elvrum, the Sunn Sceptre amplifier can be seen to his right, partially obscured behind his Burns Double-Six guitar and another Sunn-branded counterpart. The seven control knobs are obscured but visible enough to identify it as the Scepter model, as detailed by author Matthew Schnipper.

Throughout this performance, and specifically in a close-up at 29:52, Phil can be seen with a Behringer VD1.

in the background of this photo of Phil's home studio, you can see the EQ sliders that show that it is a GE-7