Dave Gregory

Now if you want to talk guitar, ask Dave Gregory. He was crushed that he couldn't take his entire guitar harem (over 20) with him for Oranges and Lemons, but he made do with his faves: a 1953 Gibson Les Paul gold-top; a Schecter Telecaster-style ("quite versatile"); a 1963 Stratocaster; a semi-hollow 1964 Epiphone Riviera with miniature humbuckers, heard on the "Pink Thing" solo ("It has a nice Beatley sound"); and one of the first 25 Rickenbacker 12-strings shipped to England in the wake of A Hard Day's Night. Gregory uses Ernie Ball strings "out of force of habit," but creates his own gauge set: .011-.013-.016-.024-.038-.050. He has a Roland JC-120 amp "for those rare occasions that I go out of the house," and a Japanese Fender Sidekick 30 amp for home practice. Effects include a MIDIverb and D1500. For keyboard dabbling he keeps a Roland JX3P with MSQ-100 sequencer, and "an old acoustic piano."

At the 0:03 mark in the video, you see him actually plugging the guitar in during the opening of the song. It cuts to the guitar throughout the song as well. In addition, there's the Chalkhills.org archived interview, "XTC: The Reluctent Gods of Smart Pop," from a Guitar Player magazine in 1992, which has this to say:

"For Nonsuch, Gregory played his trusty old gold-top as well as a '63 Epiphone Coronet Dwight, a '65, a '65 Fender Jaguar, a Vox Phantom and, on 'The Ballad Of Peter Pumpkinhead', a Gretsch Country Gentleman. On the 'That Wave' solo, he played a Stratocaster through a Roland JC-120 amp in admiration of Adrian Belew's tone on King Crimson's Beat."

Now if you want to talk guitar, ask Dave Gregory. He was crushed that he couldn't take his entire guitar harem (over 20) with him for Oranges and Lemons, but he made do with his faves: a 1953 Gibson Les Paul gold-top; a Schecter Telecaster-style ("quite versatile"); a 1963 Stratocaster; a semi-hollow 1964 Epiphone Riviera with miniature humbuckers, heard on the "Pink Thing" solo ("It has a nice Beatley sound"); and one of the first 25 Rickenbacker 12-strings shipped to England in the wake of A Hard Day's Night. Gregory uses Ernie Ball strings "out of force of habit," but creates his own gauge set: .011-.013-.016-.024-.038-.050. He has a Roland JC-120 amp "for those rare occasions that I go out of the house," and a Japanese Fender Sidekick 30 amp for home practice. Effects include a MIDIverb and D1500. For keyboard dabbling he keeps a Roland JX3P with MSQ-100 sequencer, and "an old acoustic piano."

Dave Gregory picked up a twelve string Rickenbacker for the recording of XTC's fifth album English Settlement, which had a profound effect on the band's evolving sound. Gregory is seen playing the instrument in the Senses Working Overtime video, as well as many live performances of that period.

Now if you want to talk guitar, ask Dave Gregory. He was crushed that he couldn't take his entire guitar harem (over 20) with him for Oranges and Lemons, but he made do with his faves: a 1953 Gibson Les Paul gold-top; a Schecter Telecaster-style ("quite versatile"); a 1963 Stratocaster; a semi-hollow 1964 Epiphone Riviera with miniature humbuckers, heard on the "Pink Thing" solo ("It has a nice Beatley sound"); and one of the first 25 Rickenbacker 12-strings shipped to England in the wake of A Hard Day's Night. Gregory uses Ernie Ball strings "out of force of habit," but creates his own gauge set: .011-.013-.016-.024-.038-.050. He has a Roland JC-120 amp "for those rare occasions that I go out of the house," and a Japanese Fender Sidekick 30 amp for home practice. Effects include a MIDIverb and D1500. For keyboard dabbling he keeps a Roland JX3P with MSQ-100 sequencer, and "an old acoustic piano."

Now if you want to talk guitar, ask Dave Gregory. He was crushed that he couldn't take his entire guitar harem (over 20) with him for Oranges and Lemons, but he made do with his faves: a 1953 Gibson Les Paul gold-top; a Schecter Telecaster-style ("quite versatile"); a 1963 Stratocaster; a semi-hollow 1964 Epiphone Riviera with miniature humbuckers, heard on the "Pink Thing" solo ("It has a nice Beatley sound"); and one of the first 25 Rickenbacker 12-strings shipped to England in the wake of A Hard Day's Night. Gregory uses Ernie Ball strings "out of force of habit," but creates his own gauge set: .011-.013-.016-.024-.038-.050. He has a Roland JC-120 amp "for those rare occasions that I go out of the house," and a Japanese Fender Sidekick 30 amp for home practice. Effects include a MIDIverb and D1500. For keyboard dabbling he keeps a Roland JX3P with MSQ-100 sequencer, and "an old acoustic piano."

Now if you want to talk guitar, ask Dave Gregory. He was crushed that he couldn't take his entire guitar harem (over 20) with him for Oranges and Lemons, but he made do with his faves: a 1953 Gibson Les Paul gold-top; a Schecter Telecaster-style ("quite versatile"); a 1963 Stratocaster; a semi-hollow 1964 Epiphone Riviera with miniature humbuckers, heard on the "Pink Thing" solo ("It has a nice Beatley sound"); and one of the first 25 Rickenbacker 12-strings shipped to England in the wake of A Hard Day's Night. Gregory uses Ernie Ball strings "out of force of habit," but creates his own gauge set: .011-.013-.016-.024-.038-.050. He has a Roland JC-120 amp "for those rare occasions that I go out of the house," and a Japanese Fender Sidekick 30 amp for home practice. Effects include a MIDIverb and D1500. For keyboard dabbling he keeps a Roland JX3P with MSQ-100 sequencer, and "an old acoustic piano."

Now if you want to talk guitar, ask Dave Gregory. He was crushed that he couldn't take his entire guitar harem (over 20) with him for Oranges and Lemons, but he made do with his faves: a 1953 Gibson Les Paul gold-top; a Schecter Telecaster-style ("quite versatile"); a 1963 Stratocaster; a semi-hollow 1964 Epiphone Riviera with miniature humbuckers, heard on the "Pink Thing" solo ("It has a nice Beatley sound"); and one of the first 25 Rickenbacker 12-strings shipped to England in the wake of A Hard Day's Night. Gregory uses Ernie Ball strings "out of force of habit," but creates his own gauge set: .011-.013-.016-.024-.038-.050. He has a Roland JC-120 amp "for those rare occasions that I go out of the house," and a Japanese Fender Sidekick 30 amp for home practice. Effects include a MIDIverb and D1500. For keyboard dabbling he keeps a Roland JX3P with MSQ-100 sequencer, and "an old acoustic piano."

Now if you want to talk guitar, ask Dave Gregory. He was crushed that he couldn't take his entire guitar harem (over 20) with him for Oranges and Lemons, but he made do with his faves: a 1953 Gibson Les Paul gold-top; a Schecter Telecaster-style ("quite versatile"); a 1963 Stratocaster; a semi-hollow 1964 Epiphone Riviera with miniature humbuckers, heard on the "Pink Thing" solo ("It has a nice Beatley sound"); and one of the first 25 Rickenbacker 12-strings shipped to England in the wake of A Hard Day's Night. Gregory uses Ernie Ball strings "out of force of habit," but creates his own gauge set: .011-.013-.016-.024-.038-.050. He has a Roland JC-120 amp "for those rare occasions that I go out of the house," and a Japanese Fender Sidekick 30 amp for home practice. Effects include a MIDIverb and D1500. For keyboard dabbling he keeps a Roland JX3P with MSQ-100 sequencer, and "an old acoustic piano."

Now if you want to talk guitar, ask Dave Gregory. He was crushed that he couldn't take his entire guitar harem (over 20) with him for Oranges and Lemons, but he made do with his faves: a 1953 Gibson Les Paul gold-top; a Schecter Telecaster-style ("quite versatile"); a 1963 Stratocaster; a semi-hollow 1964 Epiphone Riviera with miniature humbuckers, heard on the "Pink Thing" solo ("It has a nice Beatley sound"); and one of the first 25 Rickenbacker 12-strings shipped to England in the wake of A Hard Day's Night. Gregory uses Ernie Ball strings "out of force of habit," but creates his own gauge set: .011-.013-.016-.024-.038-.050. He has a Roland JC-120 amp "for those rare occasions that I go out of the house," and a Japanese Fender Sidekick 30 amp for home practice. Effects include a MIDIverb and D1500. For keyboard dabbling he keeps a Roland JX3P with MSQ-100 sequencer, and "an old acoustic piano."

Mentioned by Tin Spirits bandmate Daniel Steinhardt in this October 22, 2021 That Pedal Show episode at 23:32.

So, I remember when I first starting playing with Tin Spirits and Dave had this, Dave Gregory had this unbelievable solo sound and I'm like "What's going on there?" and he just, and it was his old DS-1. And it's like, going into the EF86 channel of his Matchless turned up. Just heavenly.

Dave is listed on Matchless Amp's Artists page for his use of the DC-30 Combo Amp

On the Big Muff, Dave says "I bought that new in 1974. but it still sounds like, you know, a real... "Satisfaction" [Maestro-type fuzz]" (01:13:32), and V2 Ram's Heads were Muff circuits being built at the time. He eventually got a Dallas Arbiter Rangemaster built into it.

Wanting to sound like Rory Gallagher, a 17-year old Dave Gregory purchased a Dallas Rangemaster for ten pounds. On the treble booster, Gregory says "As rubbish as I was, I sounded just like Rory... I couldn't play like him, but it didn't matter: I sounded like him." He later had it wired into his Ram's Head Big Muff (01:28:41).

"At the moment I'm just using a Carr Rambler amp, which is just a single channel with a switchable pentode-triode thing, but I use it on the pentode thing all the time. It's a big clean, beautiful tube-y, clean tube-y sound." (01:18:54)

"At the moment I'm just using a Carr Rambler amp, which is just a single channel with a switchable pentode-triode thing, but I use it on the pentode thing all the time. It's a big clean, beautiful tube-y, clean tube-y sound. But sometimes you need that little extra lift for the crunchy rock & roll, and that's [what I get] with that thing" Dave says, pointing to the Soul Food on his board

On his time in the band Axelhouse, Gregory says "We made our TV debut on Swindon Cable channel Viewpoint in May. Marshall 100-watt amp head added June 1974 – WAY too loud – I sold it 3 months later and replaced it with a 30-watt 1962 Fender Tremolux piggy-back amp, which I use today with my Fender 6-string bass. '61 Stratocaster traded for new stock Telecaster November 1974. "

"I've already mentioned the '62 Fender Tremolux (in my autobiography section); the cabinet now houses two heavy-duty Celestion 10" speakers to cope with the bass frequencies. I also have a 1963 Fender Super 2x10" combo, and a new-ish Fender Pro-Junior (which you can just see in the background of the inner "Upsy Daisy" photo), a gift from Lyle Workman and a great little amp."

"I've used a tiny Japanese Fender Sidekick Reverb 30 practice amp on any number of projects since 1986 (when I bought it), and is actually one of Andy Partridge's favourite recording amps! I've also a Roland JC-120 combo and a Korg A2 Digital Processor that is useful for recording at home. "

"I've a Boss Flanger , Chorus, Compressor, and a DS-1 Distortion unit but I seldom use them" Gregory wrote in 1999.

"Although I don't go in for pedals much, I recently bought (and fell in love with) a Danelectro Fab Tone Fuzz box, and I also like this little Guyatone VT-2 tremolo pedal that Andy P. gave me"

"Although I don't go in for pedals much, I recently bought (and fell in love with) a Danelectro Fab Tone Fuzz box, and I also like this little Guyatone VT-2 tremolo pedal that Andy P. gave me"

Dave Gregory used the SG Junior for the slide solo in the XTC song 'Blue Overall'.

Dave used a 1982 Tele-style Scheter guitar on several XTC recordings and other session work.

Dave used the Surfcaster on the XTC track 'Fruit Nut' along with several home recordings and studio sessions.

Dave used the Les Paul Junior during the sessions for Steve Hogarth's 'Ice Cream Genius' album in 1996.

Dave played a 1965 SG Standard during his first year with XTC in 1979, and has appeared on several recordings.

Dave plays an ES-355TD-SV on the recording of 'Leisure' by XTC.

Dave played this guitar during the sessions of Steve Hogarth's 'Ice Cream Genius' album in 1996.

Dave used 'The Fool' guitar (then owned by Todd Rundgren) for the solo of the XTC song 'That's Really Super, Supergirl'.