Grant Geissman

"I used my ’68 Gibson L-5 and a script-logo MXR Phase 90. We went direct through the board. It’s a very clean sound. Engineer Mick Guzauski had a lot to do with the way that record sounded. It was pristine. He knew how to EQ things just right."

“It’s just killer,” Geissman says of this recently-acquired ’66 Gibson SG. “It sings even when it’s not plugged in and has an amazing tone. We use it constantly on ‘Mike & Molly.‘ I always wanted one because George Harrison played one, briefly.”

"This ’69 335 was added to Geissman’s collection because he liked its unusual finish."

"Geissman bought this ’68 Gibson ES-335 a few years ago because, “I thought it and my L-5 were meant to be together. Keb’ Mo’ played this on our new version of the ‘Mike & Molly‘ theme.”"

"Though a Gibson guy since his start, Geissman acquired this ’66 Strat in high school, “But, I didn’t know what to do with a Fender,” he said. In the early ’70s, he sold it, then in 2014 found it for sale online. “I noticed the Chiquita sticker on the bridge cover – put there by my stepbrother to cover his initials, and thought, ‘That’s gotta be the same guitar.’ It was, so I got it back.” "

"This ’63 Duo Sonic was the first electric guitar ever played by Geissman. “I’ve always loved it. It’s got a tight, funky, really cool sound.”"

"Geissman used this then-brand-new ’79 Les Paul Custom to record “Piña Colada” on Chuck Mangione’s Fun And Games album. “It has push/push pots to split the coils installed by Valley Arts,” he said. “I love the color. It’s a sit-down guitar.”

“In 1966, The Beatles started playing Epiphone Casinos, and Meyer Bros. Music had one,” he said “I thought, ‘If it’s good enough for them, it’s good enough for me.’ I played it for a few years, then traded it to get the L-5, but later got it back from the same store.”

"Bought for its coolness factor, this ’64 Rickenbacker was made for export to England via distributor Rose Morris. “Apart from the sound holes, this is the model John Lennon used,” noted Geissman. “If you want to sound like John Lennon, this is how to do it.”

“This has been in my family since it was new,” Geissman said of this ’65 Stella. “My grandfather played banjo, so, when I started learning guitar, he went to Sears and bought it so we could play together at his house. I’ve used it on a bunch of stuff.” It was also the inspiration for his song, “$25 Stella.”

"I’m using a Yamaha G100. It’s a 1×12 and it’s super loud and very clean, which I need when I play jazz. I also use an old Boss OD-1 that’s very smooth-sounding. I recently got a Zendrive, which is very cool, and a J. Rocket Blue Note."

"When we did the tracks, I used a Music Man HD120 amp. I also had a Sho-Bud volume pedal. I used a Mu-Tron III on “The XIth Commandment.” Some of the tracks had no effects – probably the L-5 straight into the board or through the amp. Mick would sometimes add cool delays."

"I’m using a Yamaha G100. It’s a 1×12 and it’s super loud and very clean, which I need when I play jazz. I also use an old Boss OD-1 that’s very smooth-sounding. I recently got a Zendrive, which is very cool, and a J. Rocket Blue Note."

"I’m using a Yamaha G100. It’s a 1×12 and it’s super loud and very clean, which I need when I play jazz. I also use an old Boss OD-1 that’s very smooth-sounding. I recently got a Zendrive, which is very cool, and a J. Rocket Blue Note."

"I’m using a Yamaha G100. It’s a 1×12 and it’s super loud and very clean, which I need when I play jazz. I also use an old Boss OD-1 that’s very smooth-sounding. I recently got a Zendrive, which is very cool, and a J. Rocket Blue Note."

"I used my ’68 Gibson L-5 and a script-logo MXR Phase 90. We went direct through the board. It’s a very clean sound. Engineer Mick Guzauski had a lot to do with the way that record sounded. It was pristine. He knew how to EQ things just right."

"When we did the tracks, I used a Music Man HD120 amp. I also had a Sho-Bud volume pedal. I used a Mu-Tron III on “The XIth Commandment.” Some of the tracks had no effects – probably the L-5 straight into the board or through the amp. Mick would sometimes add cool delays."

"When we did the tracks, I used a Music Man HD120 amp. I also had a Sho-Bud volume pedal. I used a Mu-Tron III on “The XIth Commandment.” Some of the tracks had no effects – probably the L-5 straight into the board or through the amp. Mick would sometimes add cool delays."