Roddy Frame

The pearl-encrusted D-45 joins a small stable of cool guitars - including the famous '80s trademark all-gold Gibson ES-295 - but this time around Frame found freedom by limiting his options to just three: the Martin, a late-'50s/early-'60s bamboo and copper-coloured Gretsch Country Club and a stock '54 Telecaster, the last two directed through a Vox AC30.

"I bought a couple of nice guitars," explains Roddy, "and I don't want to waste them! My right-hand style was always this terrible hotchpotch of plectrum and fingers, but now I've got the ultimate acoustic - a Martin D-45 - and I'm learning fingerpicking properly. I never realised Chet Atkins stuff was so complicated - but when you've got a great guitar, it makes you want to do it justice. I do a wicked version of Freight Train..."

The pearl-encrusted D-45 joins a small stable of cool guitars - including the famous '80s trademark all-gold Gibson ES-295 - but this time around Frame found freedom by limiting his options to just three: the Martin, a late-'50s/early-'60s bamboo and copper-coloured Gretsch Country Club and a stock '54 Telecaster, the last two directed through a Vox AC30.

Roddy communicates in chat that he uses Roland JC120 and also Fender Twin Reverb amps.

Corey: Roddy, greetings from No. California......what kind of guitars and amps did you use on the recording of HLHR......and what is your favorite Bob Dylan song?

RODDY: Masano acoustics, Gibson 175, Fender Twin, Roland jc 120, and I love "Every Grain Of Sand" by Dylan.

**Corey: * Roddy, greetings from No. California......what kind of guitars and amps did you use on the recording of HLHR......and what is your favorite Bob Dylan song?

*RODDY: * Masano acoustics, Gibson 175, Fender Twin, Roland jc 120, and I love "Every Grain Of Sand" by Dylan.

Aztec Camera's Slow Build from Musician, November 1990 by Scott Isler

On Stray's title cut he played an Ovation stereo six-string,

His Ovation Guitars are also mentioned here:

http://www.muzines.co.uk/articles/aztec-camera/6408

The pearl-encrusted D-45 joins a small stable of cool guitars - including the famous '80s trademark all-gold Gibson ES-295 - but this time around Frame found freedom by limiting his options to just three: the Martin, a late-'50s/early-'60s bamboo and copper-coloured Gretsch Country Club and a stock '54 Telecaster, the last two directed through a Vox AC30.

Aztec Camera's Slow Build from Musician, November 1990 by Scott Isler

On Stray's title cut he played an Ovation stereo six-string, on the ballad "Over My Head" his red Gibson 355 - the very same one, trivia fans, Rick Derringer apparently used on the McCoys' "Hang on Sloopy." For amplification Frame boasts that he has "the loudest Marshall 100-watt head that has ever been invented."

The pearl-encrusted D-45 joins a small stable of cool guitars - including the famous '80s trademark all-gold Gibson ES-295 - but this time around Frame found freedom by limiting his options to just three: the Martin, a late-'50s/early-'60s bamboo and copper-coloured Gretsch Country Club and a stock '54 Telecaster, the last two directed through a Vox AC30.

In the video "Aztec Camera - Walk Out to Winter (Switch)" on YouTube, Roddy Frame is seen using a Roland JC-120 Jazz Chorus amplifier as part of his live setup early in his career.

Aztec Camera's Slow Build from Musician, November 1990 by Scott Isler

At home he has a Yamaha DX7 and Akai S-900;

Aztec Camera's Slow Build from Musician, November 1990 by Scott Isler

At home he has a Yamaha DX7 and Akai S-900

Aztec Camera's Slow Build from Musician, November 1990 by Scott Isler

Home recording equipment includes a Tascam 388 eight-track and a pair of Yamaha NS-10 speakers

Aztec Camera's Slow Build from Musician, November 1990 by Scott Isler

Home recording equipment includes a Tascam 388 eight-track and a pair of Yamaha NS-10 speakers.

Aztec Camera's Slow Build from Musician, November 1990 by Scott Isler

Framework

Roddy Frame tries to have it both ways: Most of the time he uses a 1959 cream- colored Stratocaster. Since his favorite guitar shape is a Telecaster, though, he also has a modified Schecter Tele with three Seymour Duncan Strat pickups for an out-of-phase sound "but it's not quite the same."

Aztec Camera's Slow Build from Musician, November 1990 by Scott Isler

Since his favorite guitar shape is a Telecaster, though, he also has a modified Schecter Tele with three Seymour Duncan Strat pickups for an out-of-phase sound "but it's not quite the same."

Aztec Camera's Slow Build from Musician, November 1990 by Scott Isler

At home he has a Yamaha DX7 and Akai S-900; on this tour he has access to a D-550 module and Korg piano, all of which he plays badly. He's also been singing ideas into a Sony microcassette recorder.

ONE TWO: Do you prefer semis for your electric sounds?

FRAME: Yeah, I always play them, I really like them — although I do have an old Gibson Melody Maker. I had a Gibson 175 before the Scotty Moore, but I smashed it up when we were in Europe. There were lots of hippies at the gig.

Aztec Camera's Slow Build from Musician, November 1990 by Scott Isler

In recording Stray he used it with a Power Soak; "I couldn't hear the track if I was doing an overdub." Onstage he uses a reissue Vox AC30 and, "for the heavier stuff," a MESA/Boogie combo. He thinks he's probably using Ernie Ball strings on this year's tour; Frame isn't a string fetishist, though he breaks more than his share.

"The guitar roadie tells me I've been using .010s. They don't bend as well as the light ones but they're harder to break."

Aztec Camera's Slow Build from Musician, November 1990 by Scott Isler

In recording Stray he used it with a Power Soak; "I couldn't hear the track if I was doing an overdub."

AZTEC CAMERA UK pop group with Roddy Frame about 1985. Photo Stephen Woodd - Image ID: BX61XW

Photo shows Roddy using a Gibson Chet Atkins CE Classical electric

Roddy Frame tries to have it both ways: Most of the time he uses a 1959 cream- colored Stratocaster. Since his favorite guitar shape is a Telecaster, though, he also has a modified Schecter Tele with three Seymour Duncan Strat pickups for an out-of-phase sound "but it's not quite the same."

On Stray's title cut he played an Ovation stereo six-string, on the ballad "Over My Head" his red Gibson 355 - the very same one, trivia fans, Rick Derringer apparently used on the McCoys' "Hang on Sloopy." For amplification Frame boasts that he has "the loudest Marshall 100-watt head that has ever been invented."

In recording Stray he used it with a Power Soak; "I couldn't hear the track if I was doing an overdub." Onstage he uses a reissue Vox AC30 and, "for the heavier stuff," a MESA/Boogie combo. He thinks he's probably using Ernie Ball strings on this year's tour; Frame isn't a string fetishist, though he breaks more than his share.

"The guitar roadie tells me I've been using .010s. They don't bend as well as the light ones but they're harder to break."

He's not too big on effects either, confining himself to Boss distortion, Super-Feedback and compression.

For his acoustic- guitar sets Frame uses a small Takamine; "it still feels like I'm carrying a bathtub around with me", but he loves the sound. For recording, his acoustic is a Masano, a Japanese martin copy. At home he has a Yamaha DX7 and Akai S-900; on this tour he has access to a D-550 module and Korg piano, all of which he plays badly. He's also been singing ideas into a Sony microcassette recorder.

Home recording equipment includes a Tascam 388 eight-track and a pair of Yamaha NS-10 speakers. The latter haven't been the same since Frame's nephews poked them in. "I actually pulled them out with a vacuum cleaner attachment. But they're a little rough."