Stephan McBean

"We had a couple of Hiwatts and either a ’69 or a ’71 plexi Super Lead in the studio. There were a couple of little Fender Champs, which are great for putting up to 10 even though they’re only 5 watts—put a mic in front of them, and they sound huge."

"I also have a really weird, broken-down ’70s Fender Twin that’s got a whole bunch of ghosts in it—like, all these weird pops and crackles, and the reverb has a really good spaghetti western, Ennio Morricone vibe."

No. We recorded the record ourselves, so it left us a lot of time to experiment with tones. Once we recorded the bed track, when I was doing the guitars, I set up a whole lot of amps in a room. I had my ’73 Marshall Super Bass, a HiWatt Half Stack DR104 and a Fender Super Reverb from the early 70s. I also had a Supro Thunderbolt from, I think, 1966 and a bunch of other little amps: Silvertones, Fender Champs and stuff.

"We had a couple of Hiwatts and either a ’69 or a ’71 plexi Super Lead in the studio. There were a couple of little Fender Champs, which are great for putting up to 10 even though they’re only 5 watts—put a mic in front of them, and they sound huge."

No. We recorded the record ourselves, so it left us a lot of time to experiment with tones. Once we recorded the bed track, when I was doing the guitars, I set up a whole lot of amps in a room. I had my ’73 Marshall Super Bass, a HiWatt Half Stack DR104 and a Fender Super Reverb from the early 70s. I also had a Supro Thunderbolt from, I think, 1966 and a bunch of other little amps: Silvertones, Fender Champs and stuff.

No. We recorded the record ourselves, so it left us a lot of time to experiment with tones. Once we recorded the bed track, when I was doing the guitars, I set up a whole lot of amps in a room. I had my ’73 Marshall Super Bass, a HiWatt Half Stack DR104 and a Fender Super Reverb from the early 70s. I also had a Supro Thunderbolt from, I think, 1966 and a bunch of other little amps: Silvertones, Fender Champs and stuff.