Vintage Guitar - March 2018 - open - 94

I'm a pedal junkie, and I'm jealous of people who do not use
pedals (laughs). Even in what someone considers the worst pedal,
there's something good. It goes back to what's going to make a
song different, and the proper effect to bring that out. Part of it is
having that library of new and old records in my head, the sounds
on them, and being able to pull that up and relate those sounds to
a new song. It's all about frequencies, too. If there's a part that's
up high, I think "What's going to put a nice bed underneath it?"
"Dandy," off Ian's new record, is an example of that. Everyone
had great parts when we went to record and I was thinking, "I
don't need to do much here." But then it hit me that there could
be this weird little high thing going on. Most people
think it's a Theremin or keyboard, but it's me on
guitar with a Electro-Harmonix POG.
As soon as Ian heard it, he
(TOP) Mastro's amp collection includes two favorites - a '68 Princeton Reverb
(top left) and '67 Ampeg Reverberocket (center). Here are his ever-changing
pedalboard (above) for live work and '65 Gibson Firebird III - a rare example
with reverse body and non-reverse headstock.

said, "It's perfect." It's subtle, but if it makes the
song better I don't care if people think "Oh, he's
not shredding."
For recording, an old Foxx Tone Machine octave fuzz never ceases to be the right ingredient.
Also, an original tube Echoplex and an Tel-Ray
Variable Delay also get a lot of use. The Boss

94



Table of Contents for the Digital Edition of Vintage Guitar - March 2018 - open

Contents
Vintage Guitar - March 2018 - open - Cover
Vintage Guitar - March 2018 - open - IFC
Vintage Guitar - March 2018 - open - 3
Vintage Guitar - March 2018 - open - 4
Vintage Guitar - March 2018 - open - 5
Vintage Guitar - March 2018 - open - 6
Vintage Guitar - March 2018 - open - 7
Vintage Guitar - March 2018 - open - 8
Vintage Guitar - March 2018 - open - 9
Vintage Guitar - March 2018 - open - Contents
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