When it comes to crafting guitar tone, I’ve long had an affinity for doing things the old-fashioned way. It’s usually inconvenient, often unpredictable, and inherently limiting. Yet there exists an unfeigned charm that seems to grow naturally along the scenic route of an analog signal path. It’s why i insist on tubes in the amps, springs in the reverb, and germanium in the transistors. There is simply no substitute for the real thing. Each analog element is latent with auditory eccentricities, and it is precisely these quirks which present themselves in the recording process, becoming integral aspects of a song’s personality and character.

I have available a variety of analog hardware: vintage and boutique amplifiers, vintage and vintage-spec effects units, a modest collection of choice microphones, and a handful of analog preamps. Every part of the signal chain is considered when crafting a part, taking incremental, deliberate steps at each stage toward the final result. The focus throughout always remains to create character without causing distraction.