I love gear! I love guitars, amps, studio gear, P.A’s you name it! I would have a thousand guitars and amps if I could as they are all so unique and most of all they all have a story.
This page is currently dedicated mostly to my stage gear such as my beloved amps, guitars and pedals. It’s here for people who are just starting out and want to know how I get my sound and also for people who are gear freaks like me.
Gretsch White Falcon - G6136T-LTV – 2007
I bought this guitar at Umanov guitars in Bleecker Street, New York City on September 9th, 2009 from a salesman called Zeek. He wasn’t your typical salesman, he just knew what he was talking about and made you feel comfortable. Whenever I go back to the Village in New York I go in to see him and he always remembers my name. It’s just nice having those connections to your instruments, connections that take you to a fond place when playing them.
This guitar is not only visually stunning but the most versatile tonally. It’s much fuller than my Les Pauls and it sounds like it looks, HUGE! Probably somewhat due to the semi-hollow body. You can play anything from heavy rock (it has a lot of gain) to blues and you can also get that country twang……..you can’t beat a bigsby either!
This particular model Falcon is a bit more rare to find, it has a lacquered finish which gives it more of an off white, creamy, yellow vintage color rather than bright white.
It has an Ebony Fingerboard which are so nice to play, they feel so smooth and easy to move around the neck, no sticking and clunkyness. It also boasts TV Jones Filter’Tron Pickups, which rock!
Gibson Les Paul Classic - Flame Top - Circa 1990’s
This is the first guitar that took me into the world of the Les Paul, before this I use to use Fender Strats and Fender Telecasters. I bought it from a friend who is an amazing guitarist ‘Zakk Zeddras’.
As a teenager I was always jealous of Zakk’s Les Paul it sounded so great and the way a Les Paul hangs and sits on your body is so sexy! Then one day I saw it up for sale in the music store he was working at. In those days it was my Dad who poured his hard earned money into my instruments and when I looked at him he knew that I would be devastated if we didn’t buy it, so we did and the rest is history. From then on, it was all about the Les Paul.
The body is chambered which makes it quite light for a Les Paul and it seems to give it a more open tone. You could say it’s not quite as angry sounding as my Les Paul Custom but it’s still pretty ‘in your face’. The flame top looks amazing too!
Gibson Les Paul Custom - Black - Circa 1970’s
Wait till you hear the story behind how I got my hands on this guitar...
A friend of mine at the time blew up his Fender Combo and really needed an amp for his gigs. He asked if he could swap his Les Paul for my practice amp. His wife had bought him the Custom Les Paul brand new but it had been under his bed for over twenty years and he never played it so he didn’t mind parting with it.
A practice amp for a Les Paul….hell yeah, who wouldn’t say yes!
The guitar was in really bad condition when I first got it. All the hardware was rusted, frets were destroyed and it had horrible sounding high gain pickups, I think they were DiMarzio Super Distortion pickups. But….with a lot of love and money poured into it, it became a force to be reckoned with and my main axe of choice for over ten years.
I replaced the frets with jumbo frets, changed to Grover Rotomatics machine heads to keep it in tune better and replaced the bridge pickup with a Seymour Duncan Zebra humbucker. I also replaced the neck pickup with what comes standard in a Gibson Les Paul neck position.
Originally it had gold hardware but being a lot younger back then, gold just wasn’t so cool, so I replaced the rusted hardware with silver hardware. The binding had naturally aged to a yellowy color which I think looks really cool!
My old guitar techs who worked on this guitar couldn’t work out the exact year but based on the serial number they believe it’s somewhere between 1970 - 1975.
This guitar feels so good to play, the neck shape, action and ebony fingerboard make it the most playable guitar I own. When soloing it’s slinky and smooth the way a true Les Paul should be and when it comes to the sound, think classic Rock/Angus Young!
Gretsch Electromatic - Gold Sparkle
I bought this at the Guitar Center in New York City back in 2005. Not sure what year make this guitar is but as I bought it brand new I’m assuming it’s a 2005 model or it could possibly be a 2004.
I thought I’d introduce myself to the Gretsch semi-hollow body guitars. I’d heard how amazing they were but I was always a Les Paul girl and thought I should buy myself a less expensive Gretsch first to see if I liked their sound before spending thousands of dollars. Of course this is where my passion for Gretsch guitars began!
For the price it’s an awesome sounding, versatile guitar, I highly recommend one.
Gibson SJ200 - Sunburst – 2007
I had always dreamt of having a J200 in my collection since I played one as a young teenager but they’re expensive, right?
I managed to pick this guitar up for an amazing price. I was in the guitar store playing a few different J-200’s and the salesman said to me I could buy this guitar at a heavily discounted price as there was a little dent on the top of the body (Sitka Spruce Top). I thought about it and said to myself, well I will be playing this guitar at least 4 times a week at gigs and it’s only going to get even more beat up so I was sold and I have never looked back.
It sounds amazing - big, fat, open, warm and bright in all the right places and it will only get better with age. I always have people coming up to me at gigs and asking me what kind of guitar it is and how great they think it sounds and then they always say ‘it’s bigger than you though’ but I say ‘if Malcolm young from AC/DC can play a big guitar then so can I!’
Fender Precision Road Worn Bass
I wanted a precision for the studio because I’ve always loved their sound so I went and tried out an American made Fender Precision and a Fender Road Worn Precision made in Mexico and I actually liked the latter one better.
Fat, round and even with plenty of bottom end. Feels great and it looks unreal too….. bonus!
Ulbrick Colosseum 60 - 2013
This is the newest addition to my family. The crew at Ulbrick made me this insanely amazing amp which has been custom voiced for my Gretsch White Falcon. This custom built amp has kick started a whole new range for Ulbrick which will be called the Colosseum.
It’s class A/B 60 Watts and has hand built transformers, point to point wiring and is built to military specifications.
I thought I couldn’t get a better sound then what I already had but this amp just blows everything else away, literally!! It’s loud, it’s got punch/crunch, it screams, it’s modern, it’s vintage, it’s tonally even and plenty of head room for more. All of this in one channel just the way I like it and I got to pick the awesome vintage gold color too!
Thanks Ulbrickian’s, I salute you! Check out http://ulbricksound.com.au/ for more of their incredible products.
Marshall JMP Super Lead - Circa 1978 & Marshall TV Quad Box (Reissue)
When I first bought the JMP it was so loud that it was ridiculous, it also would catch fire! After 10 minutes of turning it on smoke would start pouring out of it, very funny. I sent it off to Dave Ulbrick who builds Ulbrick Amps, Dave fixed the ‘fire’ issue and put a master volume modification in it so that I could overdrive it. Dave’s amazing, the best ears in the business!
I plug my guitar into the ‘hi’ input, it’s one channel of crunch & plugged into a Marshall TV* quad box with 25 Watt Greenback speakers, this combination creates an amazing classic tone. When it’s solo time I just stomp on either my Ibanez Tube Screamer or my Ulbrick Boost pedal and for a clean sound I run my neck pickup volume right back which cleans up the sound enough for me and the kind of music I play. I very rarely need a super clean sound although in the studio I have used the ‘low’ input and the amp has a really nice clean sound as well. It’s crisp and bright and all things nice but it still has a warm tone to it, no harshness here.
I run all my amps with one sound and I wind back the volume knobs on my guitar when I want to clean it up. I like to keep things simple and it works well for me.
*TV means ‘Tall Vintage’. The reason for the name is that these quad boxes have extra height to a regular sized Marshall Quad in return the sound is bigger and more open.
Marshall JMP Super Lead Circa 1969 & Marshall TV Quad Box - Josie Jason’s ‘HOLY GRAIL’
I inherited this beautiful amp rig from my Dear friend Josie Jason who passed away from lung cancer. When Josie left us she passed on her rig to me and I am very honored. We all use to and still lovingly call Josie’s rig the ‘Holy Grail’ because it sounds incredible and looks really wild too! It’s road worn from the thousands of rock ‘n’ roll shows Josie played in her life time.
Again, this amp was modified with a master volume. One channel of pure awesomeness!
I met Josie when I was only 14 and from then on I looked up to her as a musician and human being.
Josie had the sound that every rock guitar player dreamed of, but we must not forget, it’s not just the amp and the guitar that make the sound, it’s the player too…..Josie had it all!!
Thank you for your friendship, I feel so blessed!
I learnt so much from you Josie Jason, you will live on and rock on in the hearts of all of us. xo
Vox AC30C2 Combo with 2 X 12” Celestion Greenback Speakers
Vox AC30’s are iconic and unique as soon as you turn it on there’s that Vox Bight that hits you right in your ear drum and it can be a little... ouch! It has two channels which you can pair together with a patch lead, by doing this you have so many variations of sound. It has an amazing clean and semi dirty tone that is very AC30 bright and full but you can also really overdrive the amp as well. The AC30 also has quite a nice tremolo and beautiful spring reverb built in which are both foot switchable.
I bought this amp mainly for the studio so I could have more tonal options when recording and also so I’d have a smaller amp to lug around and save my back when playing smaller gigs, but it turns out it’s quite challenging lifting this amp into my SUV! Also just quietly, it does get used a lot in my studio for stepping up and reaching things in my cupboard!
Ulbrick JB Boost AKA Nat’s Boost
Dave Ulbrick made me this pedal while I was playing a gig down the road from his workshop and I picked it up on my way home. This boost pedal is unreal, you can get a lot more gain for your solos then most pedals while retaining your ORIGINAL TONE. This is a must have pedal especially if you’re needing that extra boost because the sound guy is not paying attention and forgets to turn up your solo.
Check out http://ulbricksound.com.au for more of their incredible products.
Vox Wah Wah
What can I say everyone has to have one and I like the tone of the Vox Wah Wah.
Jim Dunlop Rotovibe
It simulates a rotating speaker and you can change the speed via the foot pedal. I use the Rotovibe mostly in my acoustic shows to bring out certain parts of a song and sometimes to do something a little weird, I love it!
Jim Dunlop Tremolo
Probably not the ultimate tremolo on the market but it’s pretty cool, I use it sparingly anyhow.
Ibanez TS9 Tube Screamer
This pedal is legendary a staple on my pedal board. My Tube Screamer isn’t a reissue it’s the real thing and I’ve been lucky enough to have had it for years. I do have a reissue version as well and it’s incredible how different they sound, the reissue doesn’t even come close.
I use mine for solos, I also use it when I play acoustic gigs, when I want to play a solo on the acoustic I hit the Tube screamer. As an acoustic can sound muffled when running through an overdrive pedal I just wind up the tone knob to 3 O’clock and it sounds wicked.
MXR Carbon Copy Analogue Delay
Players like The Edge from U2 use guitar effects so creatively and beautifully don’t they?
The MXR delay pedal is a really nice sounding analogue delay although I don’t use it very often, I use it more so in the studio than live but it’s there if I need it.
Electro-Harmonix Little Big Muff
Little Big Muff as it says it’s a little version of a Big Muff.
To be honest I’ve rarely used this pedal it’s a pedal I keep in my studio if I want to do something a little wacky with my sound. It has a hell of a lot of sustain and gain if you want it to and the tone knob goes from thick and muffled to telephone thin.
Swictch Blade A/B Channel Selector
I use the A/B switch to go between my amp and tuner so that the audience doesn’t have to listen to me tune. You can get pedals that do this all in one but I’m yet to find one that tunes as well as the tuner I have now.
Korg DT-3 Tuner
This tuner is accurate and it’s easy to see from a distance at night because of the LED’s but in the daytime I have a hell of a time seeing LED’s!