I have spent many years striving to be the best I possibly can be as a singer, guitarist, songwriter and entertainer. To help in these aims I have invested in what I believe are the most appropriate and best available tools of my trade. This is important to me as, on too many occasions, I have seen otherwise great performances spoiled by poor sound quality. I respect my audience and am too conscientious with my work to risk that.
For a number of years I used Taylor acoustic guitars exclusively and have three.
My 2003 Taylor 814CE with Expression System is my main guitar for gigs and recording. I bought it because it has the most useable, factory-fitted electrics I've ever experienced but it's also a joy to play acoustically, too. It has a Sitka Spruce top and Indian Rosewood back and sides. As I use this mainly for performing in amplified settings, I have the action set low, which makes it easy to play in delicate way.
My 2006 Taylor 754CE with Expression System is a Sitka Spruce and Indian Rosewood 12 string model, which was built in April 2006 and already sounds wonderfully mature. It's a very comfortable, easy to play 12 string, as you would expect from a Taylor, and sounds great at gigs with a mellow, but not muddy, sound with plenty of sparkle from the octave strings.
My 2004 Taylor NS32 is a nylon strung guitar with Sitka Spruce top and African Mahogany back and sides. It's the one that I use at mostly home and will use for the occasional change of tonal colour in live appearances and recording. As I'm not used to the style of neck on classical guitars, this is perfect for someone more used to the feel of a steel strung guitar but looking for the sound that was previously only available on traditional classical instruments.
My 2001 Collings D3. I tried many guitars when I was looking for a professional level six string to complement my Taylor 814ce. After a few false starts I bought the Collings. While Taylor aim to make the best factory produced “modern” guitars in the world (and they do!), Collings set out to re-create the so called “Golden Age” of acoustic guitar making and succeed magnificently. The fact that they currently build only around 2000 instruments annually (acoustic guitars, mandolins and some electric guitars) enables them to achieve their aim. My D3 is an old fashioned style of guitar (similar in style to a pre-war Martin D28 but with different decorative appointments), built with a Sitka Spruce top, Indian Rosewood back and sides and a combination of the best traditional and modern methods. It’s loud, rich and the most satisfying guitar I’ve ever owned.
In addition, I occasionally use my wife's Taylor 812CE with Expression System, which I love. However, it's a bit small, physically and in sound for me. Having said that, it records beautifully and responds perfectly to a light touch for lead playing and light picking. I used as the foundation guitar in my recording of "The Way You Look Tonight" and it sounds stunning.
Onboard electronics.
Our Taylor steel strung guitars are all factory-fitted with the Taylor ES, which is the most natural sounding pick up I have ever heard and certainly the most user friendly system in situations, such as festivals, where I have to rely on someone else for my sound. Sound engineers always rave about it! My NS32-ce is fitted with a Fishman Prefix Pro under saddle pick up system with onboard pre-amp and tone controls. The Collings is fitted with a Fishman Matrix II under saddle pickup system, which I use in conjunction with a Fishman Aura Imaging Blender. Having been a fan of the Expression System, it was difficult to find something to compete with it. The Aura, using very different technology, also gives an amazingly natural sound.
I use Elixir Strings on all the guitars. Light gauge on the six strings and light on the twelve string, which is tuned to standard pitch.
My main system is the recently launched and very discreet Bose PS1, which delivers a sound that is natural and appropriate in any part of a room. It works exceptionally well in everything from the most intimate setting to a hall seating 500-600.
In smaller situations I use an AER Compact 60. This is primarily designed to be an acoustic guitar amplifier and, as such, I think it's the most natural sounding and best I've heard. However, it also has an XLR input which also delivers great sound for a microphone, too. One of the benefits of this system is that it's small enough to be "carry on" luggage when flying.
I use the "industry standard" Shure SM58 microphones. I believe they are still the most adaptable, road-worthy mics available for vocals. I don't mic the guitars.
I am not an enthusiast for effects and only use a Boss RV-5 Digital Reverb pedal.
There are rare times when I need more inputs than usual. For those occasions, I have a Mackie 1402-VLZ Mixer. What can I say about it? It's a Mackie, enough said.
Occasionally on my recordings, I play the bass guitar, although the most use that I normally get out of my bass these days is in our Church Praise Band. I have a Yamaha BB 604, which I love. It's a low-mid priced instrument and a great example of Yamaha's value for money. I play it through an Ashdown Electric Blue 180 Bass Combo.
The first instrument I played was the Recorder. I have various Descant, Sopranino and treble recorders made by Dolmetsch and Aulos
In the early 1980's, I was given (on extended loan) a John Grey and Sons Banjo. I have recorded with it and it has occasionally been seen at gigs, but I've heard too many banjo jokes to be interested in using it too often!
I use a very basic Casio keyboard for connecting to the computer for arranging/sequencing using Cubase.
