The main guitar(s) I used were a couple of PRS DGT’s (my sig. model). I used a Hamer Subtone as my baritone. Jol Danzig put some funky single coil pickups in instead of the high gain humbuckers it normally comes with. My Jerry Jones bari hasn’t been the same since it spent 2 weeks under water in the Nashville flood. The majority of amps were various PRS heads, some of which I’ve been working on with Doug Sewell (their amp designer). I usually ran them through vintage Marshall or Hiwatt cabs.
1. Flim Flam: The doubled rhythm guitars are a DGT through a Custom 30 PRS on one side and an old 50 watt Hiwatt on the other. The bari parts were cut through a 1960 Gibson GA-40 tweed amp to make them cut more. The Dgt solos were cut through a PRS anniversary head.
2. Way Down Deep: The rhythm parts are 2 Dgt’s through a PRS signature head. The solos are the DGT through a PRS Super Dallas head
3. Belly Of The Beast: The rhythm parts are PRS. The main melody/solo track is my old Fiesta Red Strat tuned down a whole step with heavy strings. I ran it through an old 20 watt Marshall head into a 4x12 and miced it about 3 feet away with a Coles ribbon mic.
4.Runnin’ On Fumes: Various Dgt’s, one tuned down a whole step (for the intro riffs) through Prs heads. The acoustic is a Collings OOO-1A. The outro solo is the old strat again through a 30 watt PRS into an open back 4x10.
5. Skimming the Surface; The melody and rhythm parts are the same DGT through a Super Dallas head. The rhythm part has the single coil tap engaged. The solos are DGT through a PRS HX/DA Anniversary head.
6. Final Rendezvous: The acoustic is a late 30’s Gibson L-OO. The electrics are Dgt’s run through various PRS heads and a BadCat on one track.
I used various vintage Neumann and Sony tube mics, Beyer and Coles ribbon mics, old Telefunken and Seimens preamps, and Apogee converters to record everything. I mixed in the box with UAD plug ins.