Contemporary acoustic folk-rock guitarist singer-songwriter
| Contemporary acoustic folk-rock guitar music from Annapolis, MD performing in MD, VA, DC Mid-Atlantic region - free music lyrics! All content Copyright David Ashman |
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Gear
GUITARS:
1995 Seagull CW Mahogany model SGMH6 6-string acoustic
- pickup: L.R. Baggs Ribbon Transducer Interface
- strings: D'Addario EJ16 Phosphor Bronze Light
- pick: Fender 351 JR Extra Heavy
1951 Gibson ES-150 archtop
- pickup: stock Gibson P90
- strings: D'Addario EXL115 Nickel Wound Blues/Jazz Rock
- pick: Fender 351 JR Medium
1984 Epiphone PR650-12N 12-string acoustic
- pickup: Fishman Acoustic Matrix Professional
- strings: D'Addario EJ38 Phosphor Bronze Light
- pick: Fender 351 JR Extra Heavy
1983 Gibson Challenger 6-string electric
- pickup: split single coil (neck), Seymour-Duncan Humbucker (bridge)
- strings: D'Addario XL
- pick: Fender 351 JR Medium
1993 Ovation Custom Balladeer 1862-5 6-string acoustic
- pickup: stock Ovation with preamp
- strings: D'Addario XL
- pick: Fender 351 JR Extra Heavy
1995 Seagull CW Mahogany model SGMH6 6-string acoustic
- pickup: L.R. Baggs Ribbon Transducer Interface
- strings: D'Addario EJ16 Phosphor Bronze Light
- pick: Fender 351 JR Extra Heavy
1951 Gibson ES-150 archtop
- pickup: stock Gibson P90
- strings: D'Addario EXL115 Nickel Wound Blues/Jazz Rock
- pick: Fender 351 JR Medium
1984 Epiphone PR650-12N 12-string acoustic
- pickup: Fishman Acoustic Matrix Professional
- strings: D'Addario EJ38 Phosphor Bronze Light
- pick: Fender 351 JR Extra Heavy
1983 Gibson Challenger 6-string electric
- pickup: split single coil (neck), Seymour-Duncan Humbucker (bridge)
- strings: D'Addario XL
- pick: Fender 351 JR Medium
1993 Ovation Custom Balladeer 1862-5 6-string acoustic
- pickup: stock Ovation with preamp
- strings: D'Addario XL
- pick: Fender 351 JR Extra Heavy
STAGE:
During live acoustic performances, each guitar direct preamp output is taken to an input of a Korg DT-1
PRO digital tuner. A foot pedal to the mute input provides a "polite" method to tune up without being
heard. The output from each of the tuner channels is then taken to individual channels on a Mackie
1202-VLZ mixing board.
When using the Gibson electric guitar, I play through a Marshall VS100 head driving a Marshall 1960A
4x12 cabinet. When using the Gibson archtop, I play through a 1965 Fender Deluxe Reverb re-issue
tube amp. A Fender D2 microphone is used for vocals, and a Shure SM57 is used for general purpose
instrument or amplifier miking.
The main output from the board is fed to one channel of a QSC MX700 power amp driving a pair of
Fender 1225HP speakers. The monitor output from the board is fed to the other channel of the power
amp which drives a JBL MR805 stage monitor.
During live acoustic performances, each guitar direct preamp output is taken to an input of a Korg DT-1
PRO digital tuner. A foot pedal to the mute input provides a "polite" method to tune up without being
heard. The output from each of the tuner channels is then taken to individual channels on a Mackie
1202-VLZ mixing board.
When using the Gibson electric guitar, I play through a Marshall VS100 head driving a Marshall 1960A
4x12 cabinet. When using the Gibson archtop, I play through a 1965 Fender Deluxe Reverb re-issue
tube amp. A Fender D2 microphone is used for vocals, and a Shure SM57 is used for general purpose
instrument or amplifier miking.
The main output from the board is fed to one channel of a QSC MX700 power amp driving a pair of
Fender 1225HP speakers. The monitor output from the board is fed to the other channel of the power
amp which drives a JBL MR805 stage monitor.
STUDIO:
For acoustic guitar recordings, I use a Shure SM81 condenser mic into one channel of a Mackie
CR1604 mixing board. The direct guitar preamp output is taken into another channel. A bit of
compression is added to each using a Yamaha GC2020 compressor-limiter.
Vocals are recorded using either an AKG C414 studio condenser mic or a Sennheiser MD421 dynamic
mic with a popper-stopper through a Joe Meek VC1 preamp to the board. Heavy de-essing is
accomplished using a dBx 263x de-esser.
The board's sends are then taken to a Tascam DA-38 digital 8-track tape recorder. During mixdown,
each output of the DA-38 is connected to an individual channel of the board. Individual channel reverb
and/or effects are added through the board's stereo effects buses using a Lexicon LXP15II, an Alesis
Midiverb II, and an Ibanez DM2000 digital delay. From the main outputs of the board, a BBE 462 Sonic
Maximizer and Behringer SNR2000 Denoiser are connected. A bit of compression is added using the
Yamaha GC2020 compressor-limiter prior to a Tascam DA-30 DAT mixdown deck. For playback, I use
Tannoy PBM-6.5 reference monitors.
For acoustic guitar recordings, I use a Shure SM81 condenser mic into one channel of a Mackie
CR1604 mixing board. The direct guitar preamp output is taken into another channel. A bit of
compression is added to each using a Yamaha GC2020 compressor-limiter.
Vocals are recorded using either an AKG C414 studio condenser mic or a Sennheiser MD421 dynamic
mic with a popper-stopper through a Joe Meek VC1 preamp to the board. Heavy de-essing is
accomplished using a dBx 263x de-esser.
The board's sends are then taken to a Tascam DA-38 digital 8-track tape recorder. During mixdown,
each output of the DA-38 is connected to an individual channel of the board. Individual channel reverb
and/or effects are added through the board's stereo effects buses using a Lexicon LXP15II, an Alesis
Midiverb II, and an Ibanez DM2000 digital delay. From the main outputs of the board, a BBE 462 Sonic
Maximizer and Behringer SNR2000 Denoiser are connected. A bit of compression is added using the
Yamaha GC2020 compressor-limiter prior to a Tascam DA-30 DAT mixdown deck. For playback, I use
Tannoy PBM-6.5 reference monitors.