![]() We’re probably talking like a ’40s or ’50s Gibson amp and he just had it in his basement and he’s like, ‘You’re starting to play guitar, you can use this.’Īnd I’m just like, ‘Oh great, it’s an amp and it turns on.’ And my father had got me a Fender, it was actually a Fender Prodigy, I don’t know if you remember those, they only made them for a couple years. It must’ve been like a Skylark or something like that. ![]() When I was really young and I started playing guitar - I’m probably 12 or 13 years old - I had an uncle who also played guitar and he gave me what I didn’t realise at the time was an old Gibson amplifier. I actually have a sad story about my first rig. There’s certain guitars that I’ve either seen or really wanted to be able to play and just haven’t felt comfortable in my hands.īut for me, I like old, beat-up guitars because in my head I feel like I’m just one person in a long list of people who’ll be able to try to wrestle some stories out of it. I’ve got really small hands and that comes into play a lot. I’ve got little hands, which is another thing. I think I’d look stupid with one, you know?Īnd that’s happened a couple times where I’ve gotten something and it just didn’t really feel right and I got rid of it, but for me, it’s just got to feel right. Like, as much as I’d like to play a Flying V, I don’t think I could. Or maybe I can’t pull it off in what I like to call the mirror test. Like, I’ve done this a lot, I’ll see a guitar on the wall and it’ll be, say, something I’ve been looking at or thought that I really wanted and I’ll buy it and I’ll get it and it just doesn’t feel right. There’s different things that attract me to a guitar. So I would bring that and then I’d have to bring a Boss Tuner, because I know it’s not fancy but it’s integral to every touring guitarist’s life. I took two tubes out and ran it a little quiet and again, to me it’s the best sounding amp I’ve ever heard. And I actually recently turned it down to 50 watts. I guess I have to bring an amp too, right? Well, there’s a local from my hometown near St Catherine’s, Ontario named Glen Morris, who started off as a Fender amp mechanic and then started building his own amps.īack in the mid-2000s, I got him to build me a custom head and it’s basically like a 100-watt Master Volume JMP, but with a couple different mods to it. I don’t even really know if it has an actual name, because it’s a custom amalgamation. ![]() It’s kind of a Dreadnought body, but it has a 12-fret neck with a slotted headstock. I’m also very, very lucky to have a partnership with Martin guitars and they built me a custom acoustic guitar two years ago right before I started my last touring cycle and it’s sort of a hybrid of a couple of different shapes and styles in a way. It’s beat to hell, the neck has got that really beautiful, worn-in, 80-year-old guitar kind of vibe. I’m not much of a collector in the regard that I need it to be all stock and pristine. In my head it’s the best Jazzmaster that exists in the world. I’ve got this 1963 Fender Jazzmaster that I’ve had for about three years, maybe four. I used to tour in a small car and I’m very proud that I did do that, but I’m glad I don’t have to do it anymore My essentials? I would bring an acoustic guitar and an electric guitar, because I play both. We recently caught up with Dallas Green to find out how the singer, songwriter, and guitarist crafted a sound that’s bestowed him with legions of fans around the world and what guitar gear he simply can’t live without. The band will be promoting their latest album, If I Should Go Before You, recorded at Nashville’s Blackbird Studios, which they unveiled last year to a Number 5 debut on the ARIA Album Chart.
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