ARTHUR NEILSON'S STAGE GEAR


Guitars

1998 EPIPHONE "58" KORINA FLYING V ("LUCY")


I replaced just about everything on this guitar, with the exception of the neck and body.

It has DiMarzio Virtual PAF pickups, Kluson repro tuners, 500k Super Pots from RS GuitarWorks, and a KTS ABR bridge with Titanium saddles.

The frets are Dunlop 6105's

The toggle switch was changed, as was the pickguard and pickup mounts (the Epiphone ones were those ugly, oversized rings), and it has a bone nut instead of the plastic one.

The decal was made by Carl Lorentzen (the bassist on my second CD "Moan & Cry").

It is strung up in standard tuning with DR Tite-Fit Strings .013 to .056 gauge.

I named the guitar "Lucy" as a tribute to Albert King and his Lucy, which was an original '58 Flying V.

"Lucy" is a very warm and sweet sounding guitar. She is able to go from Albert King to B.B. King just by flipping a switch or turning a knob.


1995 GIBSON ORVILLE "59" SUNBURST LES PAUL

It has DiMarzio Virtual PAF pickups, 500k Super Pots from RS GuitarWorks, and a KTS ABR bridge with Titanium saddles.

When you pull up the push/pull tone pot of the neck pickup, the pickups are out of phase "ala Peter Green".

It is strung up in standard tuning with DR Tite-Fit Strings .013 to .056 gauge.

Gibson made the Orville guitar between 1988 and 1998 in Japan for the Japanese market. They weren't sold in the US. They can be found on Ebay.


1995 GIBSON ORVILLE "57" GOLDTOP LES PAUL

It has a DiMarzio Classic PAF neck pickup, a DiMarzio 36th Anniversary PAF bridge pickup ,

KTS ABR bridge with Titanium saddles,

and 500k Super Pots from RS GuitarWorks,

It also has a push/pull pot so that I can access the out of phase sound.

It is strung up in standard tuning with DR Tite-Fit Strings .013 to .056 gauge.



1997 GIBSON ORVILLE CUSTOM LES PAUL

The pickups are Gibson '57 Classics.

It has a KTS ABR bridge with Titanium saddles

and 500k Super Pots from RS GuitarWorks,

It has an ebony fingerboard and a mahogany top, as per the '50's customs (not like the 1968 custom reissues that had maple tops)

It also has a push/pull pot so that I can access the out of phase sound.

It is strung up in standard tuning with DR Tite-Fit Strings .013 to .056 gauge.



Mid 80's FENDER CANDY APPLE RED "62 RI" STRATOCASTER MIJ

The pickups are DiMarzio Area 58's in the neck and middle positions, and an Area '61 in the bridge position.

This guitar has only a master volume and master tone, as all my Strats do

The saddles are Graph Tech String Savers.

and a push/pull tone pot that enables me to get a bridge and neck pickup combination - as well as all three pickups together

I call her "Candy"

This guitar is always tuned to open G

It is strung with DR Tite-Fit Strings .013 to .056 gauge.



MISTER REDD

Mister Redd, a stratocaster, that I put together, has an All Parts semi-hollow ash body with a mid '80's Fender "vintage" rosewood board neck.

The frets are 6105 Dunlop with a bone nut.

The f hole body has no contours, so it feels more like a tele.

I stained it antique cherry with a tung oil finish.

The tremolo bridge is blocked to facillitate tuning down and up.

The saddles are Graph Tech String Savers.

The pickups in the neck and middle position are DiMarzio VirtuAL Vintage DP 408's. The bridge pickup is a DiMarzio Virtual Vintage 54 Bridge DP 406.

It has a 5 way switch wired with a push-pull tone pot that enables me to get 7 different pickup combinations. Along with the standard 5 combinations, I can also get neck and bridge in parallel, and all 3 pickups in parallel.

I removed the volume knob, and then I made the other two knobs, master volume and master tone.

The neck shape, the compensated radius of the fingerboard, and fret work is impeccable, which is, in part, due to Bob Jones, who does all my refretting.

Again, when I'm playing with Shemekia, my strats are reserved for open G tuning. But, like the teles, they get plenty of use in other situations.

It is strung with DR Tite-Fit Strings .013 to .056 gauge.

Mister Redd is an extremely versatile guitar.


GOLDIE

Goldie is my other Stratocaster option.

It started out as a Fernandez vintage style strat. I replaced everything but the body. The neck, electronics, hardware and pickguard are all Fender.

The pickups are DiMarzio VirtuAL Vintage DP 408 - in the neck and middle positions, and a DP 409 in the bridge positon .

The 5 way switch and the master volume and tone controls are set up the same as the ones in Mister Redd.

The tremolo bridge is blocked as it is in Mister Redd.

The frets are also Dunlop 6105's.

This guitar appears as if it's from the 50's due to the fingerboard wear. The reason for this is that the neck is a "Fender replacement neck" - from the early 1980's, and it did not have a heavy finish on it - hence, the aged look.

It is strung with DR Tite-Fit Strings .013 to .056 gauge.



THE ELVISCASTER (1993)

I have four telecasters, and I occasionally take one on the road.

My Elviscaster was built using an ESP tele alder body and maple neck finished in Elvis stamps. There are over 200 stamps on the guitar.

The chunky neck sports 6105 Dunlop frets (tall and narrow).

The pickups are DiMarzio Twang Kings. The name says it all.

The vintage style bridge has 3 Graph Tech barrel saddles. The screw for the middle saddle was set at an angle to help the intonation of the D and G strings.

The tone pot is a push-pull. I have a special capacitor wired to it. When I pull the knob up, it cuts the really high end and brings out a mid boost. The tone control continues to function in both positions.

When I play with Shemekia, my teles are reserved for open G tuning... as I use my Flying V or Les Pauls for my main guitar. In other situations, my teles get a real workout...especially Elvis.

It is strung with DR Tite-Fit Strings .013 to .056 gauge.



2000 REGAL "NATIONAL STYLE" RESONATOR

I use this guitar with Shemekia to perform the song "Beat Up Old Guitar".

I keep it in open G tuning and capo the second fret, so as to play in the key of A.

I've added a Schatten contact pickup, model RG-03. It's attached to the underside of the resonator cone with a screw that connects it to the biscuit bridge. The pickup is made in Canada.

I use Elixir Acoustic guitar strings. The guage from low to high is .056, .045, .035, .026, .017, .015.

I usually use a glass slide, preferrably, one that I cut from a large bottle of red wine.

The guitar is chrome coated brass.

The headstock was severely cracked (due to the airlines), but Bob Jones did an excellent repair job. The last time that it cracked (falling off a stage), Rick Kelly of Carmine Street Guitars came to the rescue.

The guitar is now sounding better than ever.




Amplifiers

When it comes to amplifiers, I am a Fender guy all the way. I own several Fender amps...all blackface or brownface.

The three amps that I use the most are a 1967 SUPER REVERB for big venues, a 1966 DELUXE REVERB for medium sized venues, and a BLUES JUNIOR for small clubs.

The SUPER REVERB is basically stock...except that I had to replace the original worn and tired speakers with ElectroHarmonix ceramic speakers.

The DELUXE REVERB has been beefed up with a Celestian speaker and 6L6 power tubes, instead of the standard 6V6s. This gives me a little more head room.

These amps were modified by Louis Rosano of Louis Electric Amplifiers

The BLUES JUNIOR is only 15 watts but is very loud. I have had it modded by Bill Machrone, and it sounds fantastic.

When I do my solo tours in Europe, I use a CUSTOM VIBROLUX REVERB.

When I play festivals, and they provide backline, I request either a real, vintage Super Reverb, a reissue Super Reverb or a 4 X 10 Fender Amp (Bassman Reissue or Hot Rod DeVille)

Some of the other amps that I own are:

two 1962 Brown Fender Super Amps ( 2x10 - no reverb - great vibrato)

60's Sears Silvertone (this is the amp that I used on Debbie Davies "All I Found" CD)

and a very old Premier



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