The Gear of Dan Auerbach
This is part one in a series on the Black Keys. Be sure to check back next week for our tips on achieving great fuzzed out blues-rock tone on any budget.
by Daniel Brooks
For the past decade, the Black Keys have gone from strength to strength, creating a deep, soulful form of original music deeply rooted in some of the greatest facets of the blues and rock and roll traditions, earning the genuine admiration of critics and drawing an ever-increasing audience of inspired fans. Singer/guitarist Dan Auerbach and drummer Patrick Carney formed the Black Keys in 2001. They recorded a collection of demos in Carney’s basement that formed their self-produced, blues-drenched 2002 debut. The Big Come Up sounded like a long lost blues classic. A deceptively simple record that highlighted Auerbach’s voice, aged far beyond his 23 years, a fuzz-infused guitar whose every note oozed a sweet, primal menace, a few well-chosen covers and some original writing that rang with the authenticity of old songs heard for the first time. Now, eight albums and countless shows into what may well turn out to be a legendary career, the Black Keys’ creative reach and critical recognition continues to expand with each successive record.
Like many guitarists who earn such success, Dan Auerbach can now collect those instruments that inspire his creative imagination. He has dozens of guitars, and a complete exploration of his collection is beyond the scope of this article, but there are a few that merit special attention. His appreciation for unusual quality, which has informed his musical sensibilities so well, is on display in his collection of odd guitars. He is a fan of instruments that many regard as old, obscure, beginners’ guitars, and others see as collectible. He owns several Harmony, Silvertone, Teisco Del Rey, National and Supro guitars. With so many unusual instruments, it is probably inaccurate to say any one of them is his signature guitar, but his Harmony Stratotone has appeared on every Black Keys album. It has been re-equipped with a pair of Lindy Fralin P-90 pickups and a Bigsby tremolo, and he currently keeps it in an open-G tuning.
Another favorite is his Harmony H78 with hot D’armond single coil pickups, a hollow body and a Bigsby tremolo that lends a distinctive sound.
He has a favorite 1964 Guild Thunderbird with a truly funky body style and a Supro with a Fiberglass Body. With all his quirky collectibles, it somehow seems a little strange that he has picked up a beat up 1953 Les Paul and used it extensively throughout their El Camino tour.
For his onstage amps, Dan Auerbach is known for keeping three amps going all of the time, and blending their outputs into a single, layered sound. A Victoria Double Deluxe cranks our 40 watts with no effects. A Fender Quad Reverb, which is essential a Silverface Fender Twin with four 12-inch speakers, layers a bit of reverb for a little extra dimension, and the Marshall JTM-45 with a tape delay through a vintage 8x10 cabinet for even more depth. He recorded El Camino with a Magnatone and an Ampeg V-92 with a blown JBL D-130 speaker.
Dan Auerbach’s signature sound is shaped by a combination of fuzz, pitch shifting effects and delay. He has claimed to own and use more than a hundred different pedals at different times, so his fuzz sound is anything but simple. He always has several different fuzz boxes, each chosen for its signature tone, and a few have proven to be favorites. One of his workhorse pedals is the Shin-ei Companion Fuzz, a rare pedal full of raw, raspy, lo-fi grit. To cut some of the abundant lows and boost the reduced mids lost to the Companion, Auerbach stacks this pedal with an MXR ten-band EQ.
Image Credit Aronnelson.com
An alternative to the companion is the Shin-ei Fuzz-Wah. Auerbach never uses it as a wah pedal but the fuzz has a big, midrange-laden sound that offers a completely different to from any of his other fuzz pedals.
Image Credit EffectsDatabase.com
Of course, Auerbach’s collection of fuzz pedals includes a Big Muff Pi. He has an old green Sovtek version with all of the legendary overwhelming sound for which the pedal is famous.
Image Credit Fuzz Box Girl
And at the other end of the spectrum, Auerbach has an Analogman Sunface, which is a custom-built Fuzz Face clone housed in a much smaller enclosure and crafted for reliable operation. It perfectly captures the warm sound of the earliest Fuzz Faces. He has also been known to play the Earthquaker Devices Hoof for the past few years
Image Credit Analog Man
Modulation effects are another major factor in Auerbach’s sound. Here his effects are much simpler. He relies on his Boss OC-3 Super Octave looped together with a Boss PH-3 Phase Shifter for some truly otherworldly layered pitch-shifting effects, and a Boss TR-2 Tremolo for that classic, vintage wobble effect.
The third important facet of Auerbach’s Pedal train is the Fulltone Tape Echo for that inimitable warble, that wow and flutter and tape head saturation that comes from the imperfections of old tape. He runs the Fulltone through the Marshall to give the overall sound of his gear that mysterious depth.
Image Credit Fulltone
So, what is the next creative stretch of the imagination can we expect from the Black Keys? And what kind of funky old guitars will Dan Auerbach use to create it? No one but the Black Keys can know, but a few million fans and I are eagerly looking forward to it, whatever it is.
Comments
naw. whats he doing new? everyone using them same tired fuzz tones.
hire some hip hop producer to make hits.
get your drummer to talk smack about nickelback so you look cool.
welcome to 2013, you’re the new Poison.
Great article and kudos for focusing on the trajectory of evolution in this band rather than trying to single them out as sell-outs for being so popular as certain mainstream music critiques are known to do…
As for Dan’s tone and instrument choices, it’s cool that you touched on some of his eclectic, proto-hipster guitar choices but would love to see a jump even further back to his days of nearly exclusive use of that beautiful Jerry Donahue Tele done-up with a Bigsby and god-knows-what kind of mods under the covers…I think, although have no solid evidence, that it provided the foundation of the recording for the first two or three albums.
Between him and Tom Morello, I’d say you have a case for the most unique and innovative Tele tones in the last 50 years.
Anyway, love this site, love the blog…rock on, PGS.
Thanks for mentioning the Sunface. In so many early interviews me mentions it, but it seems that most sites focus on his green muffs these days.
The best single word description for The Black Keys’ music is probably ‘insipid.’ I mean, really…
As for the comment that “Between him and Tom Morello, I’d say you have a case for the most unique and innovative Tele tones in the last 50 years,” I had to do a double take to make sure that someone actually wrote it. They did. Uggh…
Oh look, cynics slagging a great band for becoming popular. It’s been happening since at the least the mid 80’s when U2 crossed over and will happen again. And every time, the cynics look like whiny little kids.
Great article as always. Keep up the good work.
Nah-
Since when do the Black Keys sound like everyone else? This is news to me; Dan has some crazy good tones. Also, who isn’t talking smack about Nickleback? I fail to see what that has to do with Dan’s guitar tone.
“M”, I missed your thoughtful discourse on who you thought stood up stronger to the title of Tele Tone Innovators. It must have been lost in the rest of your insipid response…
That exact reproduction of his tone may be a little difficult, but the overall vibe is pretty simple. One Telecaster, one Muff or Fuzz Face, depending on your taste, one octaver, one tape delay simulator, and one tube amp.
LOL at this from naw:
“naw. whats he doing new? everyone using them same tired fuzz tones.
hire some hip hop producer to make hits.
get your drummer to talk smack about nickelback so you look cool.
welcome to 2013, you’re the new Poison.”
It’s currently just as uncool dislike the Black Keys as it is to like Nickelback. I have no issues with artists becoming popular. More power to them! I’ve just never been a BK fan. Smack talk from the drummer doesn’t endear them to me either.
I would like to know in which song is used the BOSS OC-3, I never heard it in a song.
What is an 8x10 cabinet? Is that just two 4x10’s stacked? Or maybe a Bose 901 with one blown speaker?
Marshall used to make a cab with eight 10” speakers (like an Ampeg SVT). I had one, but it was stolen years ago, hmmmmm…
I just re-read the Guitar World El Camino interview with Auerbach going over the Magnatone & Ampeg amp usage. He references a “early” Harmony Stratotone that he has had since before The Keys, which I think is the solid body Richie Valens type not the P-90 equipped hollow-body. That is the one, I would guess, has been on every album. There is a picture of it on the back of the Big Come Up album and it shows up in the bonus features of the Crystal Ballroom DVD.
A Tame Impala’s gear review would be great, I know there’s tons of information online but your touch to show and tell efects is amazing…
Thanks for a great tech overview - its a smart and straight forward setup that Dan uses. I understand some of the comments - for some time I too was not a big fan. But recently I played all their cuts and was overwhelmed with how good the writing, arrangements and recordings are - along with Dan’s talent as producer. I think there’s much more here than meets the first listening - its raw and smart. The equipment may seem like like its just thrown together - but each amp and pedal is perfectly planned. What I like most is the depth they bring to each song - its about the sound first and what tools required to acheive the detail - there is serious skill behind the Black Keys.
I like Dan a lot, but with him and Morello, I have tonadd Jack White and Josh Homme. I can always hear those guys in a tune. And haters… Post links to your awesome tones , or please, stfu.
listen to the early marychain if u wanna hear a shin-ei fuzz used to full effect. how many versions of “spirit in the sky” can this overrated bar band come up with
Love Auerbach. Love The Black Keys. Love this article. Well done!
His tone to me is part the cranked amps and part his playing style which is very energetic and dynamic. Which is more fun when the amps are cranked and so on. The fuzzes are no secret, but layering these cranked amps and pointing them 45 degrees away is something I haven’t seen yet. There is a nice video on rig rundown with his spleeny guitar tech where every part of his rig and his tour-guitars are shown and x-plained.
He also use Hiwatt CP103 or Dr103 heads I think
M: I don’t know about your choice of “insipid” for any of this, but I’ve always liked that word a lot. Andy: thanks for including the pic of the Sovtek Big Muff Pi, a rare but not especially remarkable version of that device. Must have used the leftover Soviet army green paint. What isn’t being discussed here is that practically all guitarists sounded much closer to Dan’s sound in the late ‘60s and into much of the ‘70s. The construction of the group’s tunes can be included in this. It’s probably the thing I appreciate most about the band’s sound. I’m pleased to see younger players liking this sort of thing, because it’s been sort of long gone for a while. So much guitar today sounds so over-produced, and I’ve been guilty of this too. You see, back then many of us had an assortment of these more obscure, what we considered ‘junky’ guitars and we plugged them into whatever we could get our hands on. The details of which tube amp or how many is practically immaterial, same with the choice of effects. A lot of an average night’s jamming sounded much like you hear from Black Keys. I don’t know much about this guitarist, aside from his brief comments after the Austin City Limits show, so I can’t be sure how aware he is of how much he is mining these past guitar sounds and how much of it just happens for him when he turns a lot of knobs up. Either way, it’s great stuff and easy to disregard his lack of technical prowess. I’ll bet it’s an awful lot of fun engineering his guitar sound in recording sessions. He’s one of the very few guitarists I’d rather produce for than actually perform with, given the choice, although a solid hour of blasting and jamming to this kind of rock blues will cure most guitarists’ hangups.
I hope the bots with their weird adverts and freaky broken English don’t latch onto this page like the last couple of the Corner. What do those people hope to find here anyway?
I appreciate that the band plays actual instruments and doesn’t overproduce their albums into super-smooth ultra-compressed product. I can also appreciate that Auerbach is quite good at coming up with catchy, and maybe even soulful, licks. The rhythm in those licks is especially good a lot of time, although their other content is generally very basic. I also think he has a pretty good voice for “the blues.” The problem is that the formula for a given Black Keys song is typically to take a catchy lick, repeat it ad nauseam until the end of the song, and then sing some terribly hackneyed, lame, uncreative lyrics over the top of the music in a “blues style.” All too often, it’s basically repetitive “contemporary blues” with fuzz. And speaking of fuzz, his rig is not exactly unique. There’s nothing wrong with that. His stage setup as described in this article is basically a guitar, fuzz, and two classic amps that tons of people use (for good reason) plus a third amp that that’s loud and clean and has great reverb, plus some tape echo now and then. Using an octave pedal with fuzz or distortion isn’t exactly revolutionary—Neil Young has done it since the seventies, for example. I have no problem with Auerbach’s tone, but it’s certainly not a “signature” type of tone.
Regarding the claim the Auerbach’s work with a telecaster is particularly innovative—among the two the most innovative tele players in the last 50 years, one poster claims—that’s just wacky. Tom Morello (the other guitrarist named) was obviously very innovative with a tele (although his tele didn’t have much to do with it). If you want to see someone play a tele in a novel way, though, go to a Bill Kirchen show and watch him play his long, ultra extended version of “Hot Rod Lincoln.” Watch Jimmy Page play his tele with a bow in the 60’s. I could go on an on, but I really don’t see Auerbach doing anything too unique with his tele.
Gave “Thickfreakness” to my son on his first tour in Iraq, second year of the insurgency, Turret gunner on a Humvee. They played it over the intercom. A lot. While being IED-ed and shot at in 116 degree temps. Good enough for him. You whiners and knockers don’t know jack.
“I can find no information online to even confirm the existence of an Ampeg V-92. Must be a typo.”
“It is legend. It was a off the grid prototype made by a sub group of Ampeg employees, all Austrian musicians in background, and not an authorized project by Ampeg proper.
Nights and weekends spent perfecting the uber amp.
Moved from the wherehouse under cover of night, with a unique removable face plate it was toured and gigged ad infinitum,
until finally winding up years later in the possession of Mr. Auerbach, an Austrian.
The whole world is wild at heart.”
“I can find no information online to even confirm the existence of an Ampeg V-92. Must be a typo.”
Probably a V-2 (great amp) or V-9 (never played through one, but good lord, it has to be LOUD!).
I am (I guess not that much) at the negative bashing and whining.
Yes Marshall and ? HiWatt made 8x10 cabinets ( I believe The Who used them early on too ) The Black Keys Akron Ohio (did you note they thanked their home town at this past Grammy’s ? and the drummer’s Dad writes for the Akron Beacon Journal, this Band worked and worked
and recorded in the basement and worked with other Akron and Ohio Bands and artists (Jessica Mayfield for one ) They are real, deserve what they have sown and created, I realy liked the effects and guitar and amp- pics and links as well . I think (maybe ) the EHX Russian Big Muff may have a underlying fuzz and mixed with the others awesome , Yes they are “famous ” but have not forgotten “home” either” Be nice and if nothing + to add or write be quiet, someday You also may sell records too
Look forward to part 2 +>
diamondblues Akron , Ohio
M: Hello again. I agree with much of what you said. It’s all true. As I stated, long before most of you were even in diapers, many average guitarists sounded just like Dan, though perhaps they/we/I didn’t play quite as catchy simple progressions, etc., all the time. I guess my response is the same as for the Ampeg model that does or does not exist. Answer: Who CARES? Having or knowing any of this will not make you a better player, neither will it give you TONE. If you losers can’t dial up a hot, workable tone from whatever crap you own, then put new tubes in your amp or just plain hang it up and go learn plumbing or do something useful, ‘cause you’re in the wrong business. This is ridiculous. Yes, Black Keys have an obvious formula, but, yes, it works well enough to get good gigs. Everybody has a formula. Dig? Maybe people like Dan’s tunes and sound because nobody has heard live, often crude, raw guitar in 30+ years. I’ll tell you, though—forget this “Tele Innovator” baloney. Roy Buchanan was, Kirchen is a true Master and innovator on the Tele. Dan? Never in a million years. Does anybody know what they are talking about anymore? Obviously not in this thread.
Ouch! Telenator! Dude - I’m probably older than you and remember it all as well. But, the Black Keys are as fresh as anything that’s been done and extrmely talented. Put the hate somewhere else. Yes I agreet getting old sucks - but, don’t take it out on us. Remember its a state of mind. I work on hard on getting old and staying youthful and positive. Live life wide eyed and amazed and for crying out loud have some kindness and humility.
The Telenator: Stop bashing long enough to pay attention.
“Andy: thanks for including the pic of the Sovtek Big Muff Pi…”
Andy didn’t write the article dude. Pull your nose down out of the air and you’ll see that Daniel Brooks is the author. Dig?
Great to see new songs made with vintage gear, nothing wrong with hooky songs either, not sell outs just successful, people sometimes have trouble separating the two these days and shoot down anyone who gets their heads above water, sad world we live in.
nozzle: It’s “Andy’s” Corner. Write it or not this week, ultimately what gets pasted here is his call. DBA: 30 to 40-year-old amps and guitars, 50+ year old blues-based progressions (every one), every bit of it is intentionally retro—it may be fun to listen to and catchy at times, but not one note of this is anything resembling “fresh.” Talented, Yes, but fresh, hardly. The whole appeal is because they are going old school with it, very derivative. Now really, DBA, the only thing regrettable about getting older right now is that you have to watch rock and modern music slide deeper into the gutter each year. These guys are one of the very few bright spots. Sure, there’s always been notable ‘ruts’ in popular music through the years, but never before has there been such a steady decline. Leaving the industry’s own issues and ailments aside for a moment, you’ve got a generation of musicians right now with very little knowledge of what came before them, basically rootless and barely connected to rock’s past and history. A big part of the appeal of a Black Keys or even someone like an EVH comes from the fact that they have studied their influences in great detail. In Dan’s case, his guitar sound and playing is about as tradition-conscious as you can get. You can trace it right back to Southern Delta and sounds from the likes of Son House to Rosetta Tharpe. It’s all there, very clear connections, except many players are too lazy to study the history, so they can’t see any of it. Instead, they think it’s some brand new phenomenon, and the magazine has ‘em convinced they’ll have that great tone if they just locate that mysterious Ampeg cab or buy that one more pedal. There’s a load of technology and choices like never seen before, but real funny that none of it seems to be helping much. Why is that? Can’t deny it either. Now, this ‘bashing’ if you want to call it that is just fine with me, but I remember way back, I’d get off track sometimes, and there were times I wished I had someone to give me a kick in the pants now and then when I really needed it. This band is the perfect example of how important it is to know the roots and history. Without it, you’re clueless.
telenator - I don’t get where you are coming from. I was playing blues at the pro level in the late 60s and 70s and we were known to do it better than most at the time. For me Dan and the Black Keys do it better and I appreciate their raw talent. Times have changed - I don’t recall the rule being every piece of music produced has to be new and totally unique. What you remember and what I remember as the root is exactly where they are coming from and my guess is they have a kowledge deeper than yours or mine. You may want to drop a few of your own tracks down at home and have a hard listen - recntly I did and it is a humbling experience and a greater appreciation for what these guys are doing. Time is not our freind brother - how we remember things may not be how they really were. I appreciate all the new artist and don’t get lost in the thread of the music, but more the heart and passion - that’s what music should be - change is a good thing as long as you change with the times and don’t fight it. Also - a major shout out to Andy and his lessons. Your love for the guitar and music comes through - you have a million fans out here.
Why are there so many experts on the internet so many in fact that most comment pages are really boring.
P.S. I really think this article may be a response to the Joe Bonamassa hate session of the last corner article perhaps?
Who knows not ne I’m no expert….......
Thanks I do love to hear about others gear choices. I once saw Carl Perkins at the Palomino. The opening band had all vintage Fender/Surf era gear and sounded pretty good. Perkins came out and played a Peavey guitar and Peavey amp and sounded like Carl Perkins.
NAW, AMAZING!!
Lets ALL be different together applies.
Black Keys are (were?) awesome. Especially, ‘Brothers’ was a pinnacle in a new sound, songs, and groove for them. And of their older duo sound… the Junior Kimbrough cover EP ‘Chulahoma’ was frickin’ awesome.
But I’ll take old Jon Spencer Blues Explosion over ‘em any day.
But for current innovators in Tele monster tone?... there is none better than Jim Campilongo. In particular, his Electric Trio records, live, and ‘Orange’
http://canartic.bandcamp.com
Nice to hear Campilongo mentioned here. For me, his fusion of all the classic Tele “tricks” and his sheer pan-Americana musicality takes him to the top. Truly a musician’s musician and a great composer/improviser.
And how does he do it? Tele into a cranked Princeton Reverb, period.
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M: blues is nothing if not repetitive and formulaic. and as far as being hackneyed and lame, you just described every blues song there is. blues lyrics are primitive and cheesy, and that’s why we love them! the point of this music is the sound and the vibe, right? that’s what the keys are all about, making cool, retro sounds.
Telenator: as a young musician who is involved in “rock and modern music”, i’m pretty fed up with people who are stuck in their ways hating on my generation. isn’t that what the who were saying too, 45 years ago? Have you never heard of Allen Stone? Pickwick? Nickel Creek? Gary Clark Jr.? All modern roots based musicians who shred. the fact is that music is always changing and always will be; it will never be like it was or the way it is now ever again. please accept this fact and learn to let your ears and mind adapt. you will uncover all kinds of musical frontiers. don’t just be bitter. change and grow.
by the way, Johnny Greenwood’s work on recent Radiohead albums is a great example of modern telecaster innovation.
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