You do a lot of writing and recording direct to laptops. How do you incorporate that onstage?
Matt: “Hann is very good at replicating the [studio] sounds using different things.”
Adam: “It’s very, very hard to get the exact sounds, but you can come quite close just by carefully picking out effects. I’ve found some great reverb pedals that are almost studio quality themselves – mainly the Eventide Space, which was used on the record, and the Strymon Timeline, a really amazing delay.”
What other guitar gear do you use live?
Adam:“I use a twin Hiwatt combo. It’s a very flexible, transparent amp. Then my main guitar is a Fano JM6. They’re handmade wound [Fralin] P-90s and a Bigsby in it, but I’ve got three of them now. Two JM6s and a GF6, which looks like a Fender Starcaster. I’ve also got an [Analogman] King Of Tone overdrive, a Boss compressor and a Z.Vex Fuzz Factory, which I use to nail some of the fuzzy synth sounds from the album. Then there’s a Pro Co RAT and an Electro-Harmonix HOG, through a TheGigRig [switching system].”
Matt: “I’m not as technical. I’ve got an Electro-Harmonix Clone Theory chorus, the Boss compressor, an Analogman Sun Face fuzz pedal, two small EHX Holy Grails and a Boss DD-3 delay. At the moment, I’m playing a Blackstar combo, the Artisan 30. Again, it’s very transparent. Then I’ve got a ’65 Mustang, a ’67 Mustang, a ’68 Mustang, and a ’78 Mustang.”