nme rig rundown

With his solo tour well underway, Justin Tyler has settled into a comfortable routine. There's no backing band, no elaborate production, and no army of musicians waiting backstage. It's just Justin, his guitars, a microphone, and a setup that allows him to move between the different sounds of Lonesome Wanderer, Rushville, and his newer material.

We caught up with him backstage to get a closer look at the gear he's been carrying across the tour.

The acoustic collection

Martin Standard Series D-18 Natural – Chicago Music Exchange

Gibson Acoustic J-45 Standard, Spruce Top Mahogany Back/Sides, Vintage

Martin 000-15M — Rudy's Music

4

NME: You've got quite a few guitars with you. Let's start with the acoustics. How many are actually making the trip?

Justin: Four acoustics. I know, I know. It's supposed to be a solo tour, not a travelling guitar exhibition.

I've got the Martin D-18, which is probably my main guitar for the evening. It's the one I reach for most often. It's got a really balanced sound, and it works beautifully for the older Lonesome Wanderer songs. It's reliable, comfortable, and I know exactly what I'm getting from it.

Then there's the Gibson J-45. That's a little warmer and rounder. I've been using it for quite a few of the Rushville songs, and it's actually the guitar I'm using for “Foolish Spender.” I like how it sits with that song. There's something a little worn-in about its sound.

The third is a Martin 000-15M. It's smaller, all mahogany, and has a really intimate quality. I use it for some of the quieter songs, where I don't necessarily want the guitar to fill the entire room.

NME: And the fourth?

Justin: The twelve-string! That's probably the one people are most curious about.

The twelve-string: “Dead Men in the Grove” and “Outbound Flight”

Taylor 150ce – United States

thomannmusic.com

NME: Tell us about the twelve-string. It's a pretty distinctive sound, especially in a solo show.

Justin: It's a Taylor 12-string acoustic. I love that guitar. There's something really special about the way it fills out a song. You get that natural shimmer and all those doubled notes, and suddenly the arrangement feels much bigger without needing another musician.

I mainly use it for two songs: “Dead Men in the Grove” and “Outbound Flight.”

“Dead Men in the Grove” really benefits from that slightly haunting quality. The twelve-string gives it this almost unsettled atmosphere. It has a little more movement than a standard acoustic, and I think that works really well with the song.

NME: And “Outbound Flight”?

Justin: That's almost the opposite feeling. It's much more open. The twelve-string gives it that expansive quality, which is exactly what I want for that song. When I play it, I want people to feel like they're going somewhere.

It's one of those guitars where you can play a fairly simple chord progression and it sounds enormous. I don't have to do much to it.

NME: Do you find it difficult switching between six-string and twelve-string guitars during a set?

Justin: The twelve-string definitely requires a little more attention. You have to be conscious of your playing because there's so much happening with the strings. But it's worth it.

I also think it's nice for the audience to see me bring it out. They know something different is coming.

NME: Is it a permanent part of the set?

Justin: Absolutely. I wouldn't leave it at home. My guitar tech would probably celebrate if I did, but it's staying.

The electric guitar: Fender Stratocaster

2007 Fender Standard Stratocaster - What To Know & Where To Buy | Equipboard

equipboard.com

NME: There's only one electric guitar on the tour, the Fender Stratocaster.

Justin: That's right. It's a Fender Stratocaster, and it's really there for one song: “Time to End.”

I wanted that song to have a different atmosphere live. The studio version has a particular electric character, and I didn't want to lose that just because I'm playing alone.

The Strat gives me that glassy, slightly biting sound. I can keep it clean for the quieter sections and then push it a little harder when the song builds.

NME: Why not use the Strat for more of the set?

Justin: I could, but I like saving it for that moment. You've been hearing acoustic guitar for most of the evening, and then suddenly there's an electric guitar coming through the speakers.

It changes the room a little bit.

NME: Is “Time to End” the biggest electric moment of the show?

Justin: Definitely. It's not a ten-minute guitar solo or anything, but it's got some teeth. I let the guitar open up a little more than I normally would. It's probably the closest thing I have to a full-band moment on this tour.

The amplifiers

Fender '65 Deluxe Reverb combo amp - Andertons Music Co.

Roland - AC-60 | Acoustic Chorus Guitar Amplifier空心吉他音箱

NME: What are you using for amplification?

Justin: I've got two main amplifiers. The acoustic guitars run through a Roland AC-60, which is really dependable and gives me a nice clean sound. It also gives me enough control over the different acoustics without having to constantly change everything.

For the Strat, I'm using a Fender Deluxe Reverb. It's one of those amps that just sounds beautiful. I love the clean tone, and it takes pedals really well.

NME: Do you use the same settings for all four acoustics?

Justin: More or less, although the twelve-string needs a little adjustment. It's naturally a much fuller sound, so I try not to make it too boomy. I want the shimmer to come through without the low end taking over.

The J-45 and D-18 have their own personalities, too. You learn what each guitar likes.

The pedalboard

Guthrie Trapp's Pedalboard - Imgur

imgur.com

NME: The pedalboard is relatively compact. What have you brought along?

Justin: I tried to keep it simple. My guitar tech was very clear that I wasn't allowed to bring my entire collection.

NME: Was that a difficult conversation?

Justin: Very difficult. I thought we were friends.

Boss TU-3 - Chromatic Tuner Pedal | Turramurra Music

1. Boss TU-3 Chromatic Tuner

The essential tuning pedal. Nothing particularly exciting, but absolutely necessary.

MORNING GLORY – JHS Pedals

2. JHS Morning Glory

A transparent overdrive used primarily with the Strat for a little extra push on “Time to End.”

BOSS BD-2 BLUES DRIVER | Stang Guitars

3. Boss BD-2 Blues Driver

Adds some grit and bite when Justin wants a rougher electric guitar tone.

MXR M169 Carbon Copy analoog delay-pedaal | Bax Music

4. MXR Carbon Copy Analog Delay

Warm analog repeats that add depth and atmosphere to the electric guitar.

Strymon Flint Tremolo and Reverb Effects Pedal with JFET Input MIDI Control | Focus Pro Audio

5. Strymon Flint

Reverb and tremolo for creating space, particularly during the more atmospheric moments.

Boss RC-5 Loop Station Pedal - Andertons Music Co.

6. Boss RC-5 Loop Station

Occasional looping and layering, although Justin prefers to keep most performances organic.

NME: Which pedals are getting the most use?

Justin: The tuner, obviously. The reverb and delay are probably the two I use most creatively. The overdrives are really there for “Time to End.”

The looper is useful, but I'm not trying to turn the show into a demonstration of how many versions of myself I can record in thirty seconds. There's enough of me already.

The Tokyo finale: “Foolish Spender” gets its live moment

折坂悠太が“歌”にすべてを託した90分、ギター1本1人で「らいど」（ライブレポート / 写真10枚） - 音楽ナタリー

natalie.mu

NME: You're bringing the tour to an end in Tokyo. Is there anything special you're planning for that final performance?

Justin: Definitely. I want to make that show feel like a proper celebration of the whole tour. Japan has been somewhere I've wanted to play for a long time, and finishing in Tokyo feels like a really nice way to close this chapter.

And I'm going to play “Foolish Spender.”

NME: That'll be its first proper live outing?

Justin: Yeah. I released it as a little gift for the fans, and I thought it would be nice to give them a live version at the final show. It's been really lovely seeing people connect with it since it came out.

I've been holding onto the idea of playing it in Tokyo. I think it'll be a special moment.

NME: Which guitar will you use?

Justin: The J-45. It suits the song. I'm keeping the arrangement pretty stripped back. Just the guitar and vocal. I don't want to overthink it.

NME: Will there be any other surprises?

Justin: Maybe. I'm not going to tell you everything! I do want to bring a little bit of the whole journey into that final show. Songs from Lonesome Wanderer, songs from Rushville, some of the From All Sides material, and obviously the new single.

It's going to be emotional, I think.

NME: And after Tokyo?

Justin: A little break, some sleep, probably a lot of laundry, and then back into the studio. I've got plenty of ideas for the third album. I'm excited to get everyone together and start figuring out what those songs are going to become.