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Ampwise, for both guitars it’s a rig that combines a tweed Deluxe and Bassman, with external reverb tank.
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The playing on the track is pretty loose on the studio version (it speeds up a fair bit), and live it is never really played the same way twice, so I’ve opted for an approximate take and tried to inject the right vibe to the playing.īoth guitars are tuned to ‘double dropped D’ – you need to tune both E strings down a whole tone:įor the audio, I’m using my Gretsch G5125 & ‘Old Wine’ Les Paul copy (which is fitted with a Firebird pickup in the bridge, P90 in the neck and Bigsby, as a tribute to Neil’s ‘Old Black’ LP Goldtop) into a DAW via the Amplitube 4 plugin. I could use whichever amp I wanted, or both. I had two 57s on each of his two guitar amps. The microphones on Neil’s rig were the same type of setup, Hanlon says.
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I’ve transcribed both Neil Young’s (the upper tab line) and Danny Whitten’s parts. On Sampedro’s guitar rig, Hanlon used two Shure SM57s, plus an AKG C12A to capture the ambience of that tiled alcove. It features Crazy Horse, with Danny Whitten on guitar. Aaron uses: Boss TU-2 Tuner, MXR Phase 90, Dime Crybaby From. Ben uses: Boss TU-2 Tuner, Boss DD-20 Digital Delay, Boss PS-5 Super Shifter. There’s probably only 10 or 11 of those around. It’s kind of green-looking and really stunning. Released as a single (in the U.S.) in 1971, ‘When You Dance I Can Really Love’ is more widely known as the ninth track on ‘After The Goldrush’, Neil Young’s third studio album. Theres a list of the pedals they use on their website. Neil Youngs guitar tech, Larry Cragg, when asked about Neils 1961 Gretsch White Falcon said 'That’s the real deal.