If you live in the southeastern U.S., you’re probably—like us—digging out from snow storm Helena today. Luckily, we’ve got the perfect video to brighten your spirits: the folks at Premier Guitar sat down recently with the ascendant Nashville producer Dave Cobb to survey his enviable cache of guitars, amps, pedals, and studio toys for their Rig Rundown series.
Cobb has over the past few years become the Americana producer par excellence, crafting records with Jason Isbell, Chris Stapleton, Sturgill Simpson, Rival Sons, Anderson East, Lake Street Dive, Shooter Jennings, Miranda Lambert, Zac Brown, and many others, winning a couple Grammies and getting nominated for a slew of other awards. If you’ve not looked up his considerable discography (that is, if you’ve been living under a rock somewhere since 2010), take a look here.
We love Cobb for his naturalistic approach to recording—and also his uncanny capacity to realize epic guitar tones whilst tracking. Over the years he has cited Rolling Stones-producer Jimmy Miller (of Sticky Fingers and Exile on Main Street), Glyn Johns, Brendan O’Brien, and Gabriel Roth (of Daptone Records) as significant influences.
Of particular note in this video is Cobb’s giddiness about his Kilobyte low-fi delay pedal, produced by our friends Caroline Guitar Company, in Columbia SC, which is helmed by Phillipe Herndon. We featured an interview with Phillipe a while back, and you can read it here.
Video Introduction from Premier Guitar:
Dave Cobb had a big year in 2015, having won Grammy awards for producing Chris Stapleton’s Traveller and Jason Isbell’s Something More Than Free. Cobb has moved his studio to the legendary RCA Studio A, which was opened by Chet Atkins in 1965, and has since produced projects for Miranda Lambert, Zac Brown, and a ton of other top-billing acts. Between sessions, Cobb took PG on a gear tour of his studio where we were treated to a bevy of vintage beauties.
Cobb keeps a ton of vintage gear handy for anybody recording in his studio. His arsenal of guitars includes this 1952 goldtop Les Paul. At some point it was converted to a ’57 with a neck reset, stop tailpiece, and vintage PAF pickups. Also, Cobb originally thought the red finish on his 1966 Fender Esquire was the work of an inexperienced DIY-er, but it turns out that what’s left of the Fiesta Red was the original finish.