GADGETS
Sounds like a name of a black dog? Nope, it's Eric Clapton's famous Fender Stratocaster. It has been his main guitar and trade mark for almost 15 years. Originally bought as three 1950's stratocaster in Nashville during the Blind Faith tour of 1969, it was put together by Eric himself, possibly using a '57 neck on a '56 black body.
FENDER GUITARS
"BLACKIE"
Sounds like a name of a black dog? Nope, it's Eric Clapton's famous Fender Stratocaster. It has been his main guitar and trade mark for almost 15 years. Originally bought as three 1950's stratocaster in Nashville during the Blind Faith tour of 1969, it was put together by Eric himself, possibly using a '57 neck on a '56 black body.
Used for the "Reptile" Tour, this stratocaster was built by the Fender Custom Shop by John Page. It features the same specifications as the E.C. signature strat but lace sensor pickups have been replaced by new Fender Noiseless Vintage.
The wonderful "artwork" came from a friend of Eric who is an artist and was lacquered by courtesy of the Custom Shop. The idea of this paint grows up in Eric's mind after seeing Todd Rundgren on Conan Obrien playing with a psyche SG which reminded his own "Cream area".
"OVER THE RAINBOW"
"CRASH 3"
The name of the Crash 3 comes from the fact that it's the 3rd guitar owned by Eric, painted by the new-yorker artist Crash. This guitar which has made its first appearance for the charity concert One Generation 4 Another, on 2004 March 15th at Royal Albert Hall of London, is a Fender Clapton signature strat built, as usually for each stratocasters for Eric, by the Custom Shop of the brand. Intensely used during the 2004 european and american tour, visible on the Sessions For Robert J. video, the Crash 3 has been played on stage for the last time on 2004 July 22nd, before being sold for $ 321,100 during the second auction for the Crossroads Center. The logo of the Crossroads Center Festival that can be view on the video of this event restates the design of this guitar.
Fender stratocaster Custom Shop Noiseless
The specifications of this one are the same as the 'Over The Rainbow' with the new Fender Vintage Noiseless pickups with a 21 db mid-boost.
The color came from the Custom Shop with blue play of colors.
During the recording of the Tribute to Jimi Hendrix "Stone free" in 1992, Eric wished to come back to a more "traditional" Fender tone. He asked the Custom shop to create a very special model based on a white Clapton signature strat (Lee Dickson used to call it "Whitey") but with the Texas special "plot pickups" (Cf SRV strat signature). That guitar had been probably used on several studio sessions but never on stage.
"L-5 Gibson"
The Gibson L-5 is used for the "Reptile" song and for the encore "Over The Rainbow" during the tour for its jazzy song. No G open tuning here but the E classic tuning.
"1960 Gibson Les Paul Standard, cherry sunburst"
Eric's first Les Paul, that had been responsible for some of the finest guitar work of all the time during the John Mayall and the Bluesbraker period, was stolen during the rehearsal for the first Cream concert. Eric, speaking in 1989, described that Les Paul as the best one he ever had and that he could not find one as good as that one for a long time. That was until he found this plain top cherry sunburst '60. Its first public appearance may have been the New Castle concert in 1983. It saw some occasional use during '85 tour, '87 Prince's Trust ("While my guitar gently weeps" and once during the 93 RAH blues show after a string broke on the custom shop P-90 les Paul during a Freddy King number.
"1939 Martin"
This guitar, wich was featured on the cover of the "Unplugged" album, became one of the potent symbols of the "post-unplugged area". Since it major public appearance at Bray studio in january '92, it had been Eric's main stage steel-string acoustic right up to the first leg of the "Pilgrim" US tour in 1998. This pre war 14 fret Martin is extremely rare and valuable vintage guitar, only 113 were made, with the finest wood and craftsmanship of Martin golden area.
Late 40's/ early 50's Martin D-28
This vintage D-28 was used for the solo acoustic première of "Broken hearted" at Montserrat Concert in september '97.
Customised wood-body dobro
The photograph from the 1976 "No reason to cry" recording session of Eric playing this wooden-bodied resonator guitar with the amazing inlay work is well known. He spoke of this guitar during his interview with Guitar Player magazine conducted during the mixing session for the album. He said that he had bought an old Dobro in need of repair from George Gruhn's shop in Nashville and had a Martin style replacement neck put on it by Randy Wood. Wood decorated the guitar with the vintage Martin style torch inlay on the headstock, style 45 abalone inlay on the body and a "tree of life" inlay on the fingerboard complete with Eric's name. 16 years later, this guitar made what was probably its first public appearance during the "Unplugged" session at Bray Studios and then became a stage regular for acoustic slide blues during the 90's blues period.
Fender stratocaster Custom Shop Noiseless
The specifications of this one are the same as the 'Over The Rainbow' with the new Fender Vintage Noiseless pickups with a 21 db mid-boost.
The color came from the Custom Shop with blue play of colors.
Eric use this guitar from the "Reptile" Tour, he also used it during the "Ridin' With The King" session with B.B. King. It appeared for the fisrt time at the "Rock'n Roll Hall of Fame 2000" for "Further on up the road" with Robbie Robertson.
"GOLD LEAF"
Ordered by Eric as his version of a 50th Fender Anniversary Stratocaster and completed by Mark Kendrick of Fender custom shop who constructs all Clapton's new guitar. "Eric was looking for something that had an old world look, something that looked like it could be hang at the Louvre". Fender Custom Shop vice president John Page came up with the idea of trying a classic gold leaf, but it took to the Custom Shop artisan George Amicay three tries before they found just the right combination of finishes for the the two pieces alder body, contoures to feel like a mid '50's strat. This is strictly one-off EC signature stratocaster custom gold leaf finish coated with transparent laquer and 23 k gold platted hardware. The pickups are usual Lace Sensor but the double isolation of the electric system give a really special tone that we can hear for exemple on the "Rock me baby" studio recording with BB King on the album "Deuce Wild". "The most difficult thing was trying to guess what Eric would like says J.Page. But it appears that he was very pleased". It has been been his favored guitar trought most of 1997 including The Legends european tour, the Montserrat benefit concert in RAH and the Far East sojoum. It has also been used as the main electric guitar during the Pilgrim sessions.
During the recording of the Tribute to Jimi Hendrix "Stone free" in 1992, Eric wished to come back to a more "traditional" Fender tone. He asked the Custom shop to create a very special model based on a white Clapton signature strat (Lee Dickson used to call it "Whitey") but with the Texas special "plot pickups" (Cf SRV strat signature). That guitar had been probably used on several studio sessions but never on stage.
GIBSON GUITARS
"1964 Gibson ES-335, Cherry Red"
" 1950's Gibson Byrdland, blond"
Another blues guitar that was mainly used since From the cradle tour with a slack open C# tuning for the Elmor James numbers ("Blues before sunrise" and "It hurts me too"). Eric did auction two of his still valuable sunburst Byrdlands from the same area but kept that special one behind. According to 80's interview, he searched for a long time that model with that kind of alnico pickups first seen on a Chuck Berry LP cover. This maybe the same one used on stage durring the "Hail Hail Rock'n Roll" Chuck Berry concert.
"L-5 Gibson"
The Gibson L-5 is used for the "Reptile" song and for the encore "Over The Rainbow" during the tour for its jazzy song. No G open tuning here but the E classic tuning.
"1960 Gibson Les Paul Standard, cherry sunburst"Eric's first Les Paul, that had been responsible for some of the finest guitar work of all the time during the John Mayall and the Bluesbraker period, was stolen during the rehearsal for the first Cream concert. Eric, speaking in 1989, described that Les Paul as the best one he ever had and that he could not find one as good as that one for a long time. That was until he found this plain top cherry sunburst '60. Its first public appearance may have been the New Castle concert in 1983. It saw some occasional use during '85 tour, '87 Prince's Trust ("While my guitar gently weeps" and once during the 93 RAH blues show after a string broke on the custom shop P-90 les Paul during a Freddy King number.
ACOUSTIC GUITARS
"Martin Style-45 auditorium"
This long serving guitar was first seen on the back cover of "461 Ocean Boulevard" and was probably used on "Let it grow" and "Please be with me". It was Eric's main stage acoustic during the "comeback" tour of '74. Appart from occasional re-appearance , notably at the encore of the 1983 ARMS concerts, it did not see regular stage use again until the 1993 RAH Blues Shows when it was used side by side with the Unplugged '39 000-42. It had been said that this guitar is a pre-war 000-28 wich was converted to pre-war Style 45 by the inlay artist and Martin historian, Mike Longworth. Prior to Eric's ownership and was possibly a gift from Stephen Stills. Martin's Clapton signature model, 000-42EC is a replica of this Style 45 guitar despite its Style 42 designation.
"Martin Style-45 auditorium"This long serving guitar was first seen on the back cover of "461 Ocean Boulevard" and was probably used on "Let it grow" and "Please be with me". It was Eric's main stage acoustic during the "comeback" tour of '74. Appart from occasional re-appearance , notably at the encore of the 1983 ARMS concerts, it did not see regular stage use again until the 1993 RAH Blues Shows when it was used side by side with the Unplugged '39 000-42. It had been said that this guitar is a pre-war 000-28 wich was converted to pre-war Style 45 by the inlay artist and Martin historian, Mike Longworth. Prior to Eric's ownership and was possibly a gift from Stephen Stills. Martin's Clapton signature model, 000-42EC is a replica of this Style 45 guitar despite its Style 42 designation.
"1939 Martin"
Late 40's/ early 50's Martin D-28This vintage D-28 was used for the solo acoustic première of "Broken hearted" at Montserrat Concert in september '97.
Customised wood-body dobroThe photograph from the 1976 "No reason to cry" recording session of Eric playing this wooden-bodied resonator guitar with the amazing inlay work is well known. He spoke of this guitar during his interview with Guitar Player magazine conducted during the mixing session for the album. He said that he had bought an old Dobro in need of repair from George Gruhn's shop in Nashville and had a Martin style replacement neck put on it by Randy Wood. Wood decorated the guitar with the vintage Martin style torch inlay on the headstock, style 45 abalone inlay on the body and a "tree of life" inlay on the fingerboard complete with Eric's name. 16 years later, this guitar made what was probably its first public appearance during the "Unplugged" session at Bray Studios and then became a stage regular for acoustic slide blues during the 90's blues period.
Ramirez classical
José Ramirez seems to be Eric's choice for classical guitars and they have been used on stage constantly since the "Unplugged" session.AMPS
"Fender tweed Twin amp 1958"
"Fender tweed Twin amp 1958"
"Eric had what he considered to be the Holy Grail of amps (his favorite 1958 Fender tweed Twin amp). But since he only had one he was afraid of damaging it on tour" says Del Breckenfeld Fender's director of artists relations. "Our mission was to clone that amp, which was a quite difficult task. We first analysed Eric's vintage amp to the specs then we searched for old parts. After all that, it still didn't sound right. At that point, John Page suggested old pine wood. We found some that came from an old church's floor and that made the difference. We nailed it and we built a total of three. We built them and then subjected them to the acid test… Eric's ear. He loved them and declared them to be the exact replicas and gave one to BB King as a gift. " This amplifier is equipped with speakers specially modified for the distortion. It's impossible to find one of those amps for the moment because John Suhr left Fender. They are the only amplifiers that Eric wants to use. It tested all the other models (Bassman, Concert amp) but they do not function for him.
Cornell Custom 80
Channel one consists of Volume, Bass and Treble. The EQ is similar to Eric's 1956 Twin amplifier, with lots of warm middle response, irrespective how you adjust the tone controls. It's a simple 'plug in and go' tone. Channel two consists of Volume, Bass, Middle and Treble. These controls are a lot more sophisticated than the average 3-way EQ. Each control has its own valve stage, giving it a wide range of control, yet is still able to achieve a good tone at any position. The output stage has four 6L6 output valves running in class A/B giving a comfortable 80 watts. There is also a power switch to reduce the output to 20 watts. The speakers are "Tone Tubby" hemp cones. We tested at least ten different types of speaker, but finally decided upon these because they were the closest to Eric's requirements.The cabinet is made from birch ply, and covered in Fender Tweed that we've treated to look old.
Eric started to use those amps during the US "Reptile" tour The Vibrokings with 3 10" blue alnico magnets speakers are built by the Fender custom shop and have been tewaked by them quite a bit more than the standard custom shop items for retail because Eric wanted 2 amps with a little more umph still.
Eric used the Marshall JCM 800 Lead Serie 1959 head with a Leslie for the "Reptile" tour as a second amp without master volume to get a sound different from his Twin. He also use the two amps at the same time with a special device.
He used the Soldano / Marshall duest in the beginning of the 90's (24 nights).
The hand-built SLO features a signal path of pure tube magic, including two independent pre-amp channels that deliver a full array of tones through four 12AX7s. Includes a Clean/Crunch switch. An additional bright switch draws out sparkling highs. The Overdrive channel beats the entire high gain pack with clear articulation, solid punch, and singing sustain. Channel jumps are foot switchable and noise-free. It also features a three-band EQ and four 5881 tubes in the power section to make it a lethal weapon.
This amp was used during his stint with Mayall's Bluesbreakers. Basically, it's a JTM45 in combo form with a footswitchable tremolo. With 45W output and 2 x 12 speakers, it produces a gutsy bass and vibrant top, coupled with an overall natural warmth.
Cornell Custom 80
Channel one consists of Volume, Bass and Treble. The EQ is similar to Eric's 1956 Twin amplifier, with lots of warm middle response, irrespective how you adjust the tone controls. It's a simple 'plug in and go' tone. Channel two consists of Volume, Bass, Middle and Treble. These controls are a lot more sophisticated than the average 3-way EQ. Each control has its own valve stage, giving it a wide range of control, yet is still able to achieve a good tone at any position. The output stage has four 6L6 output valves running in class A/B giving a comfortable 80 watts. There is also a power switch to reduce the output to 20 watts. The speakers are "Tone Tubby" hemp cones. We tested at least ten different types of speaker, but finally decided upon these because they were the closest to Eric's requirements.The cabinet is made from birch ply, and covered in Fender Tweed that we've treated to look old.
Fender Custom Vibroking
Eric started to use those amps during the US "Reptile" tour The Vibrokings with 3 10" blue alnico magnets speakers are built by the Fender custom shop and have been tewaked by them quite a bit more than the standard custom shop items for retail because Eric wanted 2 amps with a little more umph still.
Eric used the Marshall JCM 800 Lead Serie 1959 head with a Leslie for the "Reptile" tour as a second amp without master volume to get a sound different from his Twin. He also use the two amps at the same time with a special device.He used the Soldano / Marshall duest in the beginning of the 90's (24 nights).
The hand-built SLO features a signal path of pure tube magic, including two independent pre-amp channels that deliver a full array of tones through four 12AX7s. Includes a Clean/Crunch switch. An additional bright switch draws out sparkling highs. The Overdrive channel beats the entire high gain pack with clear articulation, solid punch, and singing sustain. Channel jumps are foot switchable and noise-free. It also features a three-band EQ and four 5881 tubes in the power section to make it a lethal weapon.
This amp was used during his stint with Mayall's Bluesbreakers. Basically, it's a JTM45 in combo form with a footswitchable tremolo. With 45W output and 2 x 12 speakers, it produces a gutsy bass and vibrant top, coupled with an overall natural warmth.
EFFECTS
Used during the "Reptile" tour with a Marshall JCM 800 head. The box was specialy " recessed" to endure the risks of the tour. It was also soundproffed because the amp is closed to Steve Gadd on stage.
Roger Mayer Voodoo vibe
This is a modern version of the Univibe built for Jimi Hendrix. It offers manual adjustments for tremolo, vibrato and chorus.
Wha-wha Jim Dunlop 535 Crybaby anniversary
With a 6 positions frequency switch. Almost the slide parts of the album have been recorded with this pedal in fixed position, opened or closed to obtain a different sound with each takes.
Chorus Boss CE-3
He also uses a chorus Boss CE-3 pedal.
For the scene, Lee Dickinson (guitar tech of Eric) made a pedals "gathering" to him for these three pedals.
STRINGS
For his strat: Erny Ball Regular slinky and Rock' n Roll slinky. Gauge 10/46.
For electric slide (Gibson): Erny Ball light with a non nickel-wound G-string.
For the Gibson L-5 on Reptile : Ernie Ball 0.11/0.52 Nickelwound.
For acoustic guitars: Erny Ball acoustic except for Martin 000-42 for which he uses Bronze Martin String 12/52.
"Leslie"
Used during the "Reptile" tour with a Marshall JCM 800 head. The box was specialy " recessed" to endure the risks of the tour. It was also soundproffed because the amp is closed to Steve Gadd on stage.
Roger Mayer Voodoo vibe
This is a modern version of the Univibe built for Jimi Hendrix. It offers manual adjustments for tremolo, vibrato and chorus.
Wha-wha Jim Dunlop 535 Crybaby anniversaryWith a 6 positions frequency switch. Almost the slide parts of the album have been recorded with this pedal in fixed position, opened or closed to obtain a different sound with each takes.
Chorus Boss CE-3
He also uses a chorus Boss CE-3 pedal.
For the scene, Lee Dickinson (guitar tech of Eric) made a pedals "gathering" to him for these three pedals.
PICK
Heavy picks. They are manufactured especially for him by Sterling Ball.
STRINGS
For his strat: Erny Ball Regular slinky and Rock' n Roll slinky. Gauge 10/46.
For electric slide (Gibson): Erny Ball light with a non nickel-wound G-string.
For the Gibson L-5 on Reptile : Ernie Ball 0.11/0.52 Nickelwound.
For acoustic guitars: Erny Ball acoustic except for Martin 000-42 for which he uses Bronze Martin String 12/52.
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