DeLap: Difference between revisions

AH: No. No, they were just exclusively for me, yeah.

“I love the Steinberger design, but ever since they merged with Gibson, I’ve had trouble communicating with them. Fortunately I met this guy named '''Bill''' '''DeLap''' who made me two Steinberger-styled guitars that use their hardware, but have wood bodies instead of plastic. We took the best things of a Steinberger and just tried to get more out of that design. They’re full-sized instruments – 25 – ½” – and like a violin, have a maple neck, ebony fingerboard, spruce top and a maple back. '''Bill''' also made me some baritone ones that are just really long-scaled guitars – there are 34”, 36”, 38” scale versions. I didn’t use them on the new album, but I did on my last one, Wardenclyffe Tower. I played the 34” on “Zarabeth” and the 38” on “Sphere of Innocence”. And now he’s making me a piccolo guitar. But they all work like a regular guitar with regular strings, partially because the Steinberger bridge system doesn’t need a lot of winds to get in tune. I use LaBella strings – the company has been really amazing to me, too, and helped out whenever they could. My action is pretty low, and I don’t use the tremolo bar much anymore, either. About five years ago when all the heavy metal guys were using them, I sort of stopped, because it started looking like a new toy that everybody got. It was like when the wah-wah and the fuzz box came out and all of a sudden you heard them on every record. So I basically stopped using it.

I played the Carvins for the past 15 years, though for the past two years I’ve been drifting back to the '''DeLap''' headless guitars, because there’s just something about the way that they feel. But, I kind of wish that I hadn’t; I picked up the headless and thought, “Oh no, what have I done?”