Only for guitarfreaks! Oh! No!

Violinfreaks are quite as welcome.
Including everyone who is into on the road gear.

For live performances at the moment I prefer my 66 Telecaster or my Squire Strat through the pedalboard into my Musicman 410, but it changes all the time. What else do I have?






67 Telecaster

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Bought it in 1970 from an American guy who needed money for a ticket back home. Poor thing had allready been through the ringer at that time. It had a Bigsby vibrator. With alot of TLC, a couple of new SeimorDuncans and a standard Tele' bridge, I now feel totally secure going anywhere I want to on that fingerboard and we have since then developed a warm and personal relationship with each other. Recently refretted....uummm!


Fender Stratocaster 87

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Delicious neck but it could use a little more personality. Still, a good allround purpose guitar. Met one of my old students though, he had one of theese new 1500£ Clapton issues, but when he tried this one he was ready for a swap. Mr Donahue has recently donated me a set of Seymor Duncan picups. Now it feels a bit more agressive and the output has gained a bit too.

Here's a little trick I invented to achieve a quick change of tuning to get a G tune dobro feel for my country slide tuning: a casette tape screw is mounted to the head between machine and saddle. If you wanna slide? Snap of the string and go!! Tune the guitar for slide tuning and ajust the normal tuning with the screw. I tell you ...It works

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Fender Squire Stratocaster

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From the 70'ties with an interesting mid and not too much bottom. Tuned down in an open D. (Been sleeping with a bottleneck on my little finger for a quite some time now).


Gibson Les Paul Heritage 80

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Beautiful Guitar, as heavy as lead with flaming red maple finish. Collectors item, only 500 in existence. A tool, but much more than that. It takes some getting used to and doesn't always do what I want, but that's my own fault. Sounds great in the studio.


Rickenbarker 70’ties

Impossible little thing with groovy pickups. Therefore it's always tuned up with a Hi - string set (The thin ones in a 12 string set) Perfect to dub a melody already played with a normally tuned guitar. Couldn't you just do it with a 12 string guitar, one could ask…? Nope!


Gibson LG 1 66

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Acoustic. LG means " little guitar" and it is small, with a most deliciously narrow neck, a nice "middle" tone and lots of personality. To bring along when you're ridin' out on the prairie. Bluegrass, folk fingerpickin' and crispy strumming. It has quite a history... gonna tell that one day...


Takamine 90

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Semi/Acoustic. We call it "The oven" because of it' s finish. With it's randomly sprayed white spots, it looks like the inside of a kitchen device. It is Japanese and always there when you need it, effective EQ. I use it for open tuned extra guitar in live performances. Sounds authentic with slide. Besides that, it's cold as ice.


K'Yari Martin D40 kopi

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Bought 77, Phantastic record: Still alive, after spending 10 years as a scool guitar. Thrown around -mostly played with - by hundreds of kids, fixed and glued amateurously by myself several times for to end as the "boat guitar" in the most guitar unfriendly environment you can think of. I brought her home one chilly october afternoon in 2002. Cleaned 15 years of dirt from the fingerboard, restringed her with 13' - 57' Martin Bronzes and tuned her slowly on tone lower. Like a dream. After all I've done to her. I've written some of my best songs on her. Here she was a jap.copy suddently with personality and carisma. Now active powered by LR Baggs she's perfect in the studio and several times prefered in the studio before finer and far more expensive instruments.

The Old ugly one

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What make? You tell me! Got it on the local garage where we used to buy beer, gas and cigarettes after closing time when things got bad. He obviously had it from a customer who couldn't pay his garage bill. Mister Miller got very disappointed when I declamed i'd be a very nice guy and give him 60£ for it. But it can make a deep kind of noise. And I happen to like that once in a while on my productions. Sounds and plays a bit like a Hoeffner McCartney to me, but it surely does not have the same carisma.

Epiphone Mandoline 97

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Tight and firm mando with a little too much top. Takes some work to make the Fishman transducer sound right, but after the Boss me33 came into my life no more problems. It stays in tune which is remarkable for an instrument that ins't played every day.


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Suzuki violin (Stringamp)

4 violins i have escorted to their graves after they've been crushed by audience falling over while dancing or because of careless roadies. Now I take the cheapest I can get and work a little more on the EQ. However, one thing follows the electric systems from violin to violin. That is the fingerboard where the magnets for the "Stringamp" system is mounted. Besides that, it's a nice fingerboard. On the bridge a "Barcus Berry" Crystal pickup is mounted. As a linedriver I use a Boss - comp and from time to time through a Crybaby Wah. The Stringamp system ( is Danish and developed from the idea of "Elkit" (also Danish). Instead of pickups the strings are internally shortcut to create a circuit and the signal is thereby induced over the magnets. A genious concept wich can work without cutting holes in the violin, and i'm told it works fine and clean on fretted instruments as well. It's almost impossible to bring to a feedback, the strings can be adjusted (tone/EQ) one by one and there's a lot of bottom which is normally missing on most transducers for violin. I Wish: A wireless mix of these two systems with a blend pot somewhere along the line, and i'd be unbeatable.

Matthias Heinicke ca.1930 Acoustic. Violin

Of course I have a proper and decent violin and even a very fine one. A real instrument who won't let you down, meaning: it's not the violin that is playing out of tune. I've got it from my ol' man who played it in a symphony orcestra and all kinds of stuff in the good old days. A lifetime is displayed in it's woodwork and the wearmarks that clearly show where the violinists put their fingers when the stringsection was having a pause.

"Stradivarius" Violin (LR Baggs)
This violin has been put away on the attic for nearly two decades. Spilt i two halves after a gig back in 88' how coul that happen. It had to get back into the light cause a alocal music store thought I should give it a testrun and write a review. It turned out to be a pleasant meeting. Thoroughly picked by Michael Edinger (String amp) to carry my 3'rd Sr.amp system this violin had a soft and bottomish tone and it is now my nr.1 on the road instrument.

Artisan solid body electric violin

On a trip to Great Britain I ran into a crazy looking electric violin costing the ridicolous proze of 99£. The bow seemed fine and the box better than any of the ones I'v e ever had I brought it back for the fun of it. It could allways be handy in a fancy photosession or something. I found out that I allways once in a while needed a "silent violin" like the ones serious people actually use for rehersal at home. Save your ears, your family and play LOUD. You need to have a TONE to make this one play. Now I allways use this one at home. It needed a shape on the fingerboard but after that it became quite suitable to play. The sound though was nothing to write about so the existing system was easily replaced with a LR Baggs transducer. It was welded directly to the existing pots so...One more cool violin in the collection for less than little money.

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Look how easy the pickup was connected. Remember a "ground" connection to the strings

An mp3 Artisan first, Stradivarius nr.2


Tele : No particular make 10' 12' 16' 24' 32' 42'
Strats : Earnie Ball "Skinny top Heavy Bottom"
Acoustic: Eliksir .....An ongoing pleasure... what the hell did we do before that?


A Macintosh G4 Laptop with a Protools 7,0 and M Box

At last Now we're getting somewhere!! What a wonderful tool. I happen to be just about young enough to handle it, so it seems. I must have been on my toes when sonnyboy Julian showed his skills with Nuendo when my last CD was done. Soon the next album will be there thanks to all that. Now however... I never really cared about learning what the GHZ ment. Painfully punisned for that ignorance I now have to mix down all the tracks recorded down to one stereo track before I start using heavy virtual midi sounds. That provides just about enough headroom for the relative small 1,2ghz processor. Saving money can
be an expensive experience in the end, but a few important lessons richer I now have learned to "cheet" the gear performance to the limit and maybe even a little further. The results are allready downloadable from the "sound" page.




Boss ME 33 Multi Effekt processor

A guitar multiple effects processor. I thought it never should come to that. Now I don't have to bully the soundengineer while he's trying to give me the eq I need on the Mando or the Violin for that matter. It's just there. The EQ can kill the tweaky top like no other machine i've tried. Not to mention all the crazy stuff. But we won't come into that, won't we?

ZOOMbox RT323

Til at tilføje mine repertoireforslag i FLASHBONE. Handy og anvendelig når trommeslager og bassist er for dyre, drikker for meget, vil ha hyre, ikke kan koncentrere sig, alligevel ikke har en bil man kan køre med i, ikke er steady nok. Kort sagt en tromme - bas maskine der er nem at transportere og betjene. Nu hvor Julian ikke længere er "ved hånden" når der skal lægges et trommespor på 8'eren. Oookay! Jeg ved det godt, men så langt ER det altså kommet nu.
Den har dog desværre allerede vist sig at være lidt for "lille" til brug på længere sigt. Den har simpelthen ikke memory nok til de nødvendige 3 - 4 sæt mulige titler der kunne være handy at have i baghånden. Plads nok til grooves men arrangementer... forget it! Pladsen tages i stedet op af 350 totalt ubrugelige faste patterns med smagløs programmering, gab! men man ka' vel ikke få alt for en slik.


In my aging pedalboard the signalroute is as following: From guitar:


Bosscomp (the blue one)

( modified mkII, I guess not quite a mkIII, I just happened to be there when they designed it, thank me for the "clean out" outlet!!). It's here I get the signal for my:

Boss TU 12 tuner

Digidelay (Connected to tab function contact)

Earnie Ball volume pedal

TC Electronic Chorus/fanger

What else do you need?

What else do you need?Furthermore I've got a whole box of old classics like the MXR Distortion, Crybaby Wah, Ibanez Tube Screamer, Boss Octave, Boss delay a.o.







Musicman 414 ca. 60 w

An amp. that in my circle of musicians has made a tremendous comeback lately. Leo Fender made it as a parallel to the Superreverb which was a must for a lot of guitar players in DK 20 years ago. It's from the late seventies and will be posing on the cover of my new CD. It has a Transistor preamp but in the end it's pure tube. I've been seriously warned about using Chinese tubes, but in this amp they are SO crunchy and I cry when they die, 'cause I dont know where to get them at the moment.


Fender Twin Reverb 75

A "Hagstrom" model, badly worn, and in "drydock" for a long time in order to change pots, capaciters and the regular workover. With a new set of matching celestions it now together with the Musicman 410 completes an excellent setup sounding fantastic, clean and loud at the same time. I still have the receipt in glass and frame.


Twin Boogie Setup

A stereogear consisting of a Mesa Boogie Mark III and a Mesa "Son of Boogie" which is a edition without the exclusive preamp and the fancy filters. From loop send from the Mark III to an old Roland DEP 5 multieffect and R channel from that back in loop return, and L channel in the Son o. B., is the gear I've used from the late 80'ties and the following years, and the gear I used with Allan Olsen & Norlan. When the DEP 5 broke down it was over, and with that, a great deal of my identity I think. The DEP was in for a great number of service visits but it kept forgetting the programs and I ended up giving it up, until Julian found out that it had a bad connection in its powercord. However, it never became quite fit for fight for the tuff life on the road and it is now in peaceful retirement, safely mounted in one of our studioracks and is doing it's job without further problems. The Boogie setup has now finally got itself another DEP 5 which i now can control with a midi - board. In all, it plays loud, very rocky and clean but with a little too less bottom for my taste at the moment.




Hammond p 100

I belong to the kind of people who gets sick every time I hear a rusty, snoring, steaminng B3 og C4 for that matter. Sick because I could kill to own one. The P 100 I bought in 94 with a 760 Leslie and since then, I've got hold in a LT 100 with a 147 Leslie. Primarely it was in order to give my demo's a final, and more expensive touch in my homestudio but also to cope up with the increasing amount of lazy keyboardplayers who, in my oppinion, can't choose right between comfort and proper taste. I now have a whole cupboard filled with tonegenerators, Keys and other organ guts, wich I feel i have to save for the future 'cause they will not be produced anymore. If you need a key or other spareparts i'll be glad to help. The P 100 Does not at all sound as detailled, crispy and breathtaking as the real thing. But in the background with its more collected middle tone it fills out its place and sometimes even better. Ofcourse it hums and rattles like a train on a steep mountaintrack and too much maybe in some quiet parts of the music but it sure got atmosphere. I the year 2000 I used 10 liters of acetone to remove the glue for the vinyl coating. Rosewood coloured antique laquer made her look like something from the 18'th century. but don't misunderstand. A proper flightcase made it roadworthy. A tube with bad connection had give the organ a boiling sound that seemed impossible to remove even for 3 of the best hammond mechanics could cure. We've lived with that throuhgout the years. One day we were yanking about in her guts in the back to get a drawbar back in working order at coincidence Julian touched the tube who offcourse made a tremendous scratch. A little exersize and a little spray removed the symtom completely and there were silence. Since then it has been behaving perfectly on the road and in the studio. Hear it on "Welcome to Slide street" on The "Rver of Faith" CD.

Korg DV 800

A rare, curious machine from the mid 70'ties, that gives you a clear feel of how synth tones are created from the very first curve. Real funky stuff! The life cord through all Julians electro - funk creations (julian Falck) Like a Moog. Korg informs: Only 1000 build, 2 machines sold in DK!!!