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Contemporary acoustic folk-rock guitarist singer-songwriter
Contemporary acoustic folk-rock guitar music from Annapolis, MD performing in MD,
VA, DC Mid-Atlantic region - free music lyrics!

All content Copyright David Ashman
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Gear
GUITARS:

1995 Seagull CW Mahogany model SGMH6 6-string acoustic
 - pickup:
L.R. Baggs Ribbon Transducer Interface
 - strings:
D'Addario EJ16 Phosphor Bronze Light
 - pick:
Fender 351 JR Extra Heavy

1951
Gibson ES-150 archtop
 - pickup: stock
Gibson P90
 - strings:
D'Addario EXL115 Nickel Wound Blues/Jazz Rock
 - pick:
Fender 351 JR Medium

1984
Epiphone PR650-12N 12-string acoustic
 - pickup:
Fishman Acoustic Matrix Professional
 - strings:
D'Addario EJ38 Phosphor Bronze Light
 - pick:
Fender 351 JR Extra Heavy

1983
Gibson Challenger 6-string electric
 - pickup: split single coil (neck),
Seymour-Duncan Humbucker (bridge)
 - strings:
D'Addario XL
 - pick:
Fender 351 JR Medium

1993
Ovation Custom Balladeer 1862-5 6-string acoustic
 - pickup: stock
Ovation with preamp
 - strings:
D'Addario XL
 - pick:
Fender 351 JR Extra Heavy
STAGE:

During live acoustic performances, each guitar direct preamp output is taken to an input of a Korg DT-1
PRO digital tuner.  A foot pedal to the mute input provides a "polite" method to tune up without being
heard.  The output from each of the tuner channels is then taken to individual channels on a
Mackie
1202-VLZ mixing board.

When using the
Gibson electric guitar, I play through a Marshall VS100 head driving a Marshall 1960A
4x12 cabinet.  When using the
Gibson archtop, I play through a 1965 Fender Deluxe Reverb re-issue
tube amp.  A
Fender D2 microphone is used for vocals, and a Shure SM57 is used for general purpose
instrument or amplifier miking.

The main output from the board is fed to one channel of a
QSC MX700 power amp driving a pair of
Fender 1225HP speakers.  The monitor output from the board is fed to the other channel of the power
amp which drives a
JBL MR805 stage monitor.
STUDIO:

For acoustic guitar recordings, I use a Shure SM81 condenser mic into one channel of a Mackie
CR1604 mixing board.  The direct guitar preamp output is taken into another channel.  A bit of
compression is added to each using a
Yamaha GC2020 compressor-limiter.

Vocals are recorded using either an
AKG C414 studio condenser mic or a Sennheiser MD421 dynamic
mic with a popper-stopper through a
Joe Meek VC1 preamp to the board.  Heavy de-essing is
accomplished using a
dBx 263x de-esser.

The board's sends are then taken to a
Tascam DA-38 digital 8-track tape recorder.  During mixdown,
each output of the DA-38 is connected to an individual channel of the board.  Individual channel reverb
and/or effects are added through the board's stereo effects buses using a
Lexicon LXP15II, an Alesis
Midiverb II, and an
Ibanez DM2000 digital delay.  From the main outputs of the board, a BBE 462 Sonic
Maximizer and
Behringer SNR2000 Denoiser are connected.  A bit of compression is added using the
Yamaha GC2020 compressor-limiter prior to a Tascam DA-30 DAT mixdown deck.  For playback, I use
Tannoy PBM-6.5 reference monitors.
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