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- Garageband Mac Iron Maiden Guitar Player
Although John Butler plays conventional 6- and 12-string guitars, his current favorite instrument is a custom Maton 11-string that’s tuned like a 12-string but omits the octave G. Photo by Helen Millasson
What other effects do you use?
I use an octa-vibe, a [DigiTech] Whammy, a [Crybaby 95Q] wah, a [Boss PH-2] phaser, two types of delays—got this really cool delay called a Kilobyte, which I really love … octave pedal, reverbs, [Akai] Head Rush. That’s about it. I have a [GigRig Loopy 2] loop switcher for my bridge pickup, so I can do kind of percussive loops with the Head Rush.
How often do you use looping?
I use it more solo. I loop a lot of EBows when I’m trying to create this real ambient kind of pad. I’ll use about six tracks of EBow and my Head Rush. It’s not very traditional. It’s like all worlds in one.
Who influences your guitar playing?
There are the prophets that kind of are cornerstones, but I don’t try to sound like them. To me, they are the epitome of letting the spirit come out of the instrument. Hendrix is one of the greatest, and then there’s people like Debashish Bhattacharya, the amazing Hindustani lap-slide guitarist, and Jeff Lang, who’s an amazing fingerstyle singer-songwriter guitarist who blew my mind and introduced me to the acoustic amplified world. Then there’s Celtic fiddle, Celtic mandolin, jigs and reels, and bluegrass fiddle, mandolin, and banjo. I love all that fingerpicking stuff, and I like playing it on a 12-string, with a high G off it, through a Marshall. That’s kind of how I interpret all those influences.
How did you get into music?
Basically, just through my parents and my brother. I was exposed to all their music: Fleetwood Mac, Elton John, Frank Sinatra, AC/DC, Black Sabbath, Iron Maiden, Jane’s Addiction. With Jane’s Addiction and my first Violent Femmes album, I was like, “Okay, I found my people.” Being a kid growing up in the ’90s, one of the greatest decades for music in the last 50 years or so, there was a lot to pull from. But that was just getting into music. I got into playing guitar when I was 13 and broke my arm a couple times—once from skateboarding, and then the other time jumping off a trampoline. And then I was given my grandfather’s Dobro when I was 16. I didn’t know what to do with that for about five years, actually. And when I turned 21, as just a hobby guitarist, I discovered open tuning and got completely obsessed. Obsessed, like OCD obsessed. That changed everything—made the Dobro totally make sense. I found my voice on guitar. I was going to university for fine arts with the idea of becoming an art teacher, and I quit university and started busking on the streets. At the age of 21, I decided I wanted to do music. I didn’t grow up wanting to be a rock star by any means. I’ve just kind of been jonesing on that trail ever since, really.
How did you get into playing so many different stringed instruments?
Through open tuning. Because the minute you can play in open G tuning on the guitar, the banjo makes perfect sense. I’m not saying you’ll be a great banjo player.
Guitars
Maton Custom Jumbo 11-string (2018) with Maton AP5 Pro and Seymour Duncan Mag Mic pickups
Maton Custom Jumbo 6-string (SRS70J style) with Maton AP5 Original and Seymour Duncan Mag Mic pickups
American Special Telecaster with Texas Special single-coil pickups
Harmony Meteor H70 with DeArmond gold-foil pickups
Bacon 5-string banjo
Lanikai baritone ukulele with Shadow preamp and pickup
Amps
Marshall Super Lead MkII
Marshall JCM800
Fender Hot Rod DeVille 212
Effects
Lehle Little Dual amp switcher
RJM Mini Effect Gizmo switcher
Dunlop Cry Baby 95Q Wah
DigiTech Whammy (fifth generation)
Electro-Harmonix Micro POG
Boss PH-2 Super Phaser
EarthQuaker Devices The Depths
Seymour Duncan Pickup Booster
Caroline Guitar Company Kilobyte
Strymon TimeLine
Akai Head Rush
TC Electronic Hall of Fame
J. Rockett Audio Archer
Nessfield Bluezer
Maxon OD-9
DigiTech JamMan Solo
Mr. Black Eterna
Korg XVP-20 Volume/Expression Pedal
RJM Mastermind GT/22 MIDI controller
Midas XL42 preamp
JHS Buffer Splitters
RJM Y-Not
GigRig Loopy 2
Strings and Picks
D’Addario EXP38 (.010–.047) 11-string acoustic
D’Addario EXP26 (.011–.052) 6-string acoustic
D’Addario NYXL1149 (.011–.049) Telecaster
D’Addario NYXL1356 (.013–.056) Harmony
D’Addario EJ61 (.010–.023) banjo
Custom D’Addario nylon uke (.028, .034, .024, .028)
Garageband Mac Iron Maiden Guitar Chords
]. I don’t know how you play a pedal steel.You expanded your sound a bit on this album, moving away from the traditional roots-rock feel. How did that come about?
I got really into GarageBand, and, for the first time as a songwriter, I was able to elaborate on my ideas in real time, as opposed to waiting two weeks to get together with the band and have them try to interpret what I meant to make something happen. One of my favorite albums is Missy Elliot’s Under Construction, which is full of programmed beats and synthesizers. And I love Beyoncé, Adele, Skrillex. I had these drum machines all of a sudden and all these instruments on one little iPad, which made producing the music so much more immediate. I was able to go into this nice little sonic wonderland and add a whole bunch of extra colors to my palette, which was super fun for me, and then I took that all the way to the album. It was a real solo production in a lot of ways. It wasn’t so much trio-based at all. It was more about what I’d done in pre-production, and how to bring that vision to life in its most pristine, undistracted way.
What was it like creating this album?
Ah, it was a complete journey! I went from thinking I was going to go into my studio with my trio and bring these songs to life to ending up being on the other side of the country by myself in a studio with a producer. I came to terms with the fact I was dealing with anxiety, something that now I look back and realize I’ve been dealing with on and off for probably a decade. But it got pretty acute when I was trying to work out what I was attempting to do with this music. It was pretty intense. It felt like I was going about it all wrong. But that was the journey of letting go of all that stuff and being a bit human. Every album has been that way, which is always a bit frightening. The album before was really easy to make—it was really fun, and I’d never experienced that. But this album was soul-searching, man. An odyssey, a rite of passage.
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What song on the record has the most personal or interesting story behind it?
They’re all kind of different little beasts. “Coffee, Methadone & Cigarettes” is a song about my grandfather passing away in a bushfire in Western Australia in 1958, and the effects that it had on my dad and my whole family. Then there’s “Home,” which has no guitar on it and wasn’t going to be on the album. Omnisphere 2 cinematic. I just wrote that song on GarageBand on my iPhone—all the beats and everything—and then I finished the lyrics with some other songwriters. Guitar-wise, “Faith” was probably one of my most favorite guitar moments. At the very end of the song, I had this solo worked out—this double-thumbing, blues country-picking thing—and the song just kept saying, “Oh shut up! Boring!” I was like, “Really? I thought it was really good. I’ve been practicing this solo for, like, two years now!” [Laughs.] So I ended up coming up with this hammer-on, hammer-off psychedelic delay flanger thing that became a complete moment on the album, which was something I could never have foreseen. The song is so metaphysical, and at the very end when all the lyrics have done their job and they hand the baton over to the guitar, the guitar goes quantum. I tried the solo about 20 times and then it turned out to be whatever thing it is. I don’t understand it, but it’s cool.
Is there a way for you to gauge what’s going to work in a song?
No, not really. It’s not necessarily about being in tune or in time, or being the next Leonard Cohen or the next Hendrix. It’s just—it’s gotta get out of your head and into your heart. That’s easier said than done, of course. That’s what I love about music, and the recording process forces me there. And it’s not always easy and it’s not always painless. A lot of times it’s completely tumultuous. But, yeah, it’s a journey, you know?
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Garageband Mac Iron Maiden Guitar Player
Fingerpicking his Maton 11-string custom acoustic at Studio Pigalle in Paris for a Rolling Stone session, John Butler leads his trio in “Just Call,” off the new Home album. Note the simple slide flourish he uses to close the song with a fresh sonic color.