Mike Gordon to List Languedoc Guitar and Other Instruments in Reverb Shop

The Reverb headquarters here in Chicago is home to at least a few diehard Phans, so when we learned that Mike Gordon was actively buying and selling gear on the site, we were pretty stoked to say the very least.

This week, fresh off the release of his new record, OGOGO, Mike is set to restock his Reverb shop with a choice handful of instruments, including a guitar built by longtime Phish luthier, Paul Languedoc. Any Languedoc is already a rare find, and this particular guitar is constructed with a spruce top for an even more distinct tone.

Other items coming to the shop include a Lakland bass used on solo records and with Leo Kottke, as well as a Silvertone 1448 from the '60s.

We recently caught up with Mr. Gordon to chat about the gear he's selling and his gear tastes, in general. See what he had to say below, and check back on Thursday to see the new listings when they go live on the site.

As a long-time Phan (we actually hung out on a golf cart for a minute in '99 at Deer Creek), the Languedoc guitar immediately caught my eye. Only one has ever gone up for sale on Reverb and it sold really quickly. Can you tell me a little bit about how long you've had it, what you've used it on, and what makes those guitars so special to you?

I’ve had it since 2001 and played it — or had people play it — on most of my solo albums and on albums with Leo Kottke (just in little moments). I love how Paul even makes his own tools, then uses such an incredible craftsmanship to make guitars that are like art pieces. Plus, there’s that undeniable tone. This one has a spruce top like an acoustic guitar, so has a tad more of the acoustic-y element.

Paul Languedoc G2 Electric Hollowbody Guitar

Tell me a little about the Turner and the Lakland. Those seem to be a little further outside what I've seen you play in Phish. Were these used more on your solo work?

Yes — used more in the studio. Actually, this Turner has been just an interesting-feeling instrument to keep around the studio since it’s so light. The Lakland is an amazing example of a retro sound with modern reliability. I actually had two in two different colors and kept the other. But this one was used all over the Sixty Six Steps album I did with Leo Kottke and other recordings I can’t remember.

I love those old Silvertone guitars. With the right setup (and some elbow grease), they play and sound great. What initially drew you to the 1448 that's in your shop?

I loved the one at Marco Benevento’s house and had a nice experience sitting around in his living room getting in the zone, so I needed to have one. I found that this one needed some extra love, so I had it worked on by Paul Languedoc and Mike Burns, and I think it still might need some tweaking to get it perfect.

1960's Danelectro Silvertone 1448 With Case Amp

Would you consider yourself a lover of vintage or used gear?

I’m not a collector per sé, but I do like to find instruments and sounds that are unique and special, both old and new. So I’ve accumulated a smattering of interesting ones, especially for the sake of experimenting in the studio and, sometimes, to mix it up on stage. I also really have a deep appreciation for builders that innovate and strive for aesthetic beauty and cool sounds.

How do you approach picking out a bass or a rig for your own tour relative to what you use on the road with Phish?

I wanted to do things with my own band that are notably different in whatever ways I can dream up — I want to provide a unique experience. Thus, I designed basses and guitars with Ben Lewry that emanate Moiré patterns or 3D patterns of light. I’ve also grabbed instruments like a Bouzouki or the Dobrato (a resophonic guitar that has a whammy bar), just as examples. The bass rig is pretty much the same, but I have different effects pedals, as well as in-ear monitors and a rumble pad, so there are some differences.

Is there a pedal that you've recently discovered that's made its way into your rig? Or is there a pedal that you have been using forever that you just can't live without?

Well, the Deep Impact by Akai has been pretty huge. The originals are hard to find and need frequent repairs. But I also use the Future Impact designed much more recently by the original builder. This one is digital, but the original 10 sounds are exactly the same, and he’s added 90 more. Love those. There are many others, including some by Source Audio, some by MXR, and some by Eventide that have become staples, too.