For what its worth this was on the Acoustic Guitar site. Marc Ribot Marc Ribot plays a vintage Gibson acoustic that bears the company's ornate script logo. "It's a 1930s Gibson flattop roundhole that I picked up six years ago," he says. "But it doesn't say anything inside it at all, so I'm not sure what model it is or exactly what year it's from." His electric is an early '70s Audition. "It's a very thin hollow-body and it feeds back at a very low volume so its live applications are limited to solo playing," he says. "With a drummer, you would not be able to hear it at all. The pickup is microphonic as well, so you can talk or scream into it and it really projects. The neck wobbles a bit and there are tuning problems. It's not simply that it sounds like shit; in fact, it has a kind of lovely intonational problem. But if I tune it a major third flat‹so the high and low strings are tuned to C‹it has a really nice sound. It also has an interesting sound acoustically, so when I record it I have my electric setup, but I also mic it acoustically with a Sennheiser MKH 44. By splitting the signal through the volume pedal, I can alternate one or the other. Sometimes I lift the volume pedal so that for a note or a phrase you only hear the sound acoustically. And I can alter the blend while I'm playing as well as while I'm mixing. On the new album, I do that a bit on 'Book of Heads, No. 13' and 'Somewhere.'" ‹Bill Milkowski