What do you look for in an electric guitar, and what's the latest guitar you've been working with most consistently?
The guitar has to hold its tuning well, but above all, what I look for is tone. I adjust my guitars constantly to get the action I like. I also look for sturdy necks.
I've played all kinds of guitars: Les Paul, Paul Reed Smith, Fender, acoustics and electrics... I have a James Trussart that I love. For a long time I played Stratocasters more, but right now I'm really enjoying a Yamaha Mike Stern.
I discovered it recently; it meets all the requirements of a classic guitar, it has a very sweet sound but it roars really well when I turn up the amp, it holds its tuning very well, and it's lightweight. It also has a very good combination of Seymour Duncan pickups. Lately I've been taking it to gigs and I can't stop playing it.
And in an acoustic?
Basically the same as in an electric: tuning and tone.
As far as amplification goes, what do you ask of an amp?
I like old amps, and I like the distortion to be clean. I look for good sound projection. It's very important to have a good amp, not just a good guitar, because the amp is the guitar's spokesman.
To round off our look at your gear, what are your favorite effects?
I try to use as few as possible. A while back I used a pedalboard with several kinds of effects, but they really degrade the signal, so now I just carry a Tube Screamer, a Blues Driver and, at most, a wah-wah.
In any case, the sound is in the fingers; effects don't work miracles.
Does the sound—through guitar, effects and amplification—make the style, or is style independent of your sound?
Style lies in the musician's creativity, but gear helps you get your own sound.
Do you think it's a good idea to work as a "mercenary" (a guitarist hired by other artists) while developing your own career?
I don't think it's a good idea, but in most cases there's no other choice. Working as a "mercenary" can create bad habits, especially when you're playing for people whose music you don't identify with, but almost all of us have had to go through it.
Do you prefer the studio or playing live?
Both. In each setting you develop your creativity differently, and the feeling is different. In the studio I enjoy my moments of introspection, and live I enjoy the contact with the audience.
What's clear is that live you have to give it all at once, because there are no do-overs, and the adrenaline rush leaves you feeling brand new.
Which Spanish or international guitarists do you find noteworthy?
Spanish: Raimundo Amador, Carles Benavent, Juan Cerro, Tomatito, Juan Gómez "Chicuelo"...
International: Jeff Beck, Steve Vai, Joe Satriani, Pat Metheny, Chris Duarte, Jonny Lang, and many, many more.
