Alan Sparhawk's Danelectro Convertible
Alan Sparhawk, the frontman of the seminal slowcore band Low, is known for his minimalist yet powerfully evocative guitar playing. For years, a somewhat unconventional instrument has been central to his distinctive sound: a vintage Danelectro Guitar. In a candid interview, Sparhawk delves into his affection for his 1960s Danelectro Convertible, describing it as “weird” but ultimately magical. This isn’t just any guitar for Sparhawk; it’s a tool that speaks back to him, offering inspiration and demanding to be played.
In a revealing conversation following an in-studio performance, Sparhawk elaborated on why this particular Danelectro guitar has become his go-to instrument, especially for touring and recording albums like Invisible Way and Ones and Sixes.
The Allure of the Danelectro Convertible: Embracing the “Weird”
When asked about the guitar he played during the session, Sparhawk immediately identified it as a 1960s Danelectro Convertible. For those familiar with Danelectro guitars, the term “weird hollow-body electric” might ring a bell, and Sparhawk embraces this description wholeheartedly. His model features the iconic “lipstick pickups” that are synonymous with the Danelectro brand and contribute significantly to its unique sonic character.
However, Sparhawk’s Danelectro Convertible possesses an extra layer of peculiarity. He explains that the neck isn’t original to this specific model. Apparently, the Danelectro factory, known for producing guitars for various distributors and brands, wasn’t always meticulous about parts matching. Stories suggest they would sometimes mix and match components based on availability. This resulted in guitars like Sparhawk’s, a unique hybrid born from factory pragmatism, adding to the guitar’s quirky charm and story.
Lipstick Pickups and Masonite: The Danelectro Tone Explained
Sparhawk succinctly describes the sound of the lipstick pickups as “thin and clanky.” This characteristic tone is further shaped by the guitar’s construction. Danelectro famously used Masonite, a type of hardened fiberboard, for the body of many of their guitars. Combined with the hollow-body design, this construction results in an instrument that is not as rigid or resonant as guitars made from traditional tonewoods.
Sparhawk humorously likens playing a Masonite-bodied Danelectro to “playing a Kleenex box with rubber bands on it!” While this might sound like a disparagement, it’s actually a key part of the guitar’s appeal. The less-than-perfect resonance and the unique pickups contribute to a distinctive, slightly raw, and articulate tone that stands apart from more conventional electric guitars. This unconventional sound is precisely what draws many musicians, including Sparhawk, to Danelectro guitars. They offer a sonic palette that is different, inspiring, and capable of cutting through in a mix.
A Journey Through Guitars: Finding “The One” in a Danelectro
Sparhawk reflects on his evolving relationship with guitars, noting that he goes through phases, focusing on a particular instrument for a few years before shifting to something new. This rotation keeps his playing fresh and challenges him to explore different sonic territories. His Danelectro Convertible has been his primary instrument for a couple of albums, indicating a significant period of connection and inspiration.
He acquired this particular Danelectro at Music-Go-Round, a used music store in Duluth. The serendipitous discovery occurred when a store employee, aware of Sparhawk’s existing Danelectro, alerted him to this unusual arrival. Its “weirdness” and the fact that these models aren’t highly sought after likely contributed to its availability and affordability, making it an under-the-radar gem waiting to be discovered.
The Neck’s the Thing: Playability and Personal Fit
Upon first inspection, Sparhawk noticed the different neck immediately. Initially suspecting a replacement neck, he soon realized it was likely a factory anomaly. However, the unusual neck turned out to be a crucial element in his connection to this Danelectro.
He describes the neck as having a slightly wider fretboard, a feature that surprisingly suited his hand. Sparhawk, who describes his fingers as “stubby, square-ended,” found the extra room beneficial and comfortable. Having recently played a Les Paul with its wider neck profile, the transition to this Danelectro felt natural. While the pickups and body were familiar Danelectro characteristics, it was the neck that truly made this guitar stand out and feel uniquely right for him.
Alan Sparhawk with Danelectro Convertible Guitar
When a Guitar “Speaks Back”: Inspiration and Connection
Sparhawk articulates a sentiment that resonates with many guitar players: the almost mystical connection that can form between a musician and their instrument. He emphasizes that sometimes a guitar just “feels musical” immediately upon picking it up, regardless of its price or prestige. This intuitive connection is paramount.
He recounts experiences of trying out countless guitars, even high-end models, that didn’t quite click. Conversely, unexpected guitars, sometimes the “weird” ones, possess a certain quality that inspires and demands to be played. This Danelectro Convertible falls firmly into the latter category. For Sparhawk, a guitar that “speaks back” and challenges him to work with its unique characteristics is far more valuable than a technically perfect but uninspiring instrument. This reciprocal relationship, where the guitar provides inspiration and responds to the player’s input, is what he describes as “magic.”
Electrics for Songwriting: Embracing the Amp’s Voice
Sparhawk reveals his preference for writing on electric guitars, distinguishing himself as “not much of an acoustic guy.” While he owns acoustic guitars and occasionally uses them in recordings, electric guitars are fundamental to his songwriting process. He explains that the “electricity and the interaction with the amp” are integral to his musical vision.
For Sparhawk, the electric guitar is not merely about notes and melodies; it’s about the sonic texture and character created by the electrical circuit and the amplifier. This broader sonic landscape, encompassing feedback, overdrive, and the dynamic interplay between guitar and amp, becomes part of the song’s DNA. The Danelectro, with its unique pickups and semi-acoustic properties, becomes a crucial tool in shaping this electric soundscape.
Shaping the Low Sound: Effects and the Danelectro
The signature Low sound is undeniably intertwined with the use of effects pedals. Sparhawk discusses some of his favorites, particularly those from ZVEX. The ZVEX Octane 3 fuzz pedal is a standout, praised for its aggressive character and its ability to interact powerfully with tube amps. Sparhawk seeks a sound that is almost chaotic, “like a volcano exploding,” a controlled yet untamed sonic force.
Another essential pedal is the ZVEX Super Hard On, a line boost. Sparhawk favors “riding the amp,” pushing it to the edge of breakup and manipulating that dynamic zone between clean and overdrive. This approach allows for nuanced expression and tonal shading, adding another layer of depth to his playing. He also mentions an older SIB Echo pedal, valued for its organic and musical delay, lamenting its discontinuation. Finally, the ZVEX Loop Junkie looper plays a significant role in creating Low’s textural soundscapes. These effects, combined with the distinctive voice of the Danelectro guitar, are essential ingredients in crafting Low’s atmospheric and emotionally resonant music.
Danelectro on Tour: A Constant Companion
Sparhawk confirms that the Danelectro Convertible is indeed his touring guitar. Its unique sonic qualities and his personal connection to it make it indispensable for live performances. He humorously mentions the guitar’s semi-acoustic nature, which, while beneficial for its tone, can be less ideal for quiet hotel room practice. Its volume, akin to a “banjo,” might not be appreciated by nearby hotel occupants, especially his wife. Despite this minor inconvenience, the Danelectro Convertible remains his steadfast musical companion, both on stage and in the studio, a testament to the enduring appeal of this “weird” yet magical instrument.
