Archive for the ‘Trigger’ Category
Willie Nelson, on guitar
Saturday, February 27th, 2010Willie Nelson Interview (Guitar Center 7/23/01)
Saturday, February 13th, 2010Willie Nelson stands in the pouring rain to meet and greet hundreds of fans that have just watched him perform the 2-hour set he plays almost every night somewhere in the world. Trigger, his 1969 Martin classical, and Snub-nose, his custom semi-hollow electric, have delivered for Willie another stellar show, and accompanied his 67 year-old voice through one classic song after another. Finally, some two hours after the show has ended, after Willie has obliged the last request from a fan, he sits down for an interview with Guitar Center.
Guitar Center: Congratulations on your Grammy nomination and your induction into the Songwriting Hall of Fame.
Willie Nelson: Thank you.
GC: I’ve often heard your refer to yourself as a guitar player, rather than a songwriter. Why is that?
WN: That’s really the way I made my living when I was coming along, when I was a young musician, by playing guitar. I could sing a little bit and as years went by I would sing a little more. But, I really started out playing guitar in my band and other bands.
GC: Have you come to terms with the fact that a lot of popele also think of you as a great singer/songwriter?
WN: Actually, I think of myself more now as a songwriter than I do a guitar player because of guys like Jackie King and Django Reinhardt and all the great guitar players. It’s humbling to be in the presence of that kind of talent.
GC: How big was Django’s influence on your playing?
WN: Very. A great deal more than I really thought. A lot of the stuff I was playing earlier, I found out later had come from some Django stuff, his rhythms.
GC: When I listen to your music, I hear a lot more Texas than Nashville.
WN: Since I come from Texas, there’s a lot of Texas in me. Just because I cross a state line, I can’t get it all out.
GC: Let’s talk about recording. When you record, what kinds of mic’ing and room choices to you make?
WN: If I’m producing the album myself, either one of those things can happen. The last time I recorded was around Christmas time. I did two albums. One was an acoustic album called ‘Rainbow Connection’ in my studio in Luck, Texas. Then, I went to Los Angeles for a big session for another album called ‘The Great Divide.’ So, I’ve done both extremes. Honestly, I’d just as soon have one mic with the guitar, play acoustic, and let the guitar run through the vocal mic. It runs engineers crazy when you want to do that. (laughs)
GC: I think you’ve earned it. What are your thoughts on digital recording versus analog recording?
WN: Used to be, I wasn’t sure. I have two studios, now. there is a big studio in Austin where I have a whole lot of equipment, both digital and analog. I have another little studio across the street from where I live, where i just did ‘Rainbow Connection,’ and it’s all digital. It’s hard for me to tell the difference in the sound.
GC: You you’re happy with it.
WN: Yeah. We are happy with it.
GC: Neil Young is one guy I can think of who seems to be on the analog side of the fence.
WN: Maybe so. Of course, it’s everyone’s personal opinion, however they like to hear themselves. I think it has a lot to do with the building you’re in. The studio we’re in is all very old wood, so it’s like recording inside a big speaker. It sounds really good.
GC: With regard to your songwriting process, how do you introduce new songs to the band?
WN: We have sound checks every day. Whatever we’re working on at the moment, we’ll go over those songs at sound check. Hopefully, by the time we get to the studio, we’ve already worked them up. It will just be a matter of going in and putting them down.
GC: So every thing is worked out live?
WN: We work it out live on the stage. We did one of them tonight, ‘The Great Divide.’ That’s one from the new album that’s coming out that we’re doing on the stage. The other album, Rianbow Connection, I haven’t started doing that yet, but I will.
GC: How does Martin feel about you using one of their guitars (Trigger) for over 30 years?
WN: I’m sure they like that. They’ve made a bunch of Trigger look-alikes and they’re great guitars.
GC: Have you ever had the desire to play another acoustic guitar?
WN: I’ve never found anything as good to me, for what I as trying to get, as Trigger. I could play it acoustically. I can run it through an amp. It still gets a great sound.
GC: What strings are on Trigger?
WN: There’s a guy named Tunin’ Tom that takes care of my guitar. He has a lot of different strings that he uses. I think he has one particular brand that he tries to find, but I’m not sure what they are.
GC: You also played an electric tonight.
WN: I have an electric there, on-stage, the little Snub-nose I call it. I play the blues stuff with that. I play it more during a longer show, but mostly I stay with the acoustic.
GC: Finally, is there a point or year in your career you look on with more fondness?
WN: This is better than anything. It has been very good for a long time. For a long time before that, it was fine. It wasn’t great. I was doing well and traveling around. But, then things started clicking pretty much back when the Red-Headed Stranger album came out. ince then, ti has been easier. Recently, the last couple of years, it seems like we’ve gotten hotter than ever.
GC: Thank you very much for sitting down with me at the end of a long night.
WN: Thank you for waiting.
Willie Nelson’s Martin Guitar
Saturday, February 13th, 2010
“One of the secrets to my sound is almost beyond explanation. My battered old Martin guitar, Trigger, has the greatest tone I’ve ever heard from a guitar — and I’ve played a lot of guitars, including a lot of other Martins that were the exact same model as Trigger.
A lot of the guys in the band have been with me for decades, but Trigger has outlated every musician I’ve played with, and after all these years, I have come to believe we were fated for each other.
The two of us even look alike. My musician pals haven’t carved and written their names on me the way they have on Trigger, but we’re both pretty bruised and battered.
The holes I’ve worn in Trigger are from my pick zinging up and down a million times on the face of an acoustic guitar that’s not supposed to be played with a pick, but at this point those holes are part of what makes Trigger sound exactly right.
I also play other guitars, of course, including a black electric Fender during the blues numbers on our show, but Triggers as much a part of my sound as the way I play.
If I picked the finest guitar make this year and tried to play my solos exactly the way you heard them on the radio or even at last night’s show, I’d always be a copy of myself and we’d all end up bored. But if I play the instrument thta is now a part of me, and do it according to the way that feels right for me — in each place and time — then I’ll always be an original.
At the very least, I know it won’t get boring.”
The Tao of Willie
A Guide to the Happiness in Your Heart
by Willie Nelson, with Turk Pipkin
The Tao of Willie: A Guide to the Happiness in Your Heart (Unabridged)
Martin Guitar Announces Willie Nelson N-20WN “Trigger” Guitar (7/10/1998)
Monday, February 8th, 2010
Thanks so much to Carol Sidoran of NY, for this picture of Trigger from Glen Allen, VA show.
July 10, 1998 — The Martin Guitar Company is honored to announce the N-20WN Limited Edition Signature Model guitar, a collaboration with Willie Nelson, one of the world’s most renowned performers and songwriters. The N-20WN is a replica of Willie Nelson’s beloved guitar, one of the most famous and recognizable instruments in existence. Available from authorized Martin dealers and distributors worldwide, C. F. Martin & Co. will make up to but not exceeding 100 Willie Nelson N-20WN Limited Edition Signature Models. No more than 30 of these 100 instruments will be offered with Brazilian rosewood back and sides.
Willie Nelson, a country music hero and an American legend whose career spans nearly half a century, is one of the most distinctive and popular musicians in the world. Nelson bought his first Martin sight unseen in 1969. He remembers the unusual circumstances:
“The Baldwin company gave me a Baldwin amp and classical electric guitar with a special three-cord stereo pickup. I busted that guitar up pretty badly so I sent it up to Shot Jackson in Nashville to get it fixed. He called back and said, ‘I can’t fix it. It’s broke too bad.’ I said, ‘Well what else have you got around?’ He said he had a Martin up on the shelf for $750. I asked if he could put that same Baldwin pickup in the Martin. And that’s how I got it, right off the shelf, unseen from a thousand miles away. When I got it I knew that I had picked up something special. I like to just sit around in a room and play it. I like to write on it. I just like the sound of it.”
Photographs taken throughout Willie Nelson’s career show the gradual evolution of his famous guitar (nicknamed Trigger) from its pristine new condition to its current weathered look. Much like Willie, this famous guitar has come a long way. Trigger has been played so much, there is a rather sizable hole worn right through the top, one that Willie considers so sentimental, he won’t have it repaired. In addition, Nelson estimates that he has 100 signatures on his Martin including those of Leon Russell, Roger Miller, Kris Kristofferson, Gene Autry, Johnny Cash, Waylon Jennings, lawyers, football coaches, and other friends and associates. When asked why his guitar is named Trigger, Willie explains: “Roy Rodgers had a horse named Trigger. I figured: “This is my horse!”
And what’s so special about this guitar? Willie says: “It has great tone!” Most recently on his widely acclaimed album “Spirit” and on several soon to be released new songs, he has been recording with Trigger and nothing but a single microphone. The guitar simply embodies that Willie Nelson trademark sound.
During his well publicized perils with the Internal Revenue Service, Willie was so worried that they might try to take Trigger away from him that he hid his guitar at his manager’s house for safe keeping.
1999 is the 30th anniversary of the original Trigger guitar. Martin will offer the edition in two configurations. No more than 30 instruments in the edition of 100 will be offered in rare Brazilian Rosewood, the wood used to construct the original Trigger guitar. The remainder of the edition will be offered in East Indian rosewood.
Martin N-20 models have gone through many incarnations. The scale of this unusual model is 25.4″, a length which was replaced with the longer 26.44″ scale within a year of its introduction. Willie’s specific guitar bears Martin’s square non-tapered headstock shape with rounded slots which preceded the more traditional classic headstock shape. The neck is fitted with the highest quality Waverly Sloane sidemount classical tuning machines.
The soundboard is bookmatched from solid Sitka spruce, tinted with the original “mellow yellow” toner, and polished to a high gloss. The rosette is the traditional N-style wooden classical mosaic in black, white, red and green.
The fingerboard is crafted of solid genuine ebony with Willie Nelson’s signature inlaid between the 17th and 18th fret. The fifth fret bears a Mother Of Pearl inlay depicting the silhouette of the state of Texas with a single “lone star” in the middle. The name “TRIGGER” is inlaid at the 12th fret in western style poster lettering.
Each guitar will be offered with a state-of-the-art pickup system custom fabricated by Fishman Transducers, Inc. to closely replicate the tonal nuances of the original Baldwin pickup, which is no longer available.
In addition, every instrument will include a customized Deluxe Geib Style 5-Ply Hardshell Vintage Case with special “hemp” covered exterior.
Each guitar in this special edition will bear an interior label individually numbered in sequence and personally signed by Willie Nelson and C.F. Martin, IV, Martin’s chairman and CEO. A portion of the proceeds from the sale of the Willie Nelson Limited Edition N-20WN will be donated to Farm Aid, Nelson’s charity formed in 1985 to draw attention to the plight of America’s farmers.
Martin Guitar dealers will begin to take orders for the Willie Nelson Limited Edition Signature Model immediately, though due to heavy demand for Martin instruments, this edition will not begin to appear in stores until the early months of 1999. As with all Martin Guitars, the construction process takes both time and expertise. The Martin Guitar company dates back to the 1830s when Christian Frederick Martin, Sr. moved to the United States from Europe. The guitar shop he set up over 160 years ago has been continuously family owned and operated. Current Chairman and CEO Chris Martin, IV is the sixth generation Martin to head this venerable company.
For more information, visit their web site at www.mguitar.com.

Thanks to Cherie, from Texas (Willie’s Prayer Warrier) for sharing this photo she took at Billy Bob’s, in Fort Worth.
Great Acoustics: Willie Nelson’s Martin N-20
Sunday, January 31st, 2010by Roger Deitz
Acoustic Guitar
September/October 1994
As a rule, the value of a vintage guitar accrues with the passage of time — assuming gentle handling and careful maintenance of the instrument. here is an exception to the rule. This N-20 classic guitar, manufactured by C.F. Martin, shows more than minimal wear, yet it is priceless because of it’s integral role in three decades of Willie Nelson music.
Designed by John Huber, the N-20 guitar was introduced to add a more European-style classic guitar to the Martin line. Martin made these “old style” N-20 guitars, which feature a 25.4-inch scale length (just like a dreadnought) and a square peghead, in 1969 and 1970. When the N-20 was first marketed it sold for $475.00.
Completed on January 28, 1969, Nelson’s N-20 has Brazilian rosewood back and sides; later models were made of Indian rosewood. The top is spruce, and both the bridge and fingerboard are ebony. Like all N series guitars, it has a narrow waist, an almost figure eight shape, and a wood marquetry rosette. The braces — mostly spruce, with a few mahogany — are constructed with a modified Bouchet pattern, a fan different than Martin’s modified fan.
Ted Newman Jones of Newman Guitars in Austin did some rebracing around the “second soundhole” of this guitar and added gold machines. By the way, he concurs with Nelson’s cohort Poodie Locke that “the guitar is in dire need of a fret job.” Jones says the fingerboard has a “naturally scalloped appearance” due to excessive play. The extra soundhole, which has become even more pronounced in the ten years since this photo was taken, is Nelson’s innovation, as is a Baldwin electronic pickup. No one can argue; the guitar sounds just fine! Just like Willie Nelson.
Willie Nelson + Trigger on fire
Tuesday, January 12th, 2010
Thanks to Cherie, from Texas (Willie’s Prayer Warrier) for sharing another photo more photos she took at Billy Bob’s last week.

Trigger on fire, at Billy Bob’s Texas
Sunday, January 10th, 2010Trigger at Billy Bob’s, waiting for Willie Nelson
Saturday, January 9th, 2010
Thanks to Janis for sending me this picture she took of Willie Nelson’s guitar last night.
Oh, you know that guitar is happy to be back with Willie. He’s kept safe and sound and sometimes visits his own guitar doctor when Willie travels home to Hawaii but you know he misses the road.
I think he’s a he. Trigger sounds like a boy’s name. Unless guitars are like ships, and always a she.
Willie Nelson, Willie’s Place, Carl’s Corner, Texas (12/16/09)
Sunday, December 20th, 2009
Trigger, at Willie’s Place, Carl’s Corner, Texas (12/16/09)
Sunday, December 20th, 2009
Willie Nelson, on guitar
Monday, December 7th, 2009
Another great photo taken by Janis from Texas.
Willie Nelson and Family, in Marksville, LA (10/24/09)
Monday, October 26th, 2009![DSCN0039[1] DSCN0039[1]](http://stillisstillmoving.com/wp-content/uploads/2009/10/DSCN00391-300x225.jpg)
Thanks to Jodi for sharing her pictures from the Willie Nelson and Family show in Marksville, LA on Saturday.
![DSCN0056[1] DSCN0056[1]](http://stillisstillmoving.com/wp-content/uploads/2009/10/DSCN00561-300x225.jpg)

Cherie and Willie Doll










