[Summary] Michael Landau's equipment [Amps, guitars, effects]

Landau was born and raised in Los Angeles, where he was exposed to music from an early age, including The Beatles, Jimi Hendrix, Led Zeppelin, Cream, and The Band. His grandfather was a clarinetist during the big band era, so music was always close to him. He started playing the guitar at age 11, and as a teenager he became interested in jazz and electric jazz. He was influenced by Weather Report, Pat Martino, Jaco Pastorius, and others, and developed a diverse musical background.

At the age of 16, he began playing in local clubs as a member of an R&B band, and later toured the West Coast with Robben Ford's band. At the age of 19, he was selected to join Boz Scaggs' world tour and traveled the world, and by the time he was 20, he began working in studio sessions in earnest, with the recommendation of his best friend Steve Lukather. From the 1980s to the 90s, Landau's guitars were used in many of the major works recorded in Los Angeles, and he supported many recordings together with session masters of his generation such as Steve Lukather, Dean Parks, Michael Thompson, and Dan Huff. He played guitar on works by major artists across genres, including Michael Jackson, Stevie Nicks, Rod Stewart, Seal, Joni Mitchell, Pink Floyd, and Miles Davis, and his name is engraved on the credits of a wide range of albums, from pop to fusion. His sound sometimes had a presence that overshadowed the main actors, and he gained the trust of producers and artists.

Alongside his session work, Landau himself has led several bands. In the early 1980s, he joined the Los Angeles band "Maxus," and in the 90s, he actively performed live and produced works with rock bands The Raging Honkies and Burning Water. In 2010, he formed Renegade Creation with Robben Ford and others, and released the albums "Renegade Creation" (2010) and "Bullet" (2012). He has also released instrumental works under his solo name, starting with "Tales from the Bulge" in 1990, and more recently releasing the album "Rock Bottom" in 2018. In 2020, he released the live album "Liquid Quartet Live" with his own band "Liquid Quartet," which received high praise.

In 2018, Landau's album as a member of the Steve Gadd Band won the 60th Grammy Award for Best Contemporary Instrumental Album, joining the ranks of Grammy winners. In recent years, in addition to his work with his own group, he has continued to tour and collaborate with various artists. In recognition of his long career and contributions to the sound, he has been offered a signature model by an equipment manufacturer (more on this later). Even now, at over XNUMX years old, his creativity has not diminished and he is respected by many guitarists.

Landau's signature guitar is a 16 Fender Stratocaster, commonly known as "Coma," which he bought second-hand when he was 1959 years old. When he got it, the Dakota Red paint on the body was peeled off, revealing the bare wood, and the pickups had been replaced by the previous owner, making it a unique instrument. Landau has made various modifications to this Stratocaster, evolving it to suit his own needs. For example, in the 1980s, he zagged the body to install a Floyd Rose tremolo (later removed), and at one point even had a boost circuit built in. In the end, he left the Floyd Rose cavity unfilled, giving it a unique sound created by the semi-hollow cavity. It has been Landau's main guitar for many years, and its sound can be heard in countless works, including those of Joni Mitchell, Michael Jackson, Miles Davis, Pink Floyd, James Taylor, and BB King. It is no exaggeration to say that it is one of the most recorded Stratocasters of all time. Throughout his career, Landau has shown a deep affection for this guitar, which was nicknamed "COMA" (originally the nickname of the previous owner) after it was written in magic marker on the guitar.

Fender released a signature model in 2023 that reproduces the style and specifications of Landau's beloved Coma. The Stories Collection Michael Landau Coma Stratocaster is a special Stratocaster that reproduces the history of modifications and the texture of use over nearly half a century in detail. The mass-produced model made in the USA is a highly complete reproduction, but in addition, a very limited edition made to order was released by the Fender Custom Shop, which was priced at an ultra-premium price of about $15,000. The pickup configuration is the same HSS layout as Landau's current Coma, with a custom Voiced CuNiFe wide-range humbucker in the rear and custom Voiced ultra-noiseless single coils in the front and center, faithfully reproducing Landau's hot rod Stratocaster sound. With its meticulous reproduction of the body's aged color (a faded red with a faint hint of the original red), vintage-like usability, and even the Floyd-mounted marks, this guitar is sure to be a coveted choice for fans looking for the classic Landau tone. Landau himself has given his stamp of approval to the perfection of this model, and is proud that it is a guitar that bears his name.

Landau also plays a black 1968 Stratocaster. This guitar has a rounded rosewood fingerboard and a large head, typical of the late 60s, a custom oval neck profile that Landau likes, and a uniquely wired pickup. The lightweight alder body is finished with a very thin nitrocellulose lacquer finish, and the weathered look of the paint from years of use gives it the mature tone and outstanding resonance that only a vintage Stratocaster can have. Fender, which has noticed the appeal of this "68 Stratocaster," has released the "Michael Landau Signature 1968 Stratocaster Relic" from the Custom Shop Artist Series. Landau himself uses this black Stratocaster in live performances and recordings, and sometimes uses it in conjunction with the above-mentioned "Coma" to express a variety of Stratocaster sounds.

Landau sometimes uses another distinctive Stratocaster during live performances. It is a Fender Custom Shop Stratocaster (HH layout) equipped with Lawler Imperial humbucker pickups on the front and rear. This guitar was prepared by Landau to obtain a thick humbucker sound like a Les Paul while maintaining the body and scale of a Strat. The 500kΩ potentiometer realizes a wide range of tones even with the humbucker, and obtains the sticky drive tone produced by the PAF-style pickups without losing the Strat-like feel and expressiveness of the tremolo arm. Landau said, "A Strat with a longer scale fits my hand better and is comfortable to hold while sitting on the sofa. I designed it so that it could produce a Les Paul-like growl." This shows that this is a guitar that embodies his ideals.

In the mid-2000s, Landau also used a John Suhr-made Strat-type guitar. Suhr's Classic S is a model that inherits the spirit of a vintage Strat while providing modern playability, and Landau is said to have used a custom-made one to suit his own needs on stage and in sessions. In fact, he developed the ML single-coil pickup (described below) in collaboration with Suhr, and it seems that he often tested Suhr-made guitars in the process of searching for the warm and smooth Strat sound that Landau prefers. Before receiving an offer from Fender for a signature model, these Suhr-made Strats were his main guitars for a time. Although Landau rarely uses them officially these days, there are Suhr Custom Classic models (commonly known as "Like Mike" specifications) on the used market that are close to his specifications, and they are popular among guitarists who are conscious of the Landau tone.

The core of Landau's clean tone and pedal sound is his signature amp, the Hot Rod DeVille ML 212, co-developed with Fender. This 2015-watt combo amp, announced at the 60 NAMM Show, is based on the Hot Rod DeVille III 212, which Landau has used for many years, with some improvements added. The main feature is the revised channel configuration, which has been reduced from the three channels of the regular model (clean/drive/more drive) to just one channel (normal), and instead features two volume knobs that can be switched with a foot switch. Landau himself said, "The master volume makes the sound feel artificial," and "A simpler configuration allows for more consistent EQ settings than channel switching," and this policy is reflected in the design. The speakers have also been changed, replacing the conventional Celestion G3P-1 with Celestion V-Type (2-inch x 12), achieving both a strong midrange and smooth highs. The elimination of the master volume resulted in a pure circuit configuration close to that of vintage Fender amps, and the dual 80L12GC power section ensures high headroom and delivers clear, clean sound. It has also been praised as the "ultimate pedal platform"**, surpassing Landau's favorite Blackface Twin Reverb. In fact, Landau uses two DeVilles (one ML 2) in a stereo setup during live performances, one dry (for the original sound) and the other wet (for effects). Although this amp bears the Landau name, it is relatively reasonably priced, making it an attractive model for pedal lovers, both professionals and amateurs, from the time of its release.

One of the amps Landau used in the mid-2000s was the OD-100 head made by CAE (Custom Audio Electronics). The OD-100 is a 2-channel tube amp head made by CAE led by Bob Bradshaw, and is a model tuned to achieve both the rich clean and thick drive that Landau was looking for. Landau is known to have used this OD-100 in combination with a Marshall 4x12 cabinet (with greenback speaker) in the studio and some live performances, and the persistent sound, especially from crunch to lead tones, matched his playing style well. For Landau, who had been using Bob Bradshaw's rack system since the 1980s, the OD-100 was a reliable amp that was an extension of that. Currently, Landau mainly uses Fender amps, but the experience he gained with the multi-channel amp OD-100 was likely put to good use in the development of the Hot Rod DeVille ML.

Landau, who made his name in the session music world, also sought the sound of vintage Marshalls in his recordings. A prime example of this was a 1967 Marshall Plexihead (studio-only equipment). This amp, which belongs to the so-called Super Lead (100W) or Super Bass (100W) models, is characterized by the rough yet harmonically rich distortion that is unique to late 60s Marshalls. When necessary, Landau used this '67 Marshall in combination with a Custom Audio 2x10 cabinet (equipped with a Celestion Vintage10 speaker) in session recordings to produce a thick British crunch that could not be obtained with Fender-type pedals. It was a versatile player that could cover a wide range of genres, from old-time hard rock to modern blues, and it worked well with pedals such as the Ibanez TS808 and Maxon SD-9 on his board.

Landau also owns a rare Dumble amp. One of them is a model called the Dumble Slidewinder, which he used for studio recordings. Dumble amps are legendary boutique amps, of which only a few hundred were made in his lifetime, and the Slidewinder is a model that is particularly characterized by its beautiful clean tone and compressed sustain. Landau used this amp to obtain a smooth clean sound and a rich overdrive tone when pushed with a pedal. He himself said that this was a sign that he "chose a quality amp instead of buying a luxury car," and this episode shows how important amps are to a guitarist. The superb sound of the Dumble further enhanced Landau's expressiveness and contributed to many great performances.

Landau also used an 18W combo amp called the Sir Badger 18 for small gigs and recording in his home studio. The Suhr Badger series is a boutique amp that combines the classic British EL84 sound with modern convenience, and the Badger 18 has output and power scaling functions that are easy to use at home. Landau seems to have played this amp in a crunch setting and boosted it with a pedal to get rich harmonics and a clear drive. His unwillingness to compromise on good tone even in situations where loud volume is not required is also reflected in his choice of equipment.

Many guitarists will mention the Maxon SD-9 Sonic Distortion when they think of Landau. The SD-80 has been his main distortion pedal since the 9s, and it has a smooth distortion and a wide gain range, covering sounds from crunch to fuzz. Landau prefers to turn down the tone knob on the SD-9 quite a bit, creating a smooth drive sound that doesn't hurt the ears. This setting is known by some as the "Landau setting," and is one of the secrets to his thick, lustrous lead tones. His deep love for this pedal also led to the development of his signature pedal (Vemuram Butter Machine), which will be described later.

The culmination of Landau's recent development project is the Vemuram "Butter Machine" distortion pedal. This is a signature model that Landau and Vemuram jointly developed over two years to realize Landau's ideal distortion pedal. Numerous prototypes were made, and Landau thoroughly tested it in actual live performances, sessions, and his home studio, incorporating feedback to complete the pedal. The resulting Butter Machine is called a "new type of distortion" and covers a wide range of distortion from overdrive-like natural crunch to full-on distortion. It is also highly responsive to picking nuances and dynamics, making it a pedal that truly embodies the sound Landau was looking for. Landau himself gives it his stamp of approval, saying that it is "full of the big, bold Vemuram sound," and the fact that it quickly became out of stock after its release shows how much attention it has attracted.

The key to Landau's spatial effects is the high-performance Strymon delay TimeLine. He places such importance on delay and reverb that he uses one amp for "wet only" in his stereo amp setup, and he uses TimeLine to control a wide variety of delay sounds. He can call up settings ranging from analog-like tape echo to crystal-clear digital delay depending on the song or solo, creating depth in the sound. In particular, he uses longer delay times for ballad solos, creating Landau's characteristic emotional "long-lasting delay" sound. The TimeLine's preset function allows him to instantly call up the delay that best suits the needs of each session, so it seems to be useful even in studio work.

Landau's go-to reverb unit is the Strymon BlueSky. Packed with studio-quality plate and spring reverbs, as well as a grand hall reverb, this pedal provides the moisture and depth that Landau needs for his clean tones. He uses the BlueSky in combination with the TimeLine to achieve the perfect setting that gives the clean amp a sense of spaciousness without burying the original sound. When set to output 100% reverb from the wet amp, the ambient sound space created by the BlueSky blends in with the original sound from the other dry amp, creating a three-dimensional stereo sound.

Landau has not only the Maxon SD-9 but also the Roger Mayer Voodoo-1 on his board as a distortion pedal. The Voodoo-1 is an overdrive/fuzz pedal developed by Roger Mayer, who was the sound engineer for Jimi Hendrix, and it combines the thick distortion of the classic Fuzz Face with modern ease of use. Landau uses this pedal as a medium to high gain lead, taking advantage of the wildness and sustain that the SD-9 does not. For example, he chooses the Voodoo-1 for more psychedelic songs and flashy rock solos, bringing out the expressiveness that responds sensitively to guitar volume adjustments. By using the SD-9 and Voodoo-1, distortion pedals with different characters, Landau can control a variety of guitar sounds even though he is the only one.

Way Huge Electronics pedals also feature on Landau's pedalboard. The Blue Hippo is an analog chorus/vibrato pedal that adds a warm, shimmering chorus sound to clean arpeggios and clean solos. Landau uses the Blue Hippo lightly to thicken clean tones, or in vibrato mode for an amp-like pitch-wobble effect.

The Green Rhino is a tube screamer-style overdrive, but the tone range and distortion texture are tuned to be modern, and Landau uses it for crunch rhythms and gain boost for solos. In particular, by combining the Green Rhino with a single-coil Strat, you can get a sticky, bluesy lead tone with a forward midrange. These Way Huge pedals are also highly durable and can be used safely on tour, which has earned Landau's trust.

The DryBell Vibe Machine is a compact pedal that reproduces the vintage Univibe sound, and is one of the modulation pedals on Landau's board. The Univibe sound is a tone that is reminiscent of the psychedelic rock and fusion of the 60s and 70s that Landau admires, and he uses the Vibe Machine to create a surging chorus/vibrato. He subtly adjusts the speed and depth depending on the song, creating a pleasant, swaying sound whether clean or distorted. In the past, he also used large univibes made by Roger Mayer (Voodoo Vibe and Custom Audio Black Cat Vibe), but now he has replaced them with this compact Vibe Machine to save space at his feet. However, there is no compromise on the sound, and Landau himself seems to evaluate it as "small but with the soul of a real Uni-Vibe."

The tremolo effect is also essential to Landau's playing. For that reason, the board is equipped with a Suhr Jack Rabbit tremolo. Unlike the vibrato/tremolo built into the amp, the Jack Rabbit pedal allows you to get a consistent tremolo sound in any amp environment. Landau uses deep tremolo to create emotion in slow ballads, and shallow tremolo to sway in time with the tempo in funky cuts, incorporating it into the rhythm. The Jack Rabbit also has a tap tempo function, so the tremolo cycle can be synchronized to the drummer's tempo. A veteran like Landau can instantly pick up the tempo by ear, so he uses it freely to create dynamic and groovy tremolo expressions.

Landau has been using D'Addario electric guitar strings for many years. He uses regular light gauge (.010–.046) as a standard, occasionally switching to medium gauge (.011–.049) depending on the tune. He has recently turned to the NYXL series of D'Addario strings, stating, "I've been using NYXL 10-46 for a really long time. They have a great sound and are very stable, and can withstand hard playing." This statement also shows how much Landau values ​​the reliability and sound quality of his strings. Although strings are subjected to heavy use on stage and in the studio, the NYXL meets his demands for tuning stability and long life, and is a perfect match for his playing style, which involves a lot of intense bending and vibrato.

Regarding picks, Landau is known to use traditional Fender celluloid medium picks. He chooses the standard 351 shape rather than the teardrop shape, and its moderate flexibility and slip resistance allow for a wide range of playing styles from fast phrases to delicate arpeggios. The medium thickness allows it to bend moderately when played hard, softening harsh attacks, and when played softly, it is easy to pick up nuances. Landau does not grip the pick too deeply, but controls it with his fingertips, and this Fender pick is just like an extension of his hand. In recent years, some fans have been talking about photos of Landau using blue picks, but it seems that he was just trying out Dunlop nylon picks, and that he has returned to Fender picks without changing his basic style.

Landau's signature equipment is not limited to guitars and amps. The Suhr ML single coil pickup is one of them. This is a pickup for Strats jointly developed by Landau and Suhr, and was named "ML" after the initials of his last name, Mike Landau. Landau's requests were reflected in the height of the pole piece and the number of coil turns to reproduce the tight bass, forward midrange, and smooth treble of vintage Strats. It was originally sold as an ML pickup, but has now been renewed as a model called **V63+** (the basic design is the same). Landau has this pickup installed on several of his own Strats and uses it for recording. For example, his Fiesta Red vintage Strat is equipped with the same pickup made by Suhr, and he seems to enjoy the old tone revived by Suhr's modern technology. Even in terms of pickup replacement, Landau does not compromise on his equipment, and it is clear that he is deeply involved in sound creation himself.

When talking about Landau's gear history, we cannot leave out the Custom Audio Electronics (CAE) rack system. From the 1980s to the 90s, he used a custom rack system designed by Bob Bradshaw. The method of rack-mounting a large number of effects and switching presets with a MIDI foot controller (such as the CAE RS-10) was popular among professional guitarists at the time. Landau was no exception, and used this system to instantly change the tone, improving the efficiency of his studio work and the reproducibility of his live performances. Although he has now moved to a pedal-centered board, the experience he gained during the rack era is the foundation of his gear philosophy. Even in his latest pedal boards, he incorporates Vertex line-out boxes and other equipment as needed to refine the wet/dry mix and signal distribution. Although it may look simple, there is an advanced system design behind it, and Landau is always evolving his equipment approach to bring out the best tone.