Geared Up: Jonny Polonsky Discusses His Setup and Amplitube Amp Modeler

Jonny Polonsky is one of those artist who embraces it all. Whether it be as a session player, a collaborator, a contributor, or a solo artist, he’s willing to take on nearly any endeavour. He has contributed to songs and albums by legendary and mainstream artists like Johnny Cash, Neil Diamond, The Chicks, Puscifer, and Tom Morello. He’s a bit of a journeyman artist, and he’s ok with that. Maintaining that humble approach has enabled him to contribute to some great songs by some of the greatest artists. All the while, he has remained grateful to those who helped him along the way. Perhaps the most notable being Frank Black of the Pixies who produced Polonsky’s demo way back when.

But Polonsky also plays and writes his own music. He recently released his latest solo record Supernatural Radio via Stone Gossard’s Loosegroove Records. It’s an album of songs featuring Polonsky operating completely on his own terms, albeit with a list of impressive collaborators. The album features former Red Hot Chili Peppers drummer Jack Irons, guitarist Alain Johannes, known for his work with Chris Cornell and Queens of the Stone Age, and pianist and organist Benmont Tench, regarded for his work with Tom Petty and the Heartbreakers.

As a veteran session musician, you can imagine that Polonsky is extremely knows his stuff when it comes to gear. He joins us today for Geared Up to discuss his setup, the Amplitube amp modeler, and of course, his best gear goes wrong story.

First things first: what’s your current setup?

Jonny Polonsky: “I have about 20 guitars, a Mac Book Pro, Pro Tools, and I use the Amplitube amp modeler for guitar amps. I sold all my amplifiers when I moved to NYC (all the clubs there have backline, and the apartments are too small to be able to use an amp). Since moving back to Los Angeles in January of 2024, I bought a used Fender DeVille 4×10 combo amp. I like it a lot, but I only use it live, I still record with Amplitube.”

What one piece of gear do you use to obtain your signature sound?

“I don’t really have a signature sound, to my ears. I try very hard not to have a style. That way I don’t have to live up to any expectations, from myself or anyone else. When you don’t have a rigid identity, you can be whoever or whatever you want and you can go anywhere and do anything.

“I’m not interested in having a signature sound, I’m just trying to stay engaged, creative, and curious. That said, I do like singing into a Shure SM7 microphone. But that has as much to do with the fact it’s the only pro mic I own as anything. Rod Stewart sang into them on all the Faces records, that works for me.”

Jonny Polonsky ‘Supernatural Radio’ album artwork

What made you choose this particular microphone and were there any close seconds or alternatives?

“Rod Stewart! I bought this mic in the mid-’90s and never sold it (like I did with most of my other gear over the years), so this is the piece of gear I use. I’m not a lazy person, but if something works and I like it, I tend to stick with it.”

What about the microphone makes it so important to you?

“What I love about the SM7 is the fact that it works and it’s in such close proximity to my face while I’m recording. It’s a great-sounding mic. It also has a sleek, modern look to it, and can really work wonders if you’re looking for that special piece of gear to really tie the room together. Have no compunction of either form or function.”

Did you use this microphone during the recording of Supernatural Radio? If so, please elaborate on how and for what parts.

“I used Amplitube for all the electric guitar and bass parts. I used the SM7 for all vocals, acoustic guitars, and any percussion I might have played.”

Jonny Polonsky desktop setup, photo by Jonny Polonsky

Do you have a special way that you recreate your album (guitar/vocal/bass) tones in a live setting? Or is it more just plug-and-play?

“I’ve never felt compelled to recreate anything live the way it is on record. The Who had a profound influence on me growing up. Not just the songs and the musicianship, but the fact that their records sounded like very immaculately created pop records and then live they were just so unbelievably savage.

“Listen to Live at Leeds or Woodstock or Isle of Wight, then listen to the studio versions of those songs. It’s night and day. I like that.

“The record is its own thing; it is what it needs to be. To me, live performance should be fluid and allow for the moment to dictate how it all comes out. When I play live, the goal is to balance beauty and chaos and just be in the moment and freak out. What works live doesn’t necessarily translate to record, and vice versa.”

Jonny Polonsky guitar, photo by Jonny Polonsky

What piece of gear gave the longest service? Are you still using it?

“I bought a 1950s Goya acoustic six-string guitar when I was a teenager. I wrote all my early songs on it and still use it sometimes. The acoustic guitar on the verses to ‘The Longest Mile’ was played on the Goya.”

What’s your dream setup?

“I’d love to have a Blackstar half stack or combo amp, I like those. I really like the guitars I’ve got, though I’m always down for adding to the collection! I love 12-string electrics, that’s a sound I’d like to incorporate more, especially live.”

Jonny Polonsky mic, photo by Jonny Polonsky

What brand do you usually lean towards when looking up new options?

“For guitars, I tend to like Gibsons and Fenders, but I’m always open to something new and exciting. For the last few years I’ve been using Reverend guitars, I like those a lot. I have two Reverend Dirtbikes (both customized with Sustainiac pickups) and one Reverend Spacehawk. They’re both Reeves Gabrels signature models.

“Reeves is one of my all-time favourite guitarists. He also is one of my earliest supporters. I used to call him up on the phone when I was a teenager and ask him a thousand questions about Tin Machine, Bowie, and the Sales Brothers. Reeves became a mentor to me and he introduced me to Frank Black. I owe him a lot.”

What was the first rig you ever bought that felt like you had “arrived” as a musician?

“Well, that Goya acoustic I mentioned earlier was the first piece of gear that I bought with money I earned from playing gigs, rather than stealing the bread from my parents’ sock drawer. That felt pretty good.”

What setup did you spend the most time idolizing as a kid growing up?

“Pete Townshend’s SG Special and Hiwatt stacks. Jimi Hendrix’s Strats and Marshall stacks. Adrian Belew and his whole wild world of guitar synths and endless pedals.”

What setup do you think serves musicians like you the most in the style of music you play?

“When I play live these days for my own band, I use my Reverend Dirtbike with the Sustainiac pickup, a small pedalboard with maybe five or six Boss pedals, and a Fender DeVille (or whatever the backline is). I’m not fussy. Just wind me up and let me go.”

Time for some fun. Give us your best “gear goes wrong” story.

“Years ago I was playing New York City, opening for Frank Black at Tramp’s. I tried to jump into the crowd but accidentally cracked my acoustic guitar on the steel security barrier. Quickly realizing my guitar was busted beyond repair, I smashed it to smithereens and promptly split the scene (our set was over anyway).

“I came out less than five minutes later to break down my gear and some crafty bastard had taken out the sound hole pickup from my guitar. That’s NYC for you… Recently I heard from Christian (Zucconi) of the band Grouplove, and it turns out he was that crafty bastard. And the circle remains unbroken…”