39. Paul Languedoc and the Instruments

Phish has a sound that is uniquely their own. And while part of that is a result of the musicians’ interplay and mastery of their instruments, part is a result of the instruments themselves and the live soundboard mix during their shows. The man responsible for this is named Languedoc, a moniker that has perhaps transcended the man himself and come to mean a sound and feel in itself.

Paul Languedoc (b. 1958) was Phish’s soundman from the very beginning through the band’s breakup in 2004.

He also worked as the band’s chief sound engineer and live house mixer, responsible for recording and mixing 1995’s A Live One as well as the original series of 20 Live Phish releases.

But perhaps most important is that Languedoc was and still is Phish’s custom luthier, having custom-built numerous guitars and basses for Trey Anastasio and Mike Gordon.

In March 2009, when Phish returned to the road, Garry Brown, who had been working sound for the Trey Anastasio Band, took over at the soundboard while Languedoc continued to build and repair beautiful custom guitars. As detailed on his website, the Languedoc custom-built guitar waitlist is currently full.

Can you imagine the band without Anastasio’s truly unique guitar sounds? Even still, each of Anastasio’s Languedoc guitars has a tone and feel all its own.

Trey Anastasio’s first Phish guitar is commonly known as “Blonde No. 1.” Built by Paul Languedoc in 1987, the headstock features an inlaid illustration of Anastasio’s dearly departed dog Marley, aka “Mar-Mar,” with a thought bubble that reads, Who’s the Mar-Mar?

A second guitar, built by Languedoc in 1991, is called “I’m the Mar-Mar!” and also features Marley, this time chasing a cat.

Anastasios’ go-to axe for Phish 3.0, the “Koa 1,” was built in 1996 with Paul Languedoc’s signature inlaid on the headstock. Anastasio played this guitar almost exclusively during The Baker’s Dozen, save for “Izabella,” “Cinnamon Girl,” and “The Wind Cries Mary,” for which he played Languedoc “Koa 2.”

Then there’s “Koa 3,” aka Ocelot, aka Ocedoc, which premiered in 2010 to awe and praise from the fans. Mr. Miner wrote in August 2010 on his site PhishThoughts.com, “Without dominating pieces with overwhelming solos or responding to his band mates with copious pitch-bending, The Ocedoc’s responsiveness allowed Trey to contribute with both passion and finesse to the most exquisite jams we’ve heard in years. From “Rebas” to “Hoods” and from “Lights” to “Tweezers,” the difference made by The Ocedoc in Phish music became staggering. Like a kid at play with the coolest toy he’s ever had, Trey took the stage night after night, slaying everything in his path.”

For more on Anastasio’s custom-built Languedoc guitars, including his pedals, amplifier, and signal chain, visit TreysGuitarRig.com.

Furthermore, Mike Gordon’s website, Mike-Gordon.com, offers details on his instruments, though it doesn’t mention much about the electric drill he employs from time to time.

Page McConnell’s stage presence is that of a captain at the helm of a spaceship, surrounded by keyboards, synths, organs, and a baby grand piano, all of which is outlined on his site, PageMcConnell.com.

Fishman’s drum kit is the kit dreams are made of. With more than half a dozen drums and a dozen cymbals, not to mention woodblocks and a cowbell, well, it’s enough to make contemporary drummers salivate with envy.

Oh, and sometimes Fishman plays the vacuum, a mid 60s baby-blue Electrolux. Yes, it’s true, but you knew that already!