My main acoustics for performing are Taylor 912s and 914s with active LR Baggs LB6 pickups installed by Joe Glaser. I use light-medium gauge (.012) strings for their tone and also for playing slide and open tunings. My favorite Taylor is a mid-nineties 914 single-cutaway cedar top with a Fishman Natural One pickup.
I use 1992 Tom Anderson Strat/Tele models and various Fender Strats and Teles. Jerry Jones six-string basses and baritone guitars have been a constant since I first began using them in the late eighties, particularly after using the Jones six-string bass for the signature instrumental theme in Clint Black’s “Killin’ Time.”
Main amp for performing is a 1992 Matchless 30 watt head with 2-12 cabinet loaded with Celestion speakers. Various amps used in studio include vintage Fender Champs and Deluxes, Vox, Dr Z, and Mad Cat low wattage models.
For electric playing I typically use a small pedalboard which includes a Peterson tuner, a Tonebone Tri-mode for tube distortion, a TC Chorus, a Keeley compressor, and some Boss Delay pedals. For acoustic in the current Clint Black 2013 acoustic tour I use a TC Electronics G-Natural pedal which is engineered for acoustic guitar performance.
For electric playing I use small heavy picks and John Pearse-style short and medium blade thumb picks. For acoustic playing I use the Pearse-style thumb picks, but for certain songs I use no pick at all, using the flesh and a small amount of fingernail for picking the strings.
For electric guitars I use a medium-thickness glass “bottleneck” style. For acoustic I use regular metal slides. I wear the slide on my left hand pinky finger for both styles.
I use Planet Waves NS capos for my acoustic guitars. With the capo’s tactile dial, only the smallest amount of pressure needed is applied to reduce the sharpening of the string’s pitch. This capo virtually eliminates string buzzes.
I use open “D” and “G” tunings for some of the songs I co-wrote and recorded with Clint Black, including “Ode To Chet,” “Change In The Air,” and “Tuckered Out.” Some other songs were inspired by various odd tunings but were not used in the recordings. I continually experiment with various tunings used by guitarists such as Michael Hedges, Preston Reed, Andy McKee, and Erik Mongrain.