Artist Spotlight :: Charlie Kaupp

Bio

Charlie Kaupp is a singer/songwriter and guitarist, and co-founder of San Francisco folk rock band The Treacherous French, which has been active in the Bay Area since 2011. Charlie's songwriting style is rooted in storytelling and narrative, evoking listeners' emotions by touching on subjects that are deeply personal, but that can be meaningful to different people in different ways. Charlie is also the host of the award-winning Riptide Open Mic in San Francisco, where he has worked together with local musicians to form a unique community spanning all genres of music.

What/Who inspired you to pick up your instrument?

To be honest, it was my parents. I grew up in a musical household, with dad playing guitar and mom playing piano. They insisted I take piano lessons as a kid, which I did begrudgingly, but ultimately I am thankful for. I quit in high school, and eventually switched to bass, then to guitar. I think my original bass inspiration was probably John Paul Jones of Led Zeppelin. The Lemon Song and Ramble On were such cool bass lines, and I had never really heard how the bass could add so much to a song until I heard Led Zeppelin. I switched to guitar eventually and started to draw influence from alt-rock bands from the 90s like Smashing Pumpkins, Stone Temple Pilots, Pearl Jam, and the like. Later on, when I started down the folk rock path, my influences moved to folks like Colin Meloy of The Decemberists, Ben Gibbard, Elliot Smith, and of course classic strummers like Neil Young, Arlo Guthrie, Paul Simon, etc.

What piece of musical advice would you give yourself if you could go back in time to the beginning of your musical journey?

Don't quit piano! Now, when I hear of someone who is getting into learning music, I always steer them towards the piano. It's such a perfect instrument to learn theory, while not being frustrated with intonation nuances.

What keeps you excited about playing?

Playing in front of an audience and making a human connection with them is what keeps me going. If I can look a stranger in the eye and see that we share something that I'm saying in my music, I've succeeded.

Desert Island 3 pedal pedalboard (not including tuner)

Assuming no specific amp, I would bring a Strymon Flint for that sweet reverb, an original circuit Tube Screamer, and probably a simple loop pedal, like a Boss RC-20. If I'm stranded, I want to be able to build my own backing band!

When you find yourself in a musical rut, what techniques do you use to break out of it?

I like to get out into nature, the farther away from people, the better. I'll go on a solo backpacking or hiking trip and bring a notebook and pencil, find a quiet spot off the beaten path, and write what comes to mind.

Who is your favorite artist/band today? And who was your favorite artist/band 10 years ago?

Today I'm listening to The National a lot. I've been toying with my own baritone voice (I used to focus on a bit of a higher register when I was singing emo songs), and I like where it's going, so Matt Berninger is a good inspiration for that. Ten years ago, I was listening to pretty much only The Decemberists. They remain a strong influence in my writing style today, but I also find that I listen to their older catalog a lot more than their newer releases. I think today, my musical taste is really varied compared to what it was ten years ago. I can find inspiration in any genre now.

When you find yourself in a music store - what is your go-to riff when test-driving gear?

I usually pick an older Metallica intro riff, like Sanitarium or Fade to Black, then I switch into something a little more generic for strumming chord changes.

What is your most prized/cherished piece of gear? And why?

I love my Telecaster. It's pretty new, but it's also my favorite instrument to play. I also have a super-antique mandolin that was cherished by a great-great (-great?) uncle of mine, and was one of the only possessions he brought with him when he migrated across the country to California.

What is the next big musical purchase you're hoping to save for?

I'd like to pick up another Martin dreadnaught sometime in the next few years. I might also want to pick up a slightly larger amp, like a Fender Deluxe Reverb.

Gear Breakdown

Guitars:

Martin SWDGT

Fender American Professional II Telecaster

Gibson SG Standard

I probably play the Tele more than anything, but for solo or singer-songwriter type gigs, open mics, and the like, I play the Martin. Plus, some of our songs are just better with the acoustic than the electric. I haven't played the SG on a live project in a long time, but back in the day, I was playing a lot of alternative rock, and it was the right sound for that world.

Amps:

Fender Princeton Reverb '65 Reissue

Acoustic A40

Prior to the PRRI, I was playing a Fender Hot Rod Deluxe, and that was just too much amp for anything I needed. The A40 is a nice acoustic preamp with XLR out, so that's great for any time I play the Martin.

Pedal Chain:

Bright Onion Dual AB (acoustic/electric path)

Korg tuner (on FX loop for both)

Acoustic (A) path:

MXR 12-band EQ (always on)

Electric (B) path:

Strymon Compadre (always on)

MXR Double-double overdrive

Joyo American Sound (always on)

I'm not really a pedal player, but I've found that with the PRRI, there are a few things that I like to have on all the time. The Compadre compressor does a nice job of smoothing out the sound and adding some sustain, especially at lower volumes. I recently added the American Sound, which emulates an old Fender Deluxe (from what I can tell), and I have that on all the time with the level up and gain down. It gives me a nice, soft, crunchy, warm, clean sound without driving the amp above about 3 or 4. The Double-Double is a switchable overdrive circuit that I leave on the Tube Screamer setting most of the time. I use this for overdriven leads when needed. I also use the Compadre overdrive switch for a slightly different overdrive tone.

I sometimes play wireless from the guitar to the pedal board so I can roam around the venue, but there are always a couple of Rattlesnake cables on stage with me:

Snake Head Rattlesnake Instrument cable in Snake weave

Standard Rattlesnake Instrument cable in Copper weave with a right-angle on one end

I like these cables because they hold up really well under a lot of stress, and style-wise, they fit my overall look. I used to play with cloth-woven cables, but they started getting pretty ratty after a few months, with the cloth starting to fray. I don't see that happening with the super stiff Rattlesnakes. The snake head is convenient for the Tele also because of its notoriously loose output jack, so no bumps knock me loose.

Bands / Projects

The Treacherous French

Listen on Spotify

Social Links

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