Facing a mandatory shelter-in ordinance to limit the spread of COVID-19, PG enacted a hybrid approach to filming and producing Rig Rundowns. This is the fifth video in that format, and we stand behind the final product.
In this episode, we catch up with New Jersey rocker Brian Fallon. The Gaslight Anthem founder just released his third solo album, Local Honey, that broadens his solo sound with polished storytelling cast over an Americana backdrop. The charismatic frontman virtually welcomes PG’s Perry Bean into his home studio for a 50+-minute hang that covers the various custom Fender Teles, explains the triumphs (and agony) of reconstructing amps, and details his holy-grail drive.
Starting off with Brian’s newest Fender Tele, this Paul Waller Masterbilt, all-rosewood model was received just before the nationwide quarantine. It looks very similar to the George Harrison Tele they released a few years ago, but this one has a big, V-profile neck that’s spec’d after his old Custom Shop Broadcaster. It features Twisted Tele pickups, and a solid rosewood body (the GH signature was chambered). He really loves its thick, Junior-like sound you can get out of it when it’s pushed.
Once a devoted Les Paul player, Fallon made the move to the trusty, hearty Telecaster and hasn’t looked back. This ’51 Fender Custom Shop Broadcaster Relic is the model that the rosewood Tele’s neck is based on. This was a post-NAMM package buy from Russo Music that also included a sister Custom Shop Strat. The only change he’s made to the guitar is adding Righteous Sound Sparrow pickups that are based on early, low-output Tele single-coils.
Here is Brian’s Custom Shop Strat that was bought as a pair with the previous blonde Tele.
This faded sonic blue Custom Shop Tele has two unique features—a roasted flame maple neck and a 11" radius that makes it feel and bend similarly to a Les Paul.
It all started because he was hunting down a touring sidekick that could match the sound of his vintage ’66 Fender Deluxe Reverb so he opted for this handwired ’64 Custom Deluxe Reverb. However, the journey doesn’t end there, he fell down the rabbit hole of circuity and components. Because of a formal education in electronics, Fallon A/B’d every capacitor, resistor, power transformer, and tube he could get his hands on in order to lasso the tone in his head. And thanks to “Slucky” in the Hoffman Amps forum, he replaced the stock tube-driven tremolo with an early ’60s brownface-style modulation. He says he rebuilt the amp at least four times since owning it.
Another combo that he favors is this 12-watt ’62 Fender Princeton Chris Stapleton Edition. Below it you’ll see his touring board that currently has a D’Addario CT20 Chromatic Tuner, MXR Phase 90, Analog Man King of Tone, and Strymon Flint.
Fallon’s favorite effect might be this Fulltone Solid State Tape Echo. He really enjoys its old-school flavor, but even appreciates (and often runs as such) how the built-in preamp—without the delay—warms up his tone.
An admitted pedal nerd and tone snob, Brian does have a stash of stomps, but when it comes to his live setup it’s minimalistic. After countless shootouts and comparisons, he still can’t leave the house without his Analog Man King of Tone.
Other pedals he favors are an old Ibanez TS808 Overdrive Pro and Analog Man Sun Face RCA Germanium unit.
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Perry Bean cut his teeth touring and playing in punk rock and hardcore bands, before he got his start in film. He worked his way up from lowly production assistant to become a producer, art director, and most recently, a music video director nominated for ACM, CMT, and CMA awards. Being Premier Guitar's Chief Videographer was a perfect fit for him, combining his two favorite things—guitars and cameras. Perry doesn't have free time, but his massive dog Beef pays his rent by being Perry's intern.
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