Arthur Channel’s Jon Greene, Lyle Workman & Alain Johannes: Silver-Screen Dream

Ex-Chili Pepper drummer Jack Irons, Beck sideman Lyle Workman, Wallflowers bassist Greg Richling, and Alain Johannes team with singer/guitarist Jon Greene for a project right out of the movies.
It’s the stuff of Hollywood. Well, almost. If rookie singer/guitarist Jon Greene’s true-life story about forming Arthur Channel with a bunch of rock ’n’ roll veterans were adapted to the silver screen, big-studio scriptwriters would have them racking up Top 40 hits, performing on all the late-night TV shows, and laughing all the way to the bank.
But it’s unlikely that Arthur Channel’s nine hauntingly atmospheric tunes full of velvety, warbling vocals, complex chord shapes, and trippy, neo-Holdsworthian guitar solos would get that kind of play in today’s pop-oriented industry.
Greene’s lucky-demo-tape tale is more like a down-to-earth indie film—but it’s still pretty freakin’ rad. It goes something like this: In 2009, Greene, a 31-year-old from Wales, Massachusetts, moved to Los Angeles with his band, Nude Black Glass, to give the whole rock-star dream thing a go.
Only the rest of his band never showed up. They all chickened out. Flaked.
—ex-Wallflowers bassist Greg Richling
Greene had no band and no Cali connections—or so he thought until one day about a year later when he was catching up with a friend from back East. “We were talking about music, and I mentioned I’d just moved to L.A.,” Greene recalls. “He said, ‘Why don’t you get in touch with my friend who lives there? This guy is a professional musician.’ I was, like, ‘Oh, cool. What’s his name?’”
It turned out that this musician was ex-Pearl Jam drummer and founding Chili Pepper Jack Irons.
Back to the Woodshed
Armed with Irons’ contact info, Greene knew he’d only have one shot at making anything of it. To keep the money coming in, he moved to Northern California to work as an arborist, and in his spare time he wrote a fresh batch of songs. “When I came back to L.A. about four months later, I finally got up the nerve to contact Jack,” he says. At the drummer’s request, Greene sent three demos. “He called me back that day or the next and said, ‘Hey, let’s get together.’ I thought, ‘Holy shit—all right!’”
Irons had just tracked drums for Jakob Dylan on the Wallflowers’ 2012 album, Glad All Over, and during the sessions he’d hatched a plan with longtime Wallflowers bassist Greg Richling. “Greg and I had previously talked about working together, and maybe with an up-and-coming singer-songwriter,” explains Irons. “So Jon and I put this out there to Greg and he dug it. About a month or so after first meeting with Jon, we all got together and started the process of the band and working on more tunes.”
At that point, Greene had been playing guitar since seventh grade—but in bands he’d always focused exclusively on vocals and used the 6-string solely for songwriting. Style-wise, he’s a big fan of quirky indie rock—the Mars Volta and Karate are major influences—but the tunes he’d worked up for Irons were much more straight ahead, just acoustic guitar and vocals. “They were so minimal,” Greene explains. “I was really trying to write ... not pop songs, but things with nice melodies and vocal turnarounds.”
The songs that ended up on Arthur Channel’s eponymous debut—including those from the original demos—are a far cry from the mellow versions Greene penned whilst among the sequoias of NorCal. For starters, Greene—who says of his guitar skills, “I was just kind of amateurish”—had to put down the Martin acoustic he was most accustomed to and get used to the Rickenbacker 360 loaned to him by a friend of Richling.
One gets the feeling Greene is being modest about his guitar abilities, though. His rich, unusual chord constructions were integral to the unique songwriting style that opened doors for him. Though the band did recruit a second guitarist to fill out the sound, Greene’s guitar work is the foundation of the songs and translates wonderfully to electric. “He has this amazing ability to pick out harmonically interesting chord choices that are not the obvious places to go,” says Richling.
Greene attributes this to life-changing advice he got from a high school friend. “I was kind of in barre-chord mode,” he says, “and then a friend of mine named Daniel Lafleur, who is a very, very talented singer-songwriter, was like, ‘Just put your fingers all over the guitar. Make up chords—just land somewhere, make up a chord, and put a bunch of them together and see what comes out.’ That just expanded my view of the guitar and what you could do.”
Jon Greene's Rickenbacker and Vox combo.
Richling is as effusive in his praise of Greene’s voice as he is of his playing. “My initial impression was that Jon’s voice contains a lot of originality, strength, emotion, and loftiness that you rarely find. Then I realized he could write these incredibly poetic lyrics that fit seamlessly along with his very unique style of guitar playing.” Even so, Greene did have to revamp his vocal approach to the constantly shifting, oft-bombastic interplay in Arthur Channel’s rhythm section.
“I had to push my vocals to stay on top of everything,” says Greene. “I had an idea of what the drums would sound like, but literally, on every song that we did, Jack completely changed that. I had a really simple-minded approach to everything. And the way those guys play so dynamically together completely changed things. It brought everything from two-dimensional to three-dimensional for me.”
As for the guitar tracks—all of which were recorded live with Richling and Irons—Greene is frank: “I was really forced to step it up and learn that instrument well and get on the ride with these guys. They had a pretty high standard, and for a good while I was pretty intimidated by that.
“We were recording the demo of ‘We Are in It,’ and Jack was playing the backing guitar and was like, ‘See—your guitar is out right there. You've got to redo that part,’” Greene says. “I remember being so aggravated and confused, because I just didn't get what I was doing wrong. There were many humbling experiences like that.
I was pretty intimidated by that.”
I realized how to play well with a drummer and play in a pocket and listen to everything going on instead of kind of, as Greg would say, ‘high-schooling it,’ or speeding through the songs without paying attention to what everybody else is doing. I feel like I’ve learned 10 years of really great lessons in a very short period of time.But I got more comfortable and confident with it, and they were super supportive of me going through and figuring out my sound.”
Session Superpowers
To get the tones that are the framework for Arthur Channel, Greene favored a Telecaster and the aforementioned borrowed Rickenbacker—which he loved so much he purchased an identical model. His amps included a custom, Eminence Legend-equipped Aric Audio 18-watt combo made from 1960s Hammond organ parts, and a ’67 Fender Bandmaster head driving an Avatar cab loaded with two Celestions.
“When I was in sixth grade, my best friend at the time came back from Boston, where he’d been visiting his grandmother, and he had this giant cab with four 12s in it and this Fender Bandmaster head. They found it in Boston on the side of the road. Somebody was throwing it out because it wasn’t working right. I didn’t really know much about amps, but I was interested. So I saved up a little money and ended up buying the head and the cab off of him for $180.It sat in my bedroom for years, and then about five years ago I ended up having the whole thing rewired.A resistor was blown out, and one of the tubes was blown, and that was it.” Greene is also a big fan of the Vox AC15 Hand-Wired combo. His only effects for the album were a Boss BD-2 Blues Driver, a Boss CS-3 Compression Sustainer, and occasionally an Electro-Harmonix Holy Grail.
Alain Johannes—whose 6-string and multi-instrumental prowess has been tapped by the likes of Queens of the Stone Age, Arctic Monkeys, Chris Cornell, and Dave Grohl’s Sound City Players—was the first name to come up for a supporting guitar role.
Jon Greene's custom amp.
To get the frenetic rotary-speaker effect that powers that tune, Johannes played his ’70s Fender Jazzmaster into an Electro-Harmonix Stereo Pulsar tremolo and a Homebrew Electronics Germania driving a Supro Tremolectric and a Fender Twin. He miked them with a Sontronics Sigma ribbon mic and a vintage Telefunken mic feeding a pair of Neve 1080 preamps. “I must admit, I’d been listening to a lot of Neil Young,” he says. “I love that slightly unhinged, on-the-edge feeling.” Johannes also sometimes used an EBow on a fretless guitar strung with flatwounds to simulate cello and violin sounds.
The remaining lead-guitar duties were handled by Lyle Workman, a prolific session player whose credits include stints with Sting, Beck, and Todd Rundgren, as well as soundtrack work for films such as The 40-Year-Old Virgin, Get Him to the Greek, and Superbad.
“Greg and I went over to Lyle’s house, and a lot of the songs were done literally on the first or second take,” says Greene. “He just heard the song and said, ‘All right, let me take a couple of runs at it.’ It was just amazing. He started with [album-opener] ‘Vapor,’ and I remember Lyle asking, ‘So, what are you looking for on these?’ Greg was, like, ‘Frank Black and the Catholics,’ and then Lyle threw down these crazy-ass leads—I had no idea where they came from.”
Of the angular, Allan Holdsworth-like leads in the otherwise more accessible opening track “Vapor,” Greene says, “I appreciated it, but I didn't really know if it fit. I was a little concerned. Greg was like, ‘Dude, just trust me.
—Jon Greene
When we get this mixed and get it back, it’s going to be great.’ I had that first-album syndrome, where I was being overly precious about certain things. But then I remembered how much I love the Mars Volta and how out-there Omar [Rodríguez-López] can be with his guitar playing.
I totally appreciate that everybody got to do what they like to do and that the sound took form from everybody’s individual ability. It took a little while for me to come to that place, but I’m very glad that I did.”
Hollywood Ending?
Given the demand for Channel’s various players, it’s no surprise the band’s future is a little uncertain. “We’ve been discussing what to do,” says Greene. “We definitely want to start getting out and doing shows.”
All except Greene are highly sought-after studio and live performers, and Greene has already started another band. But he, Irons, and Richling agree Arthur shouldn’t die. “We’re going to do some recording soon.” And Johannes has signed on as lead guitarist for live dates and any future recordings. “We’re going to see what we come up with as a full band instead of me bringing in tunes,” Greene explains. Whatever happens, he’s got no regrets.
“My cousin—who was the drummer in my old band—called me up and said, ‘I just wanna let you know that you’re an asshole. You're not even a drummer, and you’re in Drum! magazine.’ I was like, ‘Thanks, man—you happy you didn't come out to L.A.?’”
Lyle Workman Channels Arthur’s Leads
Session guitarist and soundtrack composer Lyle Workman’s guitar-playing and compositional abilities are such that he’s a first-call player for a variety of projects. Many know him for his work on Todd Rundgren’s albums Nearly Human and 2nd Wind, but his versatility earns him work with artists as diverse as Michael Bublé, Ziggy Marley, and Shakira—though these days he spends most of his time scoring films. We recently spoke to him about the lead-guitar work he did for Arthur Channel after vocalist/guitarist Jon Greene and bassist Greg Richling brought him the album’s basic tracks.
Did you find yourself using a handful of go-to gear to track the Arthur Channel parts?
Yeah. Effects-wise, let’s start with the overdrives: I’ve got the PaulCAudio Tim, the Univox Super-Fuzz, an old Fuzz Face, a reissue Pro Co Rat, and a Skreddy Zero, which is like a Big Muff. Sometimes I just turn the amp up and get the distortion from that.A Boss VB-2 Vibrato is my go-to unit for anything that sounds a little bit wobbly. The Line 6 DL4 delay is kind of a staple—I have to have that. I've got a crazy little Guyatone digital delay for freaky sounds, and I also have a DigiTech Whammy. And I use a bass compressor that I'm just in love with—the EBS MultiComp. A lot of the time, that’s on to give me just a little bit of presence and not a whole lot of compression.
What do you like about the EBS versus other compressors?
It has a very nice, warm, robust sound, but it can be subtle. It doesn’t thin the sound out. It’s got a 3-position switch: tube simulation, midrange bump, and normal. I generally use tube-simulation mode. The preset threshold and ratio work really well with guitar, so you don’t have that problem with the popping and clicking sound you get sometimes with other compressors. It’s also very simple. When a compressor pedal has four or five knobs on it, it’s just too much.
Did you use modelers or plug-ins or the real deal for amp sounds?
I used two Divided by 13s—an FTR 37 and an RSA 23. The 37 is 6V6 driven, and it’s my favorite when I want a totally clean swatch to put stuff into, like distortions and overdrives. The 23 has KT88s, and I favor it when I want to get a little bit more overdrive from the amp—for medium- to high-gain stuff. I also used a have a ’66 Princeton Reverb that’s kind of a go-to clean-swatch amp. It takes pedals well and also has a kind of nice, natural compression.
What were your main guitars?
A ’72 Fender Thinline Telecaster, the semi-acoustic one with the two big humbuckers. The pickups are hot. They’ve got, like, 10k output, but you still get that nice Tele sound—that really springy, steely sound you get from a Tele—but with much more gain. That’s one of my main guitars. I also used a Gretsch Duo Jet reissue—one of the Stephen Stern custom shop masterbuilts, with the DeArmond-style pickups.
Is your ’72 all stock?
Actually, no. I never really liked the neck on that guitar. It’s very narrow, and it shrank over time—it got to the point where the high-E string would be falling off the neck. I cheated by loosening the bolt to sort of kick it one way, but then it would fall off the other side. So I went to Guitar Center and bought a Mexican-made Thinline reissue that had a nice neck. I took it to my guitar tech, Norik Renson, who’s been working on my guitars for the last 18 years. He took the finish off, put a slightly different radius on the fretboard, and put new frets on it. It’s been there ever since.
What was your initial impression of the Arthur Channel songs when you first heard them?
I really liked them. I thought they were fresh and unique. I liked the tone of Jon’s voice. There was something different about the way he wrote songs. The chord structures weren’t the typical pop fare. I heard maybe a little bit of Jeff Buckley, who I’m a huge fan of.
Did you collaborate with Jon and Greg on the approach to the leads, or did they pretty much give you free rein?
It was in the free-rein territory—obviously with their input, though. They would chime in if they really liked something or had something they wanted me to try. The thing that was also unique was that they would say, “Go ahead and do a solo here.” “What?” I’d say incredulously. “A guitar solo in 2013?” Just about every pop song used to have a guitar solo—verse, chorus, verse, chorus, bridge, solo. But now the guitar solo’s gone the way of the doo-wop singer.
There are a lot of layers, textures, and subtleties on this album, and there’s a very atmospheric vibe. Was that there before, or were the delay- and reverb-drenched moods something you brought to the table?
That was me, but they also added a lot of that later in the mixing. When they came to me, the meat and potatoes of the tracks were laid down, the rhythm guitar parts, and then I added colors. Like the song “Vapor” starts with a kind of arpeggio—that would be a good indication of the types of parts that Jon laid down, the parts that the songwriter would have written the song to.
How do you approach a typical session where someone brings you songs to augment with guitar parts?
It’s hard to pinpoint that process exactly. It’s just reacting to what you’re hearing. Typically, the people you’re working with are careful not to fill your head with too many descriptions and too much information or instructions. They say, “This is what we have. What do you think?” And then it’s me saying, “Well, let me try this.” I’d just dial up a sound for a part and then either get the yea or the nay.
Do you think about melodic ideas or types of tones first?
I think of technical aspects last. The first things I think of are the melodic aspects—they dictate what the sound should be. For example, I’ll hear a line, like a single-note line, in my head. It’s not a solo, but maybe a line that happens in the intro and after the chorus, before the vocal comes in. And then, on my pedalboard I’ve got enough pedals to give me a gamut of distortion or fuzz. As I’m crafting the line, I might say, “This would sound better with this amp, or with this guitar.” I have the ability to come up with the idea with my pedalboard and the guitar, but then I refine it if I feel I need to.
What sort of direction did they give you initially?
I think they just wanted to see what my take would be. I just started playing the songs, and we started recording. It sounds like a little bit of a glib answer, but you get to a point in your career where people just want to trust your first impressions of things. That’s always the best-case scenario for me, when people let you do that. You end up doing your best work when you just do what you do. So if the casting is right … it’s the same way with a movie, sometimes the best directors don’t say anything. Woody Allen’s supposedly that way. He’s notorious for not telling anybody everything. You trust that your players are going to react in a way you like. It’s all about the casting.
As an avid session player, how do you deal with it when you’re hired for a project where you’re not inspired—or are even repelled—by the music?
It’s rare to be in love with the music … but it depends on the player and the type of music they like. Some people like the current state of pop music and are fine with it. For us older guys who miss Led Zeppelin and the Who and guitar solos, it’s a little more challenging. But you’ve got to take it all in. I think anybody who can make a living playing music has a huge blessing. If you’re playing on a record where you don’t really communicate with or love the music but you’re getting paid for it, that’s a champagne problem. I feel grateful every time I get a call, even after all these years. I feel grateful regardless of what the project is, or what the music is, or whether I like it or not. Also, there’s a cool challenge in figuring out how I can make music that I might not purchase myself as good as I can make it and make them happy. The more that you give of yourself to it, the more that you find something within it that you really like.
Stretching the boundaries of reverb’s realm through dynamic and pitch control.
Nice core reverb sounds. Invites cool compositional and arrangement directions. High quality.
If you lack patience, it will be hard to unlock its coolest secrets.
$329
Gamechanger Audio Auto Reverb
gamechangeraudio.com
When the first Moog synthesizer appeared, it freaked out a lot of musicians—not least for the way it blurred the divisions between instruments and their roles. Was it percussion? A keyboard? A reed instrument? Many effects makers build from this philosophical foundation. The Latvian company Gamechanger often seems to revel in it—an attitude that’s manifest in the company’s Auto Series pedals, which includes the Auto Reverb.
There’s no reason you can’t use the Auto Reverb in a very straightforward fashion. The plate, spring, and hall settings are all very nice digital representations of their analog inspirations—and I’d be perfectly happy playing an instrumental surf set with the spring mode, for instance. But because you can control the parameters like the reverb’s level, decay, tone, and the filter with changes in pitch and dynamics, the Auto Reverb can function in highly orchestral ways, transforming itself from subtle to outlandish as a musical piece shifts in intensity or rises from low to high keys toward a blurred, hyper-spacious climax. While these attributes make the Auto Reverb a great fit for prepared guitar and conceptual pieces—and invites many themes and compositional ideas within those forms—it can just as easily be configured to create an especially dynamic and dramatic pop song arrangement on stage or in the studio that might otherwise be relegated to automations within a DAW. It’s fun to use, if not always intuitive. But knowing its ways can expand your musical options significantly.
Kepma Guitars introduces the new Fenix Series of Grand Auditorium acoustic guitars, offering premium features at an entry-level price, plus their new travel-sized FC Mini Series.
Designed for both aspiring players and seasoned musicians, the Fenix Series offers premium features typically found in higher-priced instruments, all starting at just $249.99.
“The new Fenix models represent our commitment to making premium-quality guitars accessible to players at every level, without compromising on sound, playability, or innovation,” said Kepma USA president Tony Moscal. “With their torrefied solid tops, thinner neck profiles, and unparalleled playability, these guitars deliver exceptional sound and feel typically reserved for professional instruments—all at an entry-level price.”
The Kepma Fenix Series features a Grand Auditorium body style with a solid torrefied Sitka spruce top, delivering exceptional tonal resonance and stability. The proprietary Kepma Torrefication Process uses a precise combination of heat and humidity to remove moisture, oils, and sap from the wood, resulting in a stronger, more stable top that enhances string vibration and ensures consistent performance in any environment.
Back and sides are crafted from layered African mahogany, providing a warm, balanced sound. The neck, made of durable nato wood, is reinforced with a two-way adjustable truss rod and finished with a smooth satin coating for effortless playability.
The Fenix Series is packed with cutting-edge features to elevate the playing experience:
- New 4-Point Bolt-On Neck Joint: Ensures unparalleled stability that allows for easy adjustments and maintenance - a first at this price point.
- Ultra-Thin Water-Based Finish: Environmentally friendly and just 0.042mm thick, this finish protects the guitar while maximizing tonal projection and preserving the natural beauty of the wood.
- Beveled Binding for Comfort: High-quality ABS beveled binding enhances durability, prevents edge damage, and ensures a comfortable playing experience.
- C-Shaped Fast Neck: A player-friendly design that reduces hand fatigue, enhances playing fluidity, and supports all playing styles.
For players seeking even more versatility, the optional AcoustiFex K-10 Pro Pickup, Preamp & FX System transforms the Fenix into an all-in-one performance and practice powerhouse. This system includes built-in reverb, delay, and chorus effects, Bluetooth audio streaming, and a companion app for rhythm looping, metronome functions, and more. Whether you’re performing on stage or practicing at home, plugged into an amp or mixer, or simply playing unplugged, the AcoustiFex system delivers unmatched sound and convenience.
The Kepma Fenix™ Series offers four configurations to suit every player’s preferences:
- FGA1-130 (Natural Finish): Grand Auditorium, solid torrefied spruce top, layered mahogany back and sides. MAP: $249.99
- FGA1-130A (Natural Finish with AcoustiFex): Grand Auditorium, solid torrefied spruce top, layered mahogany back and sides, AcoustiFex K-10 Pro Pickup System. MAP: $299.99
- FGA1-130SB (Sunburst Finish): Grand Auditorium, solid torrefied spruce top, layered mahogany back and sides, sunburst finish. MAP: $249.99
- FGA1-130ASB (Sunburst Finish with AcoustiFex): Grand Auditorium, solid torrefied spruce top, layered mahogany back and sides, sunburst finish, AcoustiFex K-10 Pro Pickup System. MAP: $299.99
The new Fenix models are designed to inspire beginners and seasoned musicians alike, setting a new benchmark for performance and value in the industry.
Kepma Guitars is thrilled to announce the introduction of its versatile FC Mini Series, packed with cutting-edge technology that redefines expectations for travel-sized guitars.
The new FC Mini models include a variety of configurations to suit every player’s needs. The Spruce/Rosewood and Spruce/Mahogany options feature solid torrefied spruce tops paired with layered rosewood or mahogany back and sides, available in natural and sunburst finishes. The Mahogany/Mahogany model features a solid torrefied mahogany top with layered mahogany back and sides in a natural finish. Each guitar is offered in three versions: no pickup, with the AcoustiFex® K-10 Pro system, or equipped with the Elfin Sound System, and all come with a deluxe gig bag. Prices range from $399.99 to $549.99 MAP.
Big Sound in a Compact Package Traditionally, smaller guitars have been associated with compromised sound and tone. Kepma’s FC Mini Series shatters this notion by integrating advanced innovations and meticulous design to create a guitar that offers the full resonance and projection of a standard acoustic.
Premium Materials and Construction The torrefaction process removes moisture, oils, and sap from the wood, enhancing stability and delivering superior tonal richness. Back and sides crafted from high-quality mahogany or rosewood ensure durability and warmth in every note.
Technological Innovations
- Proprietary Bolt-On Neck Design: Kepma’s neck contour bolt-on neck joint ensures a perfect and stable connection between neck and body, offering ultimate playability and infinite adjustability.
- Rosewood Bracing: Solid rosewood bracing enhances top stability and reduces energy loss, resulting in superior articulation and sustain.
- Arched Back Design: A unique arched back improves resonance and eliminates the need for back bracing, allowing for harmonious vibrations and a fuller sound.
Enhanced Playability The FC Mini Series is engineered with the player in mind. The slightly thicker neck provides added stability, while the ergonomic C-shape design reduces fatigue during extended playing sessions. The sleek cutaway provides access to the higher notes on the fretboard for better playability. Lower string action, beveled binding, and redesigned precision sealed tuners further enhance comfort and ease of use.
Attention to Detail Kepma’s commitment to excellence is evident in every detail of the FC Mini Series:
- D'Addario XS Strings: Coated strings extend playing life and offer superior projection.
- Elegant Aesthetics: Features include a magnolia inlay on the fretboard, upgraded rosette, and a refined rosewood veneer headstock.
- Eco-Friendly Finish: A thin, water-based matte finish minimizes vibration damping for a clear, transparent sound.
Advanced Electronics for Modern Musicians
AcoustiFex K-10 Pro System Each new FC Mini Series model is available with the AcoustiFex K-10 Pro System, offering:
- Built-in reverb, delay, and chorus effects
- Bluetooth audio streaming for playing along with backing tracks
- An on-the-go USB interface for app connectivity, enabling looping, rhythm tracks, and practice tools like a metronome and tuner
- Whether you’re performing on stage or practicing at home, plugged into an amp or mixer, or simply playing unplugged, the AcoustiFex system delivers unmatched sound and convenience.
Elfin Sound System The FC Mini Series are also available with the new Elfin K-13 Sound System, developed collaboratively by Kepma and Double Acoustics. The system offers high sensitivity, accurate sound reproduction, strong output power, and low noise. The under-saddle piezo pickup delivers sweet treble and punchy bass, making it ideal for fingerstyle playing. Additionally, the preamp features a rechargeable battery system that can be conveniently charged using a standard USB-C phone charger cable. The Elfin K-13 Sound System was developed and voiced specifically for the Kepma ¾ size FC Mini Series guitars.
Complete Package Each FC Mini guitar comes with a padded deluxe gig bag and an accessory kit that includes a custom truss rod wrench, microfiber polishing cloth, bridge pins, picks, extra saddle, and string height gauge.
Purchase Options
Spruce/Rosewood, Natural Finish
- Solid Torrefied Spruce Top/Layered Rosewood Back & Sides
- No Pickup: Model FCM-SR, MAP: $449.99
- With AcoustiFex K-10 Pro: Model FCM-SRA, MAP: $549.99
- With Elfin Sound System: Model FCM-SRE, MAP: $549.99
Spruce/Rosewood, Sunburst Finish
- Solid Torrefied Spruce Top/Layered Rosewood Back & Sides, Sunburst Finish
- No Pickup: Model FCM-SR-SB, MAP: $449.99
- AcoustiFex K-10 Pro: Model FCM-SRA-SB, MAP: $549.99
- Elfin Sound System: Model FCM-SRE-SB, MAP: $549.99
Spruce/Mahogany, Natural Finish
- Solid Torrefied Spruce Top / Layered Mahogany Back & Sides, Natural Finish
- No Pickup: Model FCM-SM, MAP: $399.99
- With AcoustiFex K-10 Pro: Model FCM-SMA, MAP: $499.99
- With Elfin Sound System: Model FCM-SME, MAP: $499.99
Spruce/Mahogany, Sunburst Finish
- Solid Torrefied Spruce Top / Layered Mahogany Back & Sides, Sunburst Finish
- No Pickup: Model FCM-SM-SB, MAP: $399.99
- With AcoustiFex K-10 Pro: Model FCM-SMA-SB, MAP: $499.99
- With Elfin Sound System: Model FCM-SME-SB, MAP: $499.99
Mahogany/Mahogany, Natural Finish
- Solid Torrefied Mahogany Top / Layered Mahogany Back & Sides, Natural Finish
- No Pickup: Model FCM-MM, MAP: $399.99
- With AcoustiFex K-10 Pro: Model FCM-MMA, MAP: $499.99
- With Elfin Sound System: Model FCM-MME, MAP: $499.99
The new Kepma FC Mini Series combines portability, premium materials, and advanced technology to offer an unparalleled sound and playing experience. Whether you’re a traveling musician or a beginner seeking comfort and quality, the FC Mini Series is your perfect companion.
For more information, please visit kepmausa.com.
Shure introduces the Nexadyne line of dynamic instrument microphones.
Each Nexadyne super cardioid microphone boasts Shure’s patented Revonic Dual-Engine Transducer Technology. While typical instrument microphones use a single transducer, Nexadyne microphones feature two precisely calibrated transducers working together to achieve optimal performance that delivers natural, authentic clarity while minimizing unwanted noise.
Nexadyne’s combination of acoustic signal processing and exceptional polar pattern linearity, enables the microphoneline to deliver a stronger and clearer output. This output is more authentic to the performer and reduces audio engineers’ need to apply typical EQ corrections.
Featuring compact industrial designs and a discreet, black finish for low-profile visibility, Nexadyne Instrument Microphones provide exceptional sound quality, industry-leading durability, and stage-friendly functionality. Each Nexadyne microphone surpasses real-world reliability requirements show after show and stands as the road-ready choice for modern touring.
Nexadyne 5 Dynamic Guitar Amp Microphone
Capture the full detail and power of your signature amplified guitar tone. The Nexadyne 5 ensures the full range of your guitar tone is captured and ready for the mix every time. The incredibly small dynamic cartridge design enables a side-address form factor for improved placement. It can be positioned by hanging off any amp or used with a standard mic clip and stand.
Nexadyne 2 Dynamic Bass Amp / Kick Drum Microphone
Kick drums will just sound bigger. The Nexadyne 2 delivers true, low-end clarity and fullness on every stage, with contoured EQ, protection from stage rumble, and improved high-frequency extension and attack definition. The microphone is designed with its swivel joint separated from the XLR output source for secure placement without strain on output cables.
Nexadyne Instrument Microphones carry these street prices: The Nexadyne 5 is available for $219. The Nexadyne 2 is available for $249.
Each microphone includes a zippered bag and brass adapter. The Nexadyne 5 includes the A25E mic clip.
For more information please visit shure.com.
The moe. frontline from left: Chuck Garvey (guitar), Rob Derhak (bass), Al Schnier (guitar), and Nate Wilson (keyboards). In the mist behind them is Jim Loughlin (percussion) and Vinnie Amico (drums).
The two guitarists are known for their sympathetic 6-string interplay. They remain as tight as ever, despite setbacks, as they deliver the buoyant, vibrant Circle of Giants, the long-running jam band’s 14th studio record.
Thirty-five years ago, a group of University of Buffalo students gathered in a basement, drank a lot of beer, and played some tunes. They had no goal other than to have fun and party. But it wasn’t long before they headed into a studio housed in an apartment above local guitar shop Top Shelf Music to record the debut moe. album, Fatboy. Slowly, the band built a devoted fan base, crisscrossing the country in a van. As they persevered, the band and their audience grew up together, and now it’s the fans’ children who are discovering the group.
The story of moe. is one of friendship, survival, resilience, and joy. Now poised to release their latest, Circle of Giants—chock full of rock ’n’ roll grooves both lilting and bone-shaking, and anthemic chord progressions—the group is as strong as ever. Chuck Garvey and Al Schnier’s vibrant, bright guitars chime, crush, strum, and wail, and there’s a buoyant spirit and evocative lyrics. The lead single, “Ups and Downs,” is a song bassist Rob Derhak wrote after a casual conversation with a mailman about the peaks and valleys of a long marriage. One of the album’s most moving tunes, the lyrics go:
She looks at him
He coughs into his overcoat
It smells like gin
From a different moment
Sail along, just another wounded soldier
Now carry on, carry on but older
The last bittersweet couplet might well apply to the band. They faced extraordinary challenges over the past six years that all but stopped them in their tracks.
Thirty-five years after forming at University of Buffalo, on Circle of Giants, moe. maintain their close-knit family vibe.
The first blow was Derhak’s battle with oropharyngeal cancer in 2017. With the group rallying around him and fundraising initiated by fans, he went through harrowing treatment, beat the odds, and the cancer went into remission.
Not long thereafter, Garvey had a stroke. He lost partial movement in his left side as well as the ability to speak. “My syllables didn’t know how to find each other,” he recalls. The guitarist had to relearn movement and speech. The band gathered, made music, and helped him heal. All marveled that, even with diminished facility, he still sounded like Chuckwhen he picked up his instrument.“I grew up listening to the Grateful Dead. They were kind of a model, but there were so many other things that I loved as well. Punk, prog, bluegrass…. There was never any question that we could put all of this into the band.” —Al Schnier
There were also personal losses, and then the pandemic came. Suddenly everyone was writing music in isolation, deprived of the companionship they had come to know so well. After regrouping post-pandemic, there was a tragedy at a New Year’s Eve concert in 2023, where several audience members were struck and killed by a vehicle outside the concert hall. Devastated, moe. responded by saying, “We believe in the power of music to heal and unite.”
Al Schnier's Gear
Al Schnier jams out on a Paul Languedoc G4.
Photo by Paul Citone
Guitars
Amps
- Two 1973 Mesa/Boogie Mark I amps loaded with Celestion Cream speakers
Effects
- Zvex Wah Probe
- Analog Man Envelope Filter
- Zvex Fuzz Factory
- Analog Man CompROSSor
- ARC Effects Klone
- Providence Chrono Delay
- Analog Man Bi-Chorus
- Kaden Effects FlutterTone tremolo
- Voodoo Labs Pedal Power 2 Plus
Strings and Picks
- D’Addario XL140 (.010–.052)
- Dunlop Primetone Semi Round 1.5mm
I asked Schnier how it felt to be making music with his partners after all they’ve been through. “The band brings me a sense of place,” he says, “a sense of identity and affirmation. The bonds between us are so deep. When we’re on the road, and we have a day off, we often all end up back in the bus around 8 o’clock just hanging out together. I don’t know if it’s that we’re creatures of comfort or that we just like each other’s company. It truly is a family.”
“The bonds between us are so deep.” —Al Schnier
The classic two-guitar frontline has defined the band’s sound from the beginning. Currently, Garvey plays a 1973 Telecaster Thinline that he outfitted with Lollar Wide Range humbuckers. His amp of choice is a Tony Bruno Underground 30. Schnier’s number one is a Custom Shop korina Gibson SG, which he plugs into two of the first Mesa/Boogies ever made (numbers 73 and 75).
The band’s guitar parts stem from the interplay between both players. Garvey and Schnier craft their lines by jamming, one riffing off the other—the sense of brotherhood extending to their composing habits. Someone will bring in a sketch and present it at rehearsal. The other members will help to shape the final product. No matter how finished a song might feel coming in, someone will always have an idea to make it better.
Chuck Garvey's Gear
Chuck Garvey’s 1973 Tele Thinline is loaded with Lollar Wide Range pickups.
Photo by Paul Citone
Guitars
- Jerry Jones 6-string Doublecut Dual Lipstick
- 1973 Fender Telecaster Thinline with Lollar Regal Wide Range pickups
- 1994 Fender Custom Shop Stratocaster with Seymour Duncan single-coils
- 1978 Ibanez PF200
Amps
- Tony Bruno Underground 30 head with 3x10" cab
- Magnatone M10
- Tony Bruno Tweedy Pie 18
Effects
- Analog Man Sun Face “BART”
- Analog Man Buffer
- Analog Man Bi-CompROSSor
- Analog Man King Of Tone
- Foxrox Octron
- Benson Germanium Boost
- Benson Germanium Preamp
- Klon Centaur
- Italian-made Thomas Organ Company Cry Baby
- Paul Cochrane Timmy V1
- Chase Bliss Warped Vinyl MkII
- Source Audio Nemesis Delay
- TC Electronic Tuner
- Fulltone Deja’Vibe 2
- Lee Jackson Mr. Springgy
- Chelli Amplification Spring Reverb and Harmonic Tremolo
- Vemuram Shanks ODS-1
- Lehle 1at3 Switcher
- Voodoo Labs Pedal Power
- True Tone 1 Spot Pro CS11
Strings and Picks
- Dunlop Primetone Semi Round Smooth Pick 1.4 mm
- Wegen Triangular TF140 White 1.4 mm
- D’Addario NYXL (.010–.046)
The sound of moe. is often described as “genre defying.” I ask what this rather generic phrase means to them. “I grew up listening to the Grateful Dead,” Schnier says. “They were kind of a model, but there were so many other things that I loved as well. Punk, prog, bluegrass…. There was never any question that we could put all of this into the band."
“You never know when you’re going through a crisis whether it’s going to turn out okay.” —Chuck Garvey
Garvey chimes in and talks about his admiration for Frank Zappa. “When we started out at Wetlands in New York City around 1990, it was a very open environment. One day they would program ska, the next some African band, the next a punk band. We were into it all.”
Over the many years, moe. has had many “ups”: innumerable headline tours, international festivals from Bonnaroo to Japan’s famed Fuji Rock, and sold-out shows alongside such like-minded acts as the Allman Brothers Band, Robert Plant, members of the Grateful Dead, the Who, and Gov’t Mule. Next, 2025 brings a long tour. In some ways they’re making up for lost time.
As for the “downs”? Says Garvey: “You never know when you’re going through a crisis whether it’s going to turn out okay. I think I can speak for everyone when I say that our whole family coming together has been helpful for everyone. It’s part of that smaller community—but also that huge community of fans who are right there with us when we go through these things.”
Schnier, with a noticeable degree of emotion in his voice, adds, “It’s all made us closer, stronger. It’s all because we have each other. I couldn’t do it without these guys. I’m so grateful for that.”
YouTube It
Hear how guitarists Schnier and Garvey intertwine their parts and their sounds, creating a distinct guitar vocabulary as moe. tackles the lead single from Circle of Giantslast August in Denver.