It’s been 13 years since the classic lineup of these purveyors of punishing Southern metal released an album, but now the quartet has returned with an ambitious and raw tour de force.
The 1980s saw underground heavy metal claw its way into the American mainstream. And while household names like Metallica and Megadeth were exploding from the West Coast, Corrosion of Conformity (C.O.C.) were distilling their own brand of hardcore punk and metal, shaking the ground in their home state of North Carolina.
Though several singers came and went through the band’s early ranks, it was the core of Woody Weatherman on guitar, Reed Mullin on drums, and Mike Dean on bass that laid the groundwork for what would become one of the most influential hard rock bands of the 1990s. It was groundwork that would catch the ear of their soon-to-be bandmate, Pepper Keenan. “It’s the school Woody created,” admits Keenan in his signature Southern drawl. “I mean, back in the day, when they were doing [1985’s] Animosity, I was way into that.”
The band added the New Orleans native on guitar in 1991, and subsequently released their third album, Blind, which signaled a dramatic shift to a more Southern-tinged metal sound. This was most evident on the fan favorite “Vote With a Bullet,” which also served as Keenan’s debut on lead vocals. Knowing that their new sonic assault had hit on something big, C.O.C. quickly jettisoned their then-current singer and soldiered on with Keenan front and center.
What followed was C.O.C.’s breakthrough album, 1994’s Deliverance. Produced by John Custer—the band’s honorary fifth member—Deliverance introduced the world to a hard-edged sound that was equal parts Lynyrd Skynyrd, Black Flag, and Black Sabbath. Songs like “Albatross,” “Clean My Wounds,” and “Broken Man” defined the band and are still featured heavily in its live sets today.
—Woody Weatherman
Throughout the next 11 years, C.O.C.’s four-man lineup continued to expand its sound with each new album while never letting go of what put them on the map. Their Allman Brothers-style harmonized guitar lines, down-tuned aggression, and Keenan’s recognizable yowl were always on full display. But it took until 2005’s In the Arms of God for the band to release an album that rivaled the power and intrigue of Deliverance. With its gargantuan riffs, swampy grooves (featuring Galactic’s Stanton Moore on drums, filling in for a temporarily departed Mullin), and Keenan’s ferocious vocal delivery, In the Arms of God became the recording by which the band’s future would be judged.
There was a truncated tour in support of the album, but then Keenan went on hiatus—never officially leaving the band, but making only rare appearances with his ’mates on stage. Weatherman and Dean soldiered on, and Mullin resumed touring with C.O.C in 2009. As a trio, they made two more albums.
Fast-forward to the present, and the simple sound of a heartbeat opens one of the most anticipated new releases in heavy metal, No Cross No Crown. Straight out of the gate, rockers like “The Luddite” and “Cast the First Stone” assuage any fears that the foursome wouldn’t live up to the powerful note they went out on. You want C.O.C.’s Sabbath-influenced grind? Hit play on “E.L.M.” The band’s calling-card melodic interludes are represented in “No Cross,” “Matre’s Diem,” and “Sacred Isolation.” And to round it out, the album closes with a cover of Queen’s “Son and Daughter,” a song that seems custom-written for the pulverizing, churning sound of this recording.
For their 10th studio album, C.O.C. kept it real, tracking each song with dual guitars. “On this record, we did it like we were doing demos,” says frontman Pepper Keenan. “We were literally writing things off the cuff.”
When Premier Guitar spoke to Keenan and Weatherman about No Cross No Crown, the band’s tenth studio opus, it quickly became apparent this wasn’t simply a reunion cash grab, and the reinvigorated group of Southern boys were glad to be back together.
After completing In the Arms of God, the band fragmented. What caused that and what brought you all back 13 years later?
Woody Weatherman: We never really discussed it. We just went home and chilled for a while. Of course, Keenan was busy with Down [a band that includes Phil Anselmo of Pantera]. Early on, we had talks that Keenan kind of spearheaded about doing a couple things, but we couldn’t quite make it happen. So the three of us, Mike, Reed, and myself, did a couple records and traveled around for a couple years. But it was always with the intention of getting back with Pepper. And I guess it was late ’14 or early ’15 when we said, “Man, let’s go out and see how it feels.” And we just kept touring for two solid years without a record or anything. Eventually we realized, “Okay—it’s time to do a fucking record.” And that’s when we started working on No Cross No Crown.
Pepper, what was it that brought you back to the band?
Pepper Keenan: Well, when we did In the Arms of God, three days before we were supposed to leave to do a massive two-and-a-half-month tour with Motörhead, Hurricane Katrina hit. So I had to fly to New Orleans. Everything got fucked up and that really took a toll on us. After that, Sanctuary—the record label that the album was on—fell apart. Unfortunately, things happen, and that’s just kind of how it went. So I did Down stuff. When the moment came where I had some time, I spoke with the C.O.C. guys to see if they wanted to play together again.
The four of you hadn’t recorded together since America’s Volume Dealer, which was released in 2000. What was it like getting all of you back in a studio to make music?
Keenan: It was cool. We just made a big list of what songs we wanted to learn. We met in North Carolina and just started hacking at it. Everybody was in good shape and we started knocking them out. We had fun and kept it at that.
Like his 6-string sidekick, Woody Weatherman, Pepper Keenan plays a battered ESP Custom Shop Viper. “They’re just battle axes,” he says, “but you can get a million different tones on them.” Photo by Annie Atlasman
The album has your trademark raw feel. What was the recording process like?
Weatherman: It was really different than how we had done past albums. A lot of times, you demo things over and over, and then you go in and do the real record. And quite often you look back and go, “Man, the demo is fucking rawer and almost better!” So we were going along like we were doing a demo, but treating it like we were doing an album. And it just worked out. I wouldn’t shy away from doing it that way again. I kind of enjoyed it.
Keenan: Yeah. On this record, we literally did it like we were doing demos. We would go in there with no preconceived idea. If we had a riff, we’d shape it into a song and get Reed to perform the drums. We were literally writing things off the cuff. The entire record is like that. There was nothing that we re-tracked. Everything we did, we wrote at that moment, spent time on it, completed it, and went to the next song. So every song was completely different. And that’s a very tall order.
That’s one of the first things that struck me about the album. Every song, while definitely Corrosion of Conformity, sounds completely different.
Keenan: And that was a very conscious thing. We did not want to make a record where the guitars were the same on every damn song. But we did—literally—track the record with two guitars.
—Pepper Keenan
What guitars were they?
Keenan: Just the same junkers we’re playing onstage right now. The ESP SGs [a model officially called a Viper] that they had made for us when we did the Metallica tour in ’97. They’re just battle axes, but you can get a million different tones on them. We probably shouldn’t even have them out here, but they play so damn good. We actually sent them back to ESP because they were so beat-to-shit. They were stunned that we still had them. They refurbished them. I said, “Don’t touch the fucking wood, but you can replace everything else.”
Weatherman: That’s all I use live, and that’s all I fucking use in the studio. I’ve got one guitar, man. If it ever breaks, my career is over! [Laughs.] I mean, I’ve got a couple, but that’s the only one I like playing. I’ve had the damn thing for 25 years or something, and I haven’t found anything better. I’m not much of a gearhead. I’ve got the same old-ass-shit that I’ve had for fucking ever. My two Mesa/Boogie Dual Rectifiers are the old original ones. And that’s my shit man. I plug that old-ass guitar in and go. The only thing I use live is a Cry Baby. Just a standard old, Joe Schmoe, nobody’s-name-on-it-other-than-Jim-Dunlop Cry Baby.
With only two guitars, how did you go about getting all of the tones on the album?
Keenan: All the clean shit you hear on some of those solos and mellow parts, that’s just the volume rolled back and stepping on the pedal to get rid of the overdrive. Woody had a Mesa/Boogie [Dual] Rectifier, and I just used channel B on an Orange Thunderverb 50.
Guitars
1997 ESP Custom Shop Viper “PJK” with Seymour Duncan Invader (bridge) and unused P-90 (neck)
Amps
Orange Thunderverb 50 head
Orange PPC412 cabinet with Celestion Vintage 30s
Effects
Ibanez TS808 Tube Screamer
Boss DD-3 Delay
MXR Phase 90
Dunlop Cry Baby 95Q Wah
Keeley 30 ms Double Tracker
Strings and Picks
Dean Markley custom set with wound 3rd (.011–.052)
InTuneGP GrippX Model XXXb Tri-Tips (.73 mm)
And how about cabinets?
Weatherman: I’ve got these awesome Orange cabs with Vintage 30s. I love the way they sound. I had a bunch of old Marshalls, and I’ve even tried the Boogies. Even if they have the Vintage 30s in them, they just don’t sound as thick and heavy as the Oranges. Those things are brutal. And the Vintage 30s is where it’s at. That’s a big part of the crunch, having that speaker breakup like that. Pepper has some actual orange ones and mine are black. But other than that, I think they’re the same.
Pepper, on previous albums, you were using Mesas, too, weren’t you?
Keenan: Yeah. I had the 50 Caliber with the 5-band EQ.
What led to the switch to Orange?
Keenan: I was at a NAMM show with Kirk [Windstein of the bands Crowbar and Down], and we went to the Orange booth. The guy recognized me and Kirk and was like, “Dude, check this sucker out!” I plugged in that Thunderverb 50, no pedals or anything, and just raked a G chord. It sounded like fucking Malcom Young! I just knew right there. We actually got kicked out of the NAMM show for being at the Orange booth and playing so fucking loud.
Do you get all your drive from those amps, or do you use pedals?
Keenan: I use the Ibanez Tube Screamer. It just makes it more pissed. And then I have a Phase 90 and one of those Dunlop wah-wahs that you just lean into. And I have a Boss delay. And then I have a really good doubler pedal that someone suggested. I’ve been trying to find a pedal that sounds like a Cooper Time Cube forever, but hadn’t had any success. But someone recommended this pedal, and it’s pretty damn close. I use that for solos on “Albatross” and shit like that.
That phaser is a massive part of C.O.C.’s sound.
Keenan: Yeah. We just used my pedalboard in the studio. Woody doesn’t have one, so we just sat down in the control room and dicked off with that thing. But we’ll do tricky shit like double-track it and put the phase knob a little more to the right on the second track. That’s Custer’s crazy shit, trying to get things to spread out and sound big. Or we’d do a track with a wah pedal halfway down just to get the crunch from the pick hitting the string. A lot of overdubs on the record are done really incorrectly. [Laughs.]
Though Pepper Keenan’s ’97 ESP “PJK” Viper (left) has a P-90 neck pickup, he never uses it, relying instead on the Duncan Invader bridge humbucker. “I’ve had the damn thing for 25 years or something, and I haven’t found anything better,” says Woody Weatherman of his road-worn ’97 ESP Viper (right), which sports Duncan Invader and Pearly Gates humbuckers.
Woody Weatherman uses only one pedal onstage: “Just a standard old, Joe Schmoe, nobody’s-name-on-it-other-than-Jim-Dunlop Cry Baby,” he says. Photo by Annie Atlasman
With so many guitar tracks, how do you guys determine who plays what?
Keenan: Depends. If it involves “the wiggle”—vibrato—it’s going to be Woody. If it involves more bendy, bluesy shit, it’s going to be me. We’ve done shit before where we literally hand the guitar back between each other on the same track. So it won’t be Woody’s track or Pepper’s track. It will be Woody’s and Pepper’s track. We’ll just play each other’s parts through the song.
So there are no defined, ‘I’m the rhythm guy, you’re the lead guy,’ roles?
Keenan: Fuck no.
Woody, how did you develop that unique vibrato?
Weatherman: I don’t know how that came about. I think a large part was, I heard people playing pedal steel and slide guitar. I was never able to do that shit. So I was like, “How can I make it sound like that, but without a slide?” Then I thought, “Well, if I wiggle my wrist really fucking hard, maybe it will sound like it.” [Laughs.] And listening to [Billy] Gibbons and all that shit. I wanted to be able to do that.
There’s an identifiable sound that runs through all your songs. Is that something you guys work to maintain, or simply a natural outgrowth of your styles and influences?
Keenan: I think it’s a little bit of both. Once we hit our stride with Deliverance, we knew we were on to something. A lot of the punk-rock kids called us fucking sellouts and crap. But to me, being punk rock was writing a song like “Albatross.” You know?
Now you’re really putting your dick on the chopping block. And once we started writing things like “Albatross,” we knew we were starting to create an identity. I think it’s an important thing when you can hear a song and go, “Oh. That’s so-and-so,” even if you’ve never heard the song before. So that’s something we subconsciously work on.
Weatherman: And we know within 10 minutes if it’s working. I remember going in to do the Blind album. It’s 1990, we’re up in New York, we’re working on the record. We would spend hours agonizing over getting a guitar tone. Now, we just set our shit up, and if it’s not there in five minutes, we know. It’s not hard if you have half an idea of what you’re looking for.
The band hit on something big with In the Arms of God. When you started writing this album, did you feel pressure to try to recreate that magic?
Keenan:In the Arms of God was definitely a catalyst. I made that real clear. I said, “Dude, that’s a damn tough record. I’m not saying we’re going to trump this thing, but that’s where we’re starting from.”
Weatherman: Any pressure was coming from ourselves. The guys at [the record label] Nuclear Blast were like, “Take your time. We know that when you’re done, it’s going to be cool.” So there was no pressure from those dudes. From there it was on ourselves. We thought, “Let’s get our minds where we left off.” Then we just jumped off the diving board and whatever happened, happened.
Guitars
1997 ESP Custom Shop Viper with Seymour Duncan Invader (bridge) and Pearly Gates (neck) Amps
Amps
Mesa/Boogie Dual Rectifier head
Orange PPC412 cabinet with Celestion Vintage 30s
Effects
Dunlop Cry Baby
Strings and Picks
Dean Markley custom set (.011–.052)
Lyrically, your songs have always tackled politics and religion. But on No Cross No Crown there seems to be a concept that runs throughout the album, both lyrically and melodically.
Keenan: I just like making thought-provoking, big records. Once we had the idea of No Cross No Crown, it was just about how much damage has been done by the cross and the crown across the centuries, and how relevant that is these days. It’s just a way of saying that we’ve got to find a way of getting back to basics and back to being human beings. We’ve got to take care of each other. I didn’t want to be singing about killing people and tanks and bullshit like that. I tried to put it on a different level. But in terms of the lyrical aspect of it, we’re not standing on the soapbox telling people what to do. They can pull anything they want out of it.
Now that you’ve had a chance to road-test these new songs, how has the reaction been from your audience?
Weatherman: This entire tour has been awesome. Good crowds. And we’re reaching some new fans, which is kind of crazy. There will be a few people every night that are like, “Man, I’ve heard your name, but I’ve never seen you.” And that’s cool! So it’s a good tour for us, when we can reach out to some new folks.
What about the future of C.O.C.? Can we expect another album with Pepper at the mic?
Keenan: When you put out a record like this one, I don’t even want to think about trying to do it again. I was extremely ecstatic when I heard No Cross No Crown finished. I was like, “We did it, goddamnit. I don’t know how, but we fucking did it.” [Laughs.] Our standards are so high that it will wear your ass out, mentally. I mean, we came in there with nothing. Then nine months later, we walked out with that.
Weatherman: Our plan is, for the next year or more, we’re touring. Whenever you put out a record and you feel really good about it, you want to get out and support it and be behind it for a while. So that’s our plan right now. After that, who knows? We’ll see. Hopefully there’s more records in the future. But right now, it’s the live thing we’re concentrating on.
Woody, you helped found the band over 30 years ago. After all this time, after huge albums and devastating hurricanes, after years on the road and years apart, what keeps Corrosion of Conformity going?
Weatherman: I love it—it’s been my life. We cranked this thing up in ’82. It’s what I do. I love the opportunity to play music for the fans, getting to travel, meeting people every night, going out and hanging with people every night. You get an ear full, you know? You see what’s going on, you learn things, you get to see different bands, you get to see new bands. It’s a dream. I’m living the dream, brother.
A haunting introduction paves the way for C.O.C. to tear through one of the most punishing tunes from No Cross No Crown, with Woody Weatherman and Pepper Keenan flaying their roadworn ESP Vipers.
Vox’s Valvenergy Tone Sculptor
Two new pedals from the Valvenergy series use a Nutube valve to generate unique dynamics and tone ranges that can be used to radical ends.
When tracking in a studio or DAW, you’re likely to use compression and EQ on most things. Many enduringly amazing and powerful records were made using little else. And though many musicians regard both effects as a bit unglamorous and utilitarian, EQs and comps are as capable of radical sounds as more overtly “weird” effects—particularly when they are used in tandem.
I spent a day workshopping ideas in my studio using just the Vox Valvenergy Smooth Impact compressor and Tone Sculptor EQ, and a dash of amp tremolo and reverb to taste. In the process, I produced more arresting sounds than I had heard from my guitars in many days. There were radical direct-to-desk-style Jimmy Page/Beatles distortion tones, sun-sized, cosmic electric 12-string, Bakersfield twang that could burn through crude, and many other sweet and nasty colors. Most decent EQ and compressor combinations can achieve variations on all those themes. But the Smooth Impact and Tone Sculptor also reveal interesting personalities in unexpected places.
The individuality and energy in the Vox Valvenergy pedals is attributable, in part, to the Nutube vacuum tube used in the circuit. Though it looks little like a vacuum tube as most guitarists know them, the thin, wafer-like Nutube is, in fact, a real vacuum tube like those used in fluorescent displays. Fluorescent display tubes have limitations. A maximum operating voltage of around 40 volts means they aren’t useful for bigger power tube applications like a 6L6, which has an operating voltage of about 400 volts. But it can work quite well as a preamp tube in concert with an op amp power section, which is how the Nutube is used in the new Valvenergy pedals, as well as older Vox products like the Vox MV50 and Superbeetle amps.
Valvenergy Tone Sculptor
When you think about “cinematic” effects, you likely imagine big reverb or modulation sounds that create a vivid picture and feeling of space or motion. But narrow, hyper-focused EQ profiles can evoke very different and equally powerful images. Radical EQ settings can add aggression, claustrophobic intimacy, and stark, explosive dark-and-light contrasts more evocative of Hitchcock’s Psycho than Ridley Scott’s Blade Runner.
Any of these moods can be summoned from the Valvenergy Tone Sculptor. Six sliders cut or boost 10 dB frequency bands spanning 100 Hz to 5.6 kHz. A seventh slider cuts or boosts the master output by 12 dB. This platter of options might not sound like much. But you can use these seven controls together to very specific ends.
“Radical EQ settings can add aggression, near-claustrophobic intimacy, and stark, explosive dark-and-light contrasts.”
For example, bumping the high-midrange and the master output produces narrow cocked-wah-like filter sounds with enough push to produce extra amp overdrive—effectively turning the Tone Sculptor into a buzzy, almost fuzz-like filter effect. But unlike a wah, you can carefully scoop high end or add a spoonful of bass to blunt harsh frequencies or give the tone a bit more weight. You can also broaden the palette of an amp/guitar pairing. I matched a particularly trebly Jazzmaster bridge pickup with a very hot and toppy Vox AC15-flavored amp for this test—a recipe that can be spiky on the best days. But with the Tone Sculptor in the line, I could utilize the same sharp, fuzzy, and filtered Mick Ronson wah tones while shaving some of the most piercing frequencies.
EQ pedals exist on many points along the cost spectrum. And at $219, the Tone Sculptor lives on the high side of the affordable range. Does it offer something less expensive models can’t deliver? Well, for one thing, I found it relatively quiet, which is nice whether you’re shaping toppy high-contrast effects or performing more surgical adjustments. And the sliders feel nuanced and nicely tapered rather than like a dull axe with a few basic frequency notches. But in many situations I also liked the color imparted by the circuit—generated, presumably, by the Nutube. “Color,” in audio terms, is a broad and subjective thing, and one should not necessarily expect the warm, tube-y glow of a vintage tube Pultec. Still, the Tone Sculptor has many forgiving, flattering qualities—typical of studio EQs—that enable fine tuning and experimentation with more radical and creative applications of the effect.
Valvenergy Smooth Impact
As with the Tone Sculptor, the Smooth Impact’s use of Nutube engenders certain expectations. It’s easy to surmise that because Smooth Impact has a vacuum tube in the circuit that it will behave like a little Teletronix LA-2A leveling amplifier. That’s a big ask for a $219 stompbox. On the other hand, the Smooth Impact exhibits some appealing characteristics of studio tube compression. At lower compression levels, it works well as a thickening agent—adding mass without much additional noise. And at higher compression levels it can sound snappy, crisp, and tight without feeling like you’ve bled every trace of overtone from your signal.
The Smooth Impact’s controls aren’t totally atypical. But because it lacks some familiar features like variable attack and release, yet is more complicated than a 1-knob DynaComp, you have to trust your ear to navigate interactions among the controls. The most unfamiliar of these is the 3-way vintage/natural/sag toggle. The first two are defined by preset attack and release settings: Vintage is slow attack and long release, and natural is the opposite. The sag mode’s compression is more like what you get from tube saturation, and it’s useful for adding thickness and complexity to a thin amp tone at modest compression levels.
Though the vintage and natural modes certainly have a different feel, they don’t always sound worlds apart. And like the sag mode, the thing they have in common is the way they enrich lifeless amp output at low to medium compression, with a bit of grind from the tube gain and a little extra makeup gain from the output. At the most aggressive settings, the tube gain can get a little crispy. And really crushing the compression can flatline your tone without adding much in the way of extra sustain. These are limitations common to many compressors with similar features. But unless I was chasing very ultra-snappy Prince and Nile Rodgers fast-funk caricatures, I enjoyed the Smooth Impact most in its in-between ranges, where mass, mild, harmonious drive, and low noise showcase the pedal’s sometimes studio-like personality.
Darkglass Electronics unveils ANAGRAM, a flagship bass platform designed to redefine tone, flexibility, and performance. The pedal’s extraordinarily deep feature set includes multiple effects and modeling, an on-board looper and tuner.
Best of all, ANAGRAM brings together these creative tools in a streamlined, rugged format that’s designed for ease of use. Onstage and in the studio, bassists can quickly access and fine-tune their sound via the ANAGRAM interface:
- 7-inch high-brightness touchscreen for clear and intuitive control.
- Three footswitches for live performance control.
- Six high-resolution endless rotary knobs for precise parameter adjustments.
- Flexible input and output configuration.
With ultra-low latency, extensive customization, and seamless integration into the Darkglass ecosystem, it supports both studio precision and stage performance. Combining 15 years of innovation with cutting-edge processing power, ANAGRAM offers a purpose-built solution for bassists seeking unparalleled sound-shaping capabilities.
Anagram
Powered by a state-of-the-art hexacore processor and 32-bit/48kHz audio processing,ANAGRAM delivers ultra-low latency, pristine clarity, and studio-grade sound. Its intuitive blocks-based architecture lets players create signal chains in series (12 blocks) or parallel (24blocks) using a high-resolution touch display. ANAGRAM features three control modes—Preset,Scene, and Stomp—for instant switching, parameter adjustments, and traditional pedalboard-style operation. With a curated collection of distinct preamps, 50+ customizable effects, a looper, tuner, and user-generated IR support, ANAGRAM delivers unmatched creative flexibility.Seamless integration with the Darkglass Suite allows for expanded control and functionality. Additionally, Neural Amp Modeler (NAM) integration provides access to thousands
of high-quality amp and effect models, expanding tonal possibilities from analog warmth to futuristic textures.
"Anagram represents the culmination of years of research and development," says Marcos Barilatti, Managing Director of Darkglass Electronics. "We set out to create a product that not only pushes the boundaries of bass tone but also inspires musicians to explore new sonic territories."
Housed in a rugged anodized aluminum chassis, ANAGRAM is road-ready, compact, and powered via 9V or USB-C (PD). With flagship features at a compelling price, ANAGRAM represents the new standard for bassists seeking a modern platform for their performance.
Street $1199.99 USD
Alongside Nicolas Jaar’s electronics, Harrington creates epic sagas of sound with a team of fine-tuned pedalboards.
Guitarist Dave Harrington concedes that while there are a few mile markers in the music that he and musician Nicolas Jaar create as Darkside, improvisation has been the rule from day one. The experimental electronic trio’s latest record, Nothing, which released in February on Matador, was the first to feature new percussionist Tlacael Esparza.
Taking the record on tour this year, Darkside stopped in at Nashville’s Brooklyn Bowl, where Harrington broke down his complex signal chains for PG’s Chris Kies.
Brought to you by D’Addario.
Express Yourself
Harrington bought this mid-2000s Gibson SG at 30th Street Guitars in New York, a shop he used to visit as a kid. The headstock had already been broken and repaired, and Harrington switched the neck pickup to a Seymour Duncan model used by Derek Trucks. Harrington runs it with D’Addario NYXL .010s, which he prefers for their stretch and stability.
The standout feature is a round knob installed by his tech behind the bridge, which operates like an expression pedal for the Line 6 DL4. Harrington has extras on hand in case one breaks.
Triple Threat
Harrington’s backline setup in Nashville included two Fender Twin Reverbs and one Fender Hot Rod DeVille. He likes the reissue Fender amps for their reliability and clean headroom. Each amp handles an individual signal, including loops that Harrington creates and plays over; with each amp handling just one signal rather than one handling all loops and live playing, there’s less loss of definition and competition for frequency space.
Dave Harrington’s Pedalboards
Harrington says he never gives up on a pedal, which could explain why he’s got so many. You’re going to have to tune in to the full Rundown to get the proper scoop on how Harrington conducts his three-section orchestra of stomps, but at his feet, he runs a board with a Chase Bliss Habit, Mu-Tron Micro-Tron IV, Eventide PitchFactor, Eventide H90, Hologram Microcosm, Hologram Chroma Console, Walrus Monument, Chase Bliss Thermae, Chase Bliss Brothers AM, JHS NOTAKLÖN, two HexeFX reVOLVERs, and an Amped Innovations JJJ Special Harmonics Extender. A Strymon Ojai provides power.
At hip-level sits a board with a ZVEX Mastotron, Electro-Harmonix Cathedral, EHX Pitch Fork, Xotic EP Booster, two EHX 45000 multi-track looping recorders, Walrus Slöer, Expedition Electronics 60 Second Deluxe, and another Hologram Microcosm. A Live Wire Solutions ABY Box and MXR DC Brick are among the utility tools on deck.
Under that board rest Harrington’s beloved Line 6 DL4—his desert-island, must-have pedal—along with a controller for the EHX 45000, Boss FV-50H volume pedal, Dunlop expression pedal, Boss RT-20, a Radial ProD2, and another MXR DC Brick.
Well-designed pickups. Extremely comfortable contours. Smooth, playable neck.
Middle position could use a bit more mids. Price could scare off some.
$2,999
Ernie Ball Music Man StingRay II
A surprise 6-string collaboration with Cory Wong moves effortlessly between ’70s George Benson and Blink-182 tones.
Announced at the 2025 NAMM show, Cory Wong’s new collaboration with Ernie Ball Music Man scratched an itch—namely, the itch for a humbucker-loaded guitar that could appease Wong’s rock-and-R&B alter ego and serve as complement to his signature Fender Strat. Inspiration came from no further than a bandmate’s namesake instrument. Vulfpeck bassist Joe Dart has a line of signature model EBMM basses, one of which uses the classic StingRay bass body profile. So, when Wong went looking for something distinctive, he wondered if EBMM could create a 6-string guitar using the classic StingRay bass body and headstock profile.
Double the Fun
Wong is, by his own admission, a single-coil devotee. That’s where the core of his sound lives and it feels like home to him. However, Wong is as inspired by classic Earth, Wind & Fire tones and the pop-punk of the early ’90s as he is by Prince and the Minneapolis funk that he grew up with. The StingRay II is a guitar that can cover all those bases.
Ernie Ball has a history of designing fast-feeling, comfortable necks. And I can’t remember ever struggling to move around an EBMM fretboard. The roasted maple C-shaped neck here is slightly thicker in profile than I expected, but still very comfortable. (I must also mention that the back of the neck has a dazzling, almost holographic look to the grain that morphs in the light). By any measure, the StingRay II’s curves seemed designed for comfort and speed. Now, let’s talk about those pickups.Hot or Not?
A few years ago EBMM introduced a line of HT (heat-treated) pickups. The pickups are built with technology the company used to develop their Cobalt and M-Series strings. A fair amount of the process is shrouded in secrecy and must be taken on faith, but EBMM says treating elements of the pickup with heat increases clarity and dynamic response.
To find out for myself, I plugged the StingRay II into a Fender Vibroverb, Mesa/Boogie Mark VII, and a Neural DSP Quad Cortex (Wong’s preferred live rig). Right away, it was easy to hear the tight low end and warm highs. Often, I feel like the low end from neck humbuckers can feel too loose or lack definition. Neither was the case here. The HT pickup is beautifully balanced with a bounce that’s rich with ES-335 vibes. Clean tones are punchy and bright—especially with the Vibroverb—and dirty tones have more room for air. Individual notes were clear and articulate, too.
Any guitar associated with Wong needs a strong middle-position or combined pickup tone, and the StingRay II delivers. I never felt any significant signal loss in the blended signal from the two humbuckers, even if I could use a bit more midrange presence in the voicing. The midrange gap is nothing an EQ or Tube Screamer couldn’t fix, though. And not surprisingly, very Strat-like sounds were easy to achieve for having less midrange bump.
Knowing Wong’s love for ’90s alt-rock, I expected the bridge pickup to have real bite, and it does, demonstrating exceptional dynamic range and exceptional high-end response that never approached shrill. Nearly every type of distortion and overdrive I threw at it sounded great, but especially anything with a scooped-mid flavor and plenty of low end.
The Verdict
By any measure, the StingRay II is a top-notch, professional instrument. The fit and finish are immaculate and the feel of the neck makes me wonder if EBMM stashes some kind of secret sandpaper, because I don’t think I’ve ever felt a smoother, more playable neck. Kudos are also due to EBMM and Wong for finding an instrument that can move between ’70s George Benson tones and the hammering power chords of ’90s Blink-182. Admittedly, the nearly $3K price could give some players pause, but considering the overall quality of the instrument, it’s not out of line. Wong’s involvement and search for distinct sounds makes the StingRay II more than a tired redux of a classic model—an admirable accomplishment considering EBMM’s long and storied history.