
We asked Barry O'Neal of Nashville’s XAct Tone Solutions for his vision of a ’board that would cover all the sonic bases for most pop, rock, and country sounds. Here’s what he created.
While in high school, thinking about guitar rigs was a regular pastime. Before I had built my first rig, I had thought through a hundred. I often vacillated, sometimes violently, between entertaining practical and fanciful considerations, bouncing off of budgetary limits and preparing for a theoretical band’s imagined show to an imagined, but supportive, audience. Now, one of the main aspects of my day job at XAct Tone Solutions (XTS) in Nashville is helping others build their dream ’boards. Whether it’s Peter Frampton or Billy Strings, Tom Bukovac or Andy Wood, every guitar player has a unique set of pedalboard needs and wants dictated by the music they dream about creating.
How do we start making a dream ’board? I have often told clients that this stage is the best, as it’s all possibilities and no responsibilities. However, being able to do anything can lead to option paralysis, so it can be helpful to quickly apply some constraints. What material needs to be covered? What venues will we play? What is my budget? Sadly, the last question is usually the most restrictive.
Testing the placement of pedals and the adhesive mounting is an important stage of organizing the overall flow of a ’board.
The songs to be played dictate the sounds to be played. The sounds to be played dictate the stuff to be played. For our pedalboard, we want to choose gear that, in combination, has the ability to round the required sonic bases. In general, increasing the quantity and diversity of sounds means increasing the amount of gear required to cover them. For example, your Hendrix rig will have more weight in coily cable than pedals, and your U2-inspired pedalboard will likely require the lead singer to begrudgingly help with load-in. For our dream ’board, we want to pick a set of effects that can cover most pop and rock sounds of the last 60 years well. This generality means abandoning the painstaking recreation of any specific sound and settling for evocative when exact is unavailable.
For many players, one of the first choices made is what sort of overdrive and/or distortion their rig requires. What sort of timbres are needed? Light overdrive or massive distortion? Will you use your amplifier’s gain to produce overdrive, or will you run your amp mostly clean, letting the grit come from pedals at your feet? It is a good idea to look at your overdrive elements as a system that works together, considering each pedal’s sonic signature individually, as well as in combination with other effect pedals on ’board. For this rig, I’ve made subjective choices that hit the fundamental food groups of pop and rock timbres when paired with a clean amplifier. It’s not cheap—but neither are dreams.
“The songs to be played dictate the sounds to be played. The sounds to be played dictate the stuff to be played.”
Greer Lightspeed
The Greer Lightspeed has become a nouveau-classic, regularly showing up on the ’boards of professionals and enthusiasts alike. A so-called transparent drive, it shapes and pushes your instrument's voice without making it unidentifiable. This pedal can serve as a light overdrive alone or be used to push pedals and amplifiers farther down the line. The Lightspeed on our pedalboard is a special—made by Nick Greer himself out of his very own mojo component stash. $229 street, greeramps.com
XTS Rehoused Nobels ODR-1
The original version of the ODR-1 has reached near-mythical status. Nashville session ace Tom Bukovac sowed these once-dirt-cheap overdrives all over the city like a late-’90s, guitar-playing Johnny Appleseed. The originals have since blossomed into $2,000-plus uber-vintage prizes. With a strong low-mid presence compared to something like a Tube Screamer, they are a great match for black-panel Fenders. More affordable reissues and clones are available and compete well with the real thing. This one was bought before the boom and rehoused to replace worn-out parts. Mechanical footswitches and jacks don’t appreciate in value, even if green overdrive pedals do. $119 street for current reissue, nobels.de
Soldered cables are preferable for the sake of longevity.
XTS Winford Drive
This pedal does both overdrive and distortion. Prototypes can be heard on Keith Urban records, and a great many Nashville session players use this pedal every day in the studio. It ranges from light gain to woolly fuzz sounds, and with the gain all the way down, the mid boost can be an effective boost for amps that are already breaking up in an upper-mid-forward way (think Matchless, Badcat, and Vox). It also stacks well with pedals pushing its input, adding more flexibility to the system. $249 street, xacttone.com
Behringer SF300 Super Fuzz
New fuzz pedals are seemingly born wherever transistors and hot soldering irons meet, and they produce a timbre ecosystem all their own. Fuzz is a sound that amps don’t often produce in and of themselves, so having a fuzz pedal can help round out a pedalboard, giving access to vintage and modern sounds. The SF300 may be cheap, but proves that listening is best done with your ears. When placed in a true bypass loop, it won’t need to be stepped on, mitigating the risks associated with its economical enclosure. $29 street, behringer.com
XTS Shapecharger
The Shapecharger gives this ’board a boost. Where you put your boost will depend on what function you want it to satisfy. Engaging boosts before overdrives and distortions will increase the level of saturation in your dirt pedals with a less pronounced level increase. Assuming your amp has sufficient headroom, engaging boosts after dirt boxes will result in an increase in level without a significant increase in saturation. The Shapecharger also has a separate, sweepable mid control to cut through a band mix, as well as a high-pass control to keep amps and pedals after it from becoming saturated with low frequencies. $199 street, xacttone.com
RAF Mirage Compressor
Compression is great for spanky R&B rhythm parts as well as country-style picking. The Mirage compresses in a natural-sounding way, squeezing your signal without overtly crushing it. Its relatively transparent response creates separation in arpeggiated parts and provides sustain without resorting to overdrive. $199 street, fxeng.com
After overdrive, players might consider modulation and time-based effects. Modulation effects change amplitude and/or frequency in a periodic way, like tremolo or vibrato. Time-based effects, like delay and reverb, store and manipulate your signal to create repeating or spacious effects.
Line 6 HX Stomp
The Line 6 HX Stomp is a multi-effect unit that models all sorts of classic and cutting-edge effects. From overdrive and distortion to reverb and delay, the Stomp does a great job of providing lots of options in a very compact package. The HX series is a significant evolution from the company’s M-series effects, as the increases in processing and algorithmic power are considerable and particularly evident in computationally-intensive effects like reverb. Additionally, if a song requires a sound not covered by the other pedals on ’board, the Stomp can pinch hit, providing access to esoteric effects you enjoy, but perhaps don’t want to carry—like envelope filters, synths, and pitch benders.
The HX Stomp also provides for the very real, if not preferred, possibility of needing to go direct on a gig. Many venues in Nashville and elsewhere have prohibited live amps being on stage. Because the HX Stomp has the ability to model amplifiers and cabinets, adding a DI to this ’board will allow it to function well on an ampless stage. $699 street, line6.com
Strymon Mobius
Why include the Mobius modulation pedal when, hypothetically, the HX Stomp can do all the same modulation types? There is some overlap, but adding the Mobius gives fast access to two great wobbly sounds per bank. The Mobius can also serve as a sort of placeholder. If some new effect comes on the market, it’s likely that it’ll fit in the same physical spacing as well as use the same type of power. Whether future change is driven by preference alone or a paying gig, it is helpful to have a pedal position that can serve as an escape hatch.$449 street, strymon.net
Placement is key to the exact sonic combinations you’re seeking on any pedalboard, and philosophies vary—although distortion, OD, and fuzz usually make up the first bank of tone tools. But with a device like the GigRig G3 Atom, all rules can be broken.
GigRig G3 Atom
We’ve spent a great deal of time picking out all of the widgets we will use to squeeze, pull, and twist our guitar sound. We could cable these together and have a fully functional guitar rig, but a dream ’board is more than what you want to use. It also encompasses how you want to apply those devices. When you spend a bunch of time developing sounds, it’s very nice to be able to save or index them for later use. A MIDI controller can send commands to MIDI-capable effects, recalling previously saved patches. Non-MIDI-capable effects, like typical overdrives, need external help to be accessed via presets. One solution is to put them in loop-switcher-controlled bypass loops. If chosen wisely, the loop switcher can both control our so-called “dumb” pedals and their MIDI-responsive siblings.
On our dream ’board, the effects we’ve selected will orbit around the GigRig G3 Atom. In the past, presetable switching systems had a tendency to get bogged down in the preset modality. Everything worked great when you were on a show with a predetermined setlist and cues, but when it came to improvising sounds, effects were often trapped and inaccessible inside of presets, unless the controllers expanded to include foot switches for every effect—at great monetary and volumetric expense. With a button-per-audio-loop interface, improvising different combinations of pedals on the G3 Atom is simple, and sonic-spelunking sessions are not impeded by a preset-only straightjacket.
The Atom can also send MIDI commands to both the Mobius and the HX Stomp, directing them to previously saved sounds for instant recall. The Dunlop Volume X connects to the Atom’s expression pedal port, meaning that changes in the position of the treadle can be translated to changes in the MIDI connected effects, controlling any number of effect settings including volume and effect levels.
The Atom can also reorder the effects in your signal chain. By default, the G3-controlled effects are ordered in a very traditional way: fuzz> dynamics> overdrive> distortion> modulation> boost> delay/reverbs. Being able to change where the Mobius is in the signal chain means that modulations like chorus can be post-dirt boxes and effects like phaser can be pre-dirt. The Shapecharger is run outside of the G3’s control. This means that the boost can be added at any point without setting up another preset or dedicating a controller button to do so. $995 street, thegigrig.comBarry’s custom interface is mounted below the frame of the Pedaltrain JR MAX ($189 street) that is the platform for his dream pedalboard.
Interface
A pedalboard interface can add ease of use and functionality. This one has an instrument input and an output for the amplifier. In addition, there is a normalling insert loop that allows a “pedal of the day” to be connected externally. The insert connects to the rig via a loop in the G3. If one part of one song in one show needs an effect, you can add it here without removing something else on the ’board, and pedals on trial can be connected and tested before permanent installation.
“A higher mA port rating will not damage your pedal; it will just leave some capacity untapped.”
Power
Powering pedalboards is getting trickier these days. When everything ran off of batteries, things were easy. Now, high-powered DSP-based effects and computer-controlled true-bypass loop switchers are power hungry, requiring high amounts of current. Each device needs to be powered by a power supply port that has the appropriate voltage and current ratings. Voltage should be exactly what the manufacturer calls for—no more, no less. Manufacturers publish how much current is needed for their devices in milliamperes (mA). Connect your stompbox to a port that has that mA rating or greater. A higher mA port rating will not damage your pedal; it will just leave some capacity untapped.
It is also a good rule of thumb to use a supply whose outputs are isolated, meaning there is not a shared ground path or means of conducting noise between pedals via their supplies. We’re using a Strymon Zuma as a supply for this build. At 9VDC at 500 mA, each port has enough power for most pedals on the market. If there’s ever a need to swap pedals, it’s likely the power supply is up to the job. This ’board does have some special power considerations. The G3 is powered by combining two ports in parallel, summing their individual capacities for a total of 1000 mA. The HX Stomp also requires ~1000 mA nominally, but its power-on surge can cause start-up issues when the Zuma gets up to operating temperature. Stomp powering duties are handed over to a CIOKS Crux, which converts the 24V DC expansion output of the Zuma into the 9V DC the HX Stomp requires.
Mounting the power supply beneath the ’board—here, a Strymon Zuma mated to a CIOKS Crux—is an essential space saver.
We’ve selected a Pedaltrain JR MAX for this build. It’s lightweight and, at 28" wide and 12.5" deep, has room for all the required pedals without being deeper than necessary. The power supply and interface can be mounted underneath, leaving the top of the ’board for the fun bits. We’ve given the ’board a laminate top, which looks great and allows us flexibility in pedal placement.
Wiring up a ’board like this can seem daunting. To keep things neat, we custom-cut every cable to length and stay them to the ’board with adhesive mounts and zip ties. Soldered cables are preferable for longevity's sake, but if available tools or skill sets demand an alternative, there are many sturdy solderless cable options.
“Just play. Your dream ’board should inspire you to dig in without getting bogged down.”
This ’board is a flexible tone platform. Setting up a new sound can be as simple as selecting which loops to include in a G3 preset and combining them with a set of bread-and-butter modulations, delays, and reverbs in the Mobius and HX Stomp. Alternatively, you can dig deeper and build bespoke effects in the Mobius and Stomp, and recall them via MIDI commands from the G3. So if a tune requires a very specific rhythmic delay and/or chorus, you can dial them in and recall them for a song-specific preset. The possibilities are nearly endless.
Even if you’ve built your dream ’board and made the choices that best suit you and your situation, finishing a personal build can lead to a feeling of “what do I do now?” If the materials and methods are fitting, the answer should be easy. Just play. Your dream ’board should inspire you to dig in without getting bogged down. Choose gear that inspires you, and put it together in a manner that does not impede your inspiration. Seeing your rig go from daydream to realization can invigorate the same creative drive that makes music. Go use the thing you made to make something greater!
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This legendary vintage rack unit will inspire you to think about effects with a new perspective.
When guitarists think of effects, we usually jump straight to stompboxes—they’re part of the culture! And besides, footswitches have real benefits when your hands are otherwise occupied. But real-time toggling isn’t always important. In the recording studio, where we’re often crafting sounds for each section of a song individually, there’s little reason to avoid rack gear and its possibilities. Enter the iconic Eventide H3000 (and its massive creative potential).
When it debuted in 1987, the H3000 was marketed as an “intelligent pitch-changer” that could generate stereo harmonies in a user-specified key. This was heady stuff in the ’80s! But while diatonic harmonizing grabbed the headlines, subtler uses of this pitch-shifter cemented its legacy. Patch 231 MICROPITCHSHIFT, for example, is a big reason the H3000 persists in racks everywhere. It’s essentially a pair of very short, single-repeat delays: The left side is pitched slightly up while the right side is pitched slightly down (default is ±9 cents). The resulting tripling/thickening effect has long been a mix-engineer staple for pop vocals, and it’s also my first call when I want a stereo chorus for guitar.
The second-gen H3000S, introduced the following year, cemented the device’s guitar bona fides. Early-adopter Steve Vai was such a proponent of the first edition that Eventide asked him to contribute 48 signature sounds for the new model (patches 700-747). Still-later revisions like the H3000B and H3000D/SE added even more functionality, but these days it’s not too important which model you have. Comprehensive EPROM chips containing every patch from all generations of H3000 (plus the later H3500) are readily available for a modest cost, and are a fairly straightforward install.
In addition to pitch-shifting, there are excellent modulation effects and reverbs (like patch 211 CANYON), plus presets inspired by other classic Eventide boxes, like the patch 513 INSTANT PHASER. A comprehensive accounting of the H3000’s capabilities would be tedious, but suffice to say that even the stock presets get deliciously far afield. There are pitch-shifting reverbs that sound like fever-dream ancestors of Strymon’s “shimmer” effect. There are backwards-guitar simulators, multiple extraterrestrial voices, peculiar foreshadows of the EarthQuaker Devices Arpanoid and Rainbow Machine (check out patch 208 BIZARRMONIZER), and even button-triggered Foley effects that require no input signal (including a siren, helicopter, tank, submarine, ocean waves, thunder, and wind). If you’re ever without your deck of Oblique Strategies cards, the H3000’s singular knob makes a pretty good substitute. (Spin the big wheel and find out what you’ve won!)
“If you’re ever without your deck of Oblique Strategies cards, the H3000’s singular knob makes a pretty good substitute.”
But there’s another, more pedestrian reason I tend to reach for the H3000 and its rackmount relatives in the studio: I like to do certain types of processing after the mic. It’s easy to overlook, but guitar speakers are signal processors in their own right. They roll off high and low end, they distort when pushed, and the cabinets in which they’re mounted introduce resonances. While this type of de facto processing often flatters the guitar itself, it isn’t always advantageous for effects.
Effects loops allow time-based effects to be placed after preamp distortion, but I like to go one further. By miking the amp first and then sending signal to effects in parallel, I can get full bandwidth from the airy reverbs and radical pitched-up effects the H3000 can offer—and I can get it in stereo, printed to its own track, allowing the wet/dry balance to be revisited later, if needed. If a sound needs to be reproduced live, that’s a problem for later. (Something evocative enough can usually be extracted from a pedal-form descendant like the Eventide H90.)
Like most vintage gear, the H3000 has some endearing quirks. Even as it knowingly preserves glitches from earlier Eventide harmonizers (patch 217 DUAL H910s), it betrays its age with a few idiosyncrasies of its own. Extreme pitch-shifting exhibits a lot of aliasing (think: bit-crusher sounds), and the analog Murata filter modules impart a hint of warmth that many plug-in versions don’t quite capture. (They also have a habit of leaking black goo all over the motherboard!) It’s all part of the charm of the unit, beloved by its adherents. (Well, maybe not the leaking goo!)
In 2025, many guitarists won’t be eager to care for what is essentially an expensive, cranky, decades-old computer. Even the excitement of occasional tantalum capacitor explosions is unlikely to win them over! Fortunately, some great software emulations exist—Eventide’s own plugin even models the behavior of the Murata filters. But hardware offers the full hands-on experience, so next time you spot an old H3000 in a rack somewhere—and you’ve got the time—fire it up, wait for the distinctive “click” of its relays, spin the knob, and start digging.
A live editor and browser for customizing Tone Models and presets.
IK Multimedia is pleased to release the TONEX Editor, a free update for TONEX Pedal and TONEX ONE users, available today through the IK Product Manager. This standalone application organizes the hardware library and enables real-time edits to Tone Models and presets with a connected TONEX pedal.
You can access your complete TONEX library, including Tone Models, presets and ToneNET, quickly load favorites to audition, and save to a designated hardware slot on IK hardware pedals. This easy-to-use application simplifies workflow, providing a streamlined experience for preparing TONEX pedals for the stage.
Fine-tune and organize your pedal presets in real time for playing live. Fully compatible with all your previous TONEX library settings and presets. Complete control over all pedal preset parameters, including Global setups. Access all Tone Models/IRs in the hardware memory, computer library, and ToneNET Export/Import entire libraries at once to back up and prepare for gigs Redesigned GUI with adaptive resize saves time and screen space Instantly audition any computer Tone Model or preset through the pedal.
Studio to Stage
Edit any onboard Tone Model or preset while hearing changes instantly through the pedal. Save new settings directly to the pedal, including global setup and performance modes (TONEX ONE), making it easy to fine-tune and customize your sound. The updated editor features a new floating window design for better screen organization and seamless browsing of Tone Models, amps, cabs, custom IRs and VIR. You can directly access Tone Models and IRs stored in the hardware memory and computer library, streamlining workflow.
A straightforward drop-down menu provides quick access to hardware-stored Tone Models conveniently sorted by type and character. Additionally, the editor offers complete control over all key parameters, including FX, Tone Model Amps, Tone Model Cabs/IR/VIR, and tempo and global setup options, delivering comprehensive, real-time control over all settings.
A Seamless Ecosystem of Tones
TONEX Editor automatically syncs with the entire TONEX user library within the Librarian tab. It provides quick access to all Tone Models, presets and ToneNET, with advanced filtering and folder organization for easy navigation. At the same time, a dedicated auto-load button lets you preview any Tone Model or preset in a designated hardware slot before committing changes.This streamlined workflow ensures quick edits, precise adjustments and the ultimate flexibility in sculpting your tone.
Get Started Today
TONEX Editor is included with TONEX 1.9.0, which was released today. Download or update the TONEX Mac/PC software from the IK Product Manager to install it. Then, launch TONEX Editor from your applications folder or Explorer.
For more information and videos about TONEX Editor, TONEX Pedal, TONEX ONE, and TONEX Cab, visit:
www.ikmultimedia.com/tonexeditor
The luthier’s stash.
There is more to a guitar than just the details.
A guitar is not simply a collection of wood, wire, and metal—it is an act of faith. Faith that a slab of lumber can be coaxed to sing, and that magnets and copper wire can capture something as expansive as human emotion. While it’s comforting to think that tone can be calculated like a tax return, the truth is far messier. A guitar is a living argument between its components—an uneasy alliance of materials and craftsmanship. When it works, it’s glorious.
The Uncooperative Nature of Wood
For me it all starts with the wood. Not just the species, but the piece. Despite what spec sheets and tonewood debates would have you believe, no two boards are the same. One piece of ash might have a bright, airy ring, while another from the same tree might sound like it spent a hard winter in a muddy ditch.
Builders know this, which is why you’ll occasionally catch one tapping on a rough blank, head cocked like a bird listening. They’re not crazy. They’re hunting for a lively, responsive quality that makes the wood feel awake in your hands. But wood is less than half the battle. So many guitarists make the mistake of buying the lumber instead of the luthier.
Pickups: Magnetic Hopes and Dreams
The engine of the guitar, pickups are the part that allegedly defines the electric guitar’s voice. Sure, swapping pickups will alter the tonality, to use a color metaphor, but they can only translate what’s already there, and there’s little percentage in trying to wake the dead. Yet, pickups do matter. A PAF-style might offer more harmonic complexity, or an overwound single-coil may bring some extra snarl, but here’s the thing: Two pickups made to the same specs can still sound different. The wire tension, the winding pattern, or even the temperature on the assembly line that day all add tiny variables that the spec sheet doesn’t mention. Don’t even get me started about the unrepeatability of “hand-scatter winding,” unless you’re a compulsive gambler.
“One piece of ash might have a bright, airy ring, while another from the same tree might sound like it spent a hard winter in a muddy ditch.”
Wires, Caps, and Wishful Thinking
Inside the control cavity, the pots and capacitors await, quietly shaping your tone whether you notice them or not. A potentiometer swap can make your volume taper feel like an on/off switch or smooth as an aged Tennessee whiskey. A capacitor change can make or break the tone control’s usefulness. It’s subtle, but noticeable. The kind of detail that sends people down the rabbit hole of swapping $3 capacitors for $50 “vintage-spec” caps, just to see if they can “feel” the mojo of the 1950s.
Hardware: The Unsung Saboteur
Bridges, nuts, tuners, and tailpieces are occasionally credited for their sonic contributions, but they’re quietly running the show. A steel block reflects and resonates differently than a die-cast zinc or aluminum bridge. Sloppy threads on bridge studs can weigh in, just as plate-style bridges can couple firmly to the body. Tuning machines can influence not just tuning stability, but their weight can alter the way the headstock itself vibrates.
It’s All Connected
Then there’s the neck joint—the place where sustain goes to die. A tight neck pocket allows the energy to transfer efficiently. A sloppy fit? Some credit it for creating the infamous cluck and twang of Fender guitars, so pick your poison. One of the most important specs is scale length. A longer scale not only creates more string tension, it also requires the frets to be further apart. This changes the feel and the sound. A shorter scale seems to diminish bright overtones, accentuating the lows and mids. Scale length has a definite effect on where the neck joins the body and the position of the bridge, where compromises must be made in a guitar’s overall design. There are so many choices, and just as many opportunities to miss the mark. It’s like driving without a map unless you’ve been there before.
Alchemy, Not Arithmetic
At the end of the day, a guitar’s greatness doesn’t come from its spec sheet. It’s not about the wood species or the coil-wire gauge. It’s about how it all conspires to either soar or sink. Two guitars, built to identical specs, can feel like long-lost soulmates or total strangers. All of these factors are why mix-and-match mods are a long game that can eventually pay off. But that’s the mystery of it. You can’t build magic from a parts list. You can’t buy mojo by the pound. A guitar is more than the sum of its parts—it’s a sometimes unpredictable collaboration of materials, choices, and human touch. And sometimes, whether in the hands of an experienced builder or a dedicated tinkerer, it just works.
Two Iconic Titans of Rock & Metal Join Forces for a Can’t-Miss North American Trek
Tickets Available Starting Wednesday, April 16 with Artist Presales
General On Sale Begins Friday, April 18 at 10AM Local on LiveNation.com
This fall, shock rock legend Alice Cooper and heavy metal trailblazers Judas Priest will share the stage for an epic co-headlining tour across North America. Produced by Live Nation, the 22-city run kicks off September 16 at Mississippi Coast Coliseum in Biloxi, MS, and stops in Toronto, Phoenix, Los Angeles, and more before wrapping October 26 at The Cynthia Woods Mitchell Pavilion in The Woodlands, TX.
Coming off the second leg of their Invincible Shield Tour and the release of their celebrated 19th studio album, Judas Priest remains a dominant force in metal. Meanwhile, Alice Cooper, the godfather of theatrical rock, wraps up his "Too Close For Comfort" tour this summer, promoting his most recent "Road" album, and will have an as-yet-unnamed all-new show for this tour. Corrosion of Conformity will join as support on select dates.
Tickets will be available starting Wednesday, April 16 at 10AM local time with Artist Presales. Additional presales will run throughout the week ahead of the general onsale beginning Friday, April 18 at 10AM local time at LiveNation.comTOUR DATES:
Tue Sep 16 – Biloxi, MS – Mississippi Coast Coliseum
Thu Sep 18 – Alpharetta, GA – Ameris Bank Amphitheatre*
Sat Sep 20 – Charlotte, NC – PNC Music Pavilion
Sun Sep 21 – Franklin, TN – FirstBank Amphitheater
Wed Sep 24 – Virginia Beach, VA – Veterans United Home Loans Amphitheater
Fri Sep 26 – Holmdel, NJ – PNC Bank Arts Center
Sat Sep 27 – Saratoga Springs, NY – Broadview Stage at SPAC
Mon Sep 29 – Toronto, ON – Budweiser Stage
Wed Oct 01 – Burgettstown, PA – The Pavilion at Star Lake
Thu Oct 02 – Clarkston, MI – Pine Knob Music Theatre
Sat Oct 04 – Cincinnati, OH – Riverbend Music Center
Sun Oct 05 – Tinley Park, IL – Credit Union 1 Amphitheatre
Fri Oct 10 – Colorado Springs, CO – Broadmoor World Arena
Sun Oct 12 – Salt Lake City, UT – Utah First Credit Union Amphitheatre
Tue Oct 14 – Mountain View, CA – Shoreline Amphitheatre
Wed Oct 15 – Wheatland, CA – Toyota Amphitheatre
Sat Oct 18 – Chula Vista, CA – North Island Credit Union Amphitheatre
Sun Oct 19 – Los Angeles, CA – Kia Forum
Wed Oct 22 – Phoenix, AZ – Talking Stick Resort Amphitheatre
Thu Oct 23 – Albuquerque, NM – Isleta Amphitheater
Sat Oct 25 – Austin, TX – Germania Insurance Amphitheater
Sun Oct 26 – Houston, TX – The Cynthia Woods Mitchell Pavilion
*Without support from Corrosion of Conformity