
Don Peake wields one of his longtime companions, the Gibson ES-335 model.
The Wrecking Crew guitarist played with the Everly Brothers, the Jackson 5, Marvin Gaye, and many more. He shares memories of hanging with Elvis, the Beatles, and the Stones, long sessions with Phil Spector, recording with Sonny and Cher, and spitballing now-iconic guitar lines ingrained in music history.
The Wrecking Crew was a group of Los Angeles session players who shaped hundreds of hit records in the '60s and early '70s. The list of guitarists often named as crew members includes Tommy Tedesco, James Burton, Glen Campbell, Al Casey, Barney Kessel, and Howard Roberts. More rarely mentioned is Don Peake, who was right there in the studio trenches with them, creating timeless tracks for Phil Spector and others.
Peake later cut hits for Motown as well. If you listen to classic pop radio, you have doubtless heard the iconic opening wah-wah lick to Marvin Gaye's "Let's Get It On" and the guitar line doubling the bass on the Jackson 5's "I Want You Back," but probably never knew it was Peake playing those parts.
Though he appears briefly in The Wrecking Crew movie, it's safe to say Don Peake's place in the world of historic session guitarists is shamefully unsung. It's long past time for this purveyor of iconic guitar parts to be recognized. While many of his peers have departed, Peake luckily remains with us, ready to relay some amazing stories, which he does in this Premier Guitar interview.
"Elvis would come in three nights a week. We'd sit with him in the balcony on the break." āDon Peake
Don Peake was born in Los Angeles, California, on June 7, 1940. During high school, he played clarinet and sang with an a cappella choir. Picking up the ukulele at 16, he eventually moved to guitar. When word got out he could play Gene Vincent's "Be-Bop-A-Lula," it was recommended he try out for a gig with rockabilly singer Jackie Lee Cochran.
"I went to a night club called the Rag Doll," Peake recalls. "In the parking lot was a line of guitarists waiting to audition." Cochran fortuitously asked Peake if he knew "Be-Bop-A-Lula," and an affirmative answer helped him clinch the gig. Opening night, after playing that song, Cochran asked the young guitarist what else he knew. "Nothing," he replied.
Peake managed to keep the job, but to fill in the gaps he quickly signed up for lessons at Clara Joyce Sherman's School of Music in Hollywood. As luck would have it, his guitar teacher was Ray Pohlman, who would go on to be a regular guitarist and bassist in the Wrecking Crew. "Ray was a jazz guitarist who played with the Billy May Orchestra," he says. "He taught me to play and mentored me. I bought my blonde, 1946 Gibson ES-350 with the single pickup from him." A special guitar, indeed: The ES-350 Peake bought from Pohlman was a rare one-pickup jazz model made in 1946. Gibson started making the iconic two-pickup models in 1947.
Here's Peake at work in studio, putting his skill at reading music to work. This is a still from the documentary film The Wrecking Crew.
Working with Cochran helped cement the young guitarist's reputation as a rock 'n' roll player, which led to a gig with Lance LeGault, Elvis Presley's movie stand-in. "LeGault loved Ray Charles' songs and had his sax player write out 'Hallelujah, I Love Her So,' 'Drown in My Own Tears,' etc.," says Peake. "I learned the exact guitar parts, which came in handy later. Elvis would come in three nights a week. We'd sit with him in the balcony on the break."
Learning to read music while playing rock 'n' roll gigs provided Peake a perfect primer for later working with the similarly schooled Wrecking Crew, who also helped create much of the era's teenage music. Another bit of serendipity was hanging out with a young Phil Spector.
"Phil was studying with Howard Roberts," Peake remembers. "I started studying with both Barney Kessel and Roberts. Howard would write out arpeggios for me, while Barney was 'Mr. Time.' He would say, 'You've got a rod connecting your forearm to your foot. You have to tap your foot and keep your arm moving. It doesn't matter if you miss the chord, keep going. Never stop your right hand.'" Spector gave Peake a T-Bone Walker LP, adding a blues influence to the guitarist's jazz and rock background. "T-Bone had those wonderful moving 9th chords," he says.
Shown here in 1972 at an RCA Hollywood Studio session, Peake holds a modified ES-335 that began life as a 12-string, owned by John Phillips of the Mamas & the Papas. Fellow sessioner Paul Herman got it from Phillips and cut down the headstock and painted it black before selling it to Peake, who then used the instrument as his primary studio axe.
Courtesy of Don Peake
Spector's friend Marshall Leib, from his group the Teddy Bears, told Peake that the Everly Brothers were looking for a guitar player. Playing with the Everlys would be his first big gig and place him at the center of the musical revolution taking place in early '60s England.
"We flew to London," he recalls. "After the gig, we went to a night club where a pretty good band was playing." Still wearing their matching gray suits, it was clear that Peake and company were a band as well, so the local performers joined them on their break. Among those locals were Albert Lee and Eric Clapton. In his autobiography, Clapton describes Peake as one of the American guitarists who impressed him as being technically better than he was.
On the next trip to England, the Everly Brothers headlined a tour featuring the Rolling Stones, Bo Diddley, and Little Richard. "As I was watching one of the other acts, I noticed a black man in a full-length peignoir across the stage, holding a bible," he says. "One of the stagehands said, 'That's Little Richard Penniman.'"
"Brother Ray came in and sat down at the piano. He said, 'Do you know 'Hallelujah, I Love Her So?'ācut back to Lance LeGault, making me learn those Ray Charles songsāI said, 'Absolutely.'" āDon Peake
Brothers and band soon started hanging with the Beatles and Stones in Hamburg. "The Star-Club had three stages," says Peake. "We traded sets: Everly Brothers, Rolling Stones, Beatles. Jim Gordon came over as the drummer. He went on to play with Clapton."
During his Everly Brothers tenure, Peake had to leave his 1951 Fender Broadcaster at home. "The Everly Brothers were sponsored by Gibson, so we weren't allowed to use a Fender guitar onstage," he explains. "They gave me a brand new, bright red SG. We were strumming hard, and it would constantly break the 3rd or 4th string. I didn't have a spare guitar, so I would finish the show playing an octave higher."
Once back in Los Angeles, producer Jimmie Haskell heard about Peake and arranged for him to play with Ricky Nelson. "I played on the Adventures of Ozzie and Harriet sessions for a little while," he says. "James Burton was there at the same time. He came in the studio one day and started bending strings. I said, 'How did you do that?' He said, 'I've got an E string, where my G string is supposed to be.' That was the first time we saw anybody play a light G string."
Don Peake bought this blonde 1946 Gibson ES-350 with a single pickup from Ray Pohlman, his guitar mentor and Wrecking Crew bandmate. This rare jazz model was a precursor to the two-pickup model introduced in 1947. Peake's chart-reading and big-band chops were honed while playing in the jazz band at L.A. City College, where this photo was taken in 1960.
Photo courtesy of Don Peake
Peake's sessions with the Wrecking Crew started around 1966 with the Righteous Brothers' "You've Lost That Lovin' Feelin'." That record would define Spector's "Wall of Sound" and become one of the most played radio tunes of all time. A sizable chunk of that "wall" was the guitar section, including Barney Kessel, Howard Roberts, Bill Pittman, Tommy Tedesco, and Peake, all playing together.
"Tommy or Barney would be the first chair," Peake recalls. "There were always three guys playing miked Gibson L-5s. I bought mine from Howard Roberts. The board at Gold Star only had seven channels, so they had all the guitar mics running together on one channel. Phil would have us move around to get the balance. He would rehearse us for three hours. Howard Roberts once said, 'Man, you come out here and play this. I'm getting tired.'"
Peake is featured on another major hit that sounds like a Spector production, but isn't. "One day, I'm up at Armin Steiner's studio and a shaggy-haired guy comes in with a beautiful girl in bangs," he relates. "The producer said, 'This is Caesar and Cleo.' The song was 'Baby Don't Go.' I did the tremolo strumming part."
"Don was the best reader of the three of us and would help us with any problems reading charts." āLouie Shelton
A week later, Ahmet Ertegun heard the duo, changed their name to Sonny and Cher, and ordered a full album, which included the massive hit "I Got You Babe."
"That tune is me on my Fender Telecaster with a lot of reverb," says Peake. "Sonny produced the records. He'd been a gofer for Phil Spector and, like Phil, he was into lots of reverb and long rehearsals. Barney Kessel was sitting next to me. He had played jazz with Charlie Parker and Lady Day [Billie Holiday]. After playing this one F7chord for three hours he said, 'Sonny, if a doctor told me I had only two weeks to live, I'd spend them with you because each moment is like an eternity'."
In 1964, Peake landed a gig with a man whose music had inspired him as a teenager. While recording at Gold Star Studios, he ran into his friend Arthur Wright on the phone with Ray Charles' manager Joe Adams. Wright put Peake on the call.
Don Peake with his boss, the great Ray Charles, in the dressing room before a show in Wichita, Kansas, circa 1993.
Courtesy of Don Peake
"Adams said, 'Ray Charles is looking for a guitar player," he recalls. "We've tried 35 guys and can't find anybody who can play the blues, read music, play jazz, and already knows Ray's old songs, because we've lost some of that music.' I said, 'I'm white.' He said, 'Can you play?' I said, 'Yes.' He said, 'Get down here.'"
Peake grabbed his Deluxe Reverb, Gibson L-5, and ES-350, and drove to the studio, where he hauled all three up a flight of stairs. With his hands full, he kicked open the rehearsal room door, slamming it into the wall.
"Staring at me were five saxophones, four trombones, four trumpets, bass, drums, an empty piano chair, and an empty guitar chair," he says. "I'd been playing with the jazz band at L.A. City College, so I knew how to read big band charts. The drummer called an up-tempo Count Basie blues and I started playing that L-5 as fast as I could. Leroy Cooper, the baritone player, leaned over to Lily Fort, the lead singer of the Raelettes, and said, 'That boy is serious.' Then they said, 'Get out your electric.' I picked up the 350 and we did 'Jumping with Symphony Sid.' Brother Ray came in and sat down at the piano. He said, 'Do you know 'Hallelujah, I Love Her So?'ācut back to Lance LeGault, making me learn those Ray Charles songsāI said, 'Absolutely.'"
Joe Adams informed Peake that Charles wanted to hire him at $200 a week. "I told him the Everly Brothers were paying $225," says Peake. Adams said he would have to talk to Mr. Charles. Fearing he had blown the gig of a lifetime, Peake drove to his mother's house, where he lived when he was off the road. "She said, 'Joe Adams called," he recalls. "They're going to pay you $225, but give you a separate envelope for the $25, so the rest of the band doesn't know about it.'" Thus, Don Peake became the first white guitarist to play with Ray Charles.
Don Peake peeks out of a Sonny and Cher sandwich while backing up the iconic duo at L.A.'s Hollywood Bowl in 1966.
Courtesy of Don Peake
Before they hit the road, Charles recorded a live album. During the show, he began playing the introduction to "Makin' Whoopee"āa song for which there was no chart. "I had never played it with him," says Peake. "When he goes up a half-step on the dominant you can hear me slide into it. I'm learning the song onstage while they're recording it."
Peake continued recording with Charles even after he stopped touring with him, cutting classics like "America the Beautiful" and "Crying Time." He can be heard loud and clear on a lesser-known Charles cover, "Blue Moon of Kentucky," playing the signature intro and the solo over the fade. Toward the end of the track, you hear Charles exhorting the guitarist, "Play it! Play it 'til it gets good." Rather than being critical, according to Peake, he is encouraging him. "He's saying, 'Keep going. It's good,'" Peake says.
While "Blue Moon of Kentucky" is a deep cut, the guitarist's soulful blues licks on the massive Charles hit "Let's Go Get Stoned" have been heard by countless millions through the decades. Though the tone sounds Fender-ish, the guitar was an old Gibson ES-175. "I restrung it with real light strings," Peake explains. "I ended up not liking it, but I did use it on that recording."
In 1966, Peake was asked to go on the road with Bobby Darin, but told Darin he wanted to stay in town and be an arranger. A week went by before he got the call from the singer's managers. "I went to their office, where they played me 'If I Were a Carpenter' by Tim Hardin," he says. "They wanted strings and I'd never written for strings before. I went home, opened up the Russell Garcia arranging book [The Professional Arranger Composer], and feverishly figured out how to write the string quartet. When we recorded at Gold Star, I stood near the studio door so I could get out quickly. When the strings came in, I thought, 'That sounds all right,' and started walking back into the studio." This Bobby Darin hit would mark the beginning of an arranging and scoring career that would ultimately replace Peake's session work, but the guitarist still had some classics to cut.
"There are certain guitar licks or solos that always give me goose bumps, and Don Peake's opening part on 'Let's Get It On' is one of those." āDenny Tedesco
By 1969, Motown had started recording in Los Angeles. Diana Ross was going to produce the first Jackson 5 record with Ben Barrett as contractor. For the Ross-produced record, Barrett put together a band that included Peake, David T. Walker, and Louie Shelton on guitar, Wilton Felder on bass, and Gene Pello on drums. "On 'I Want You Back,' I doubled the bass line with Wilton," he recalls. "I had to read it."
Peake was quite good at that, Louie Shelton recalls. "Don was the best reader of the three of us and would help us with any problems reading charts," Shelton says.
In addition to doubling one of the most famous bass parts of all time, Peake appears on much of the Jackson's subsequent output. That's his Coral electric sitar on "Maybe Tomorrow" from Third Album and his early fuzz pedal shaping the memorable distorted part on "ABC." "I also had a Cry Baby wah," says Peake. "It said Thomas Organ Company, Sepulveda, California, on the bottom." He doesn't remember if it was him or Wah Wah Watson, aka Melvin Ragin, playing the wah part on the Jacksons' "Never Can Say Goodbye," but he is very clear about who played the memorable intro to Marvin Gaye's "Let's Get It On." As with many Peake performances, there's a fascinating backstory.
"There was a fabulous guitarist named RenƩ Hall who was also a great arranger," he relates. "Hall started using me because of my blues playing. He actually had me come in and finish a B.B. King album. B.B. had walked away from the record company and wouldn't talk to them. They had already recorded the songs but needed guitar fills, so I did them."
Peake stands beside bassist Wilton Felder on an early Jackson 5 session. Peake played essential parts on some of the group's early, barnstorming hits.
Courtesy of Don Peake
In 1973, Hall was the arranger on "Let's Get It On," working at Motown's L.A. studio on Romaine Street. "RenƩ said, 'I want you to make up something at the beginning'," says Peake. "I turned on my wah-wah pedal and played." As was so often the case in those days, Peake's name was left off the album. Wah Wah Watson was on the road with Gaye at the time, so everyone assumed he played the part. "It's me," says Peake. "I made a terrible mistake about 15 seconds in," he says. "I got excited and hit the open G string." (Editor's note: Actually, it's 13 seconds in, and you can hear it clearly.)
"There are certain guitar licks or solos that always give me goose bumps and Don Peake's opening part on 'Let's Get It On' is one of those," says Denny Tedesco, director of The Wrecking Crew movie and son of Tommy Tedesco.
In addition to playing on some of the biggest hits of the day, Peake played on numerous movie scores. Though his excellent reading skills no doubt played a part, sometimes it was his rock 'n' roll heart that landed him the job.
"I played for Elmer Bernstein on the Steve McQueen movie Baby the Rain Must Fall," he says. "Bernstein called me because, though Tommy Tedesco could pretend to be musically ignorant, I just naturally came up with stuff that was unsophisticated. Bernstein said, 'Just do whatever you want.' On the soundtrack, you'll hear me playing all this crazy guitar."
As the 1970s progressed, with guitarists like Larry Carlton, Jay Graydon, and Steve Lukather coming up, sessions began drying up for Peake's generation of musicians. The guitarist looked toward composing and arranging for the next chapter of his musical life, but to be successful he found he had to fully commit. He began studying arranging and composing with Albert Harris, a famed Hollywood orchestrator, and called composer/conductor and frequent session contractor Ben Barrett to bow out of his studio guitarist role. "He didn't say the words, 'Are you out of your fucking mind?'ābut I know he was thinking it," says Peake. Sane and serious, he sold the instruments in his cartage trunk and devoted himself to a career that would provide compositions and arrangements for more than 50 movies and television shows, including Knight Rider and My Two Dads.
For the last decade, Peake has been a professor at Los Angeles' Bridges Academy, a school for gifted children that have learning differences, such as autism and ADHD. "I teach guitar, jazz, and blues," he says. "Our music program allows these children to put both sides of their brain together. They get better at their studies."
As of this writing, Peake is still playing with some of the surviving members of the Wrecking Crew, including Chuck Berghofer, the bassist who played the slithery part on Nancy Sinatra's "These Boots Are Made for Walking."
"Don Randi is playing piano," he says. "The drummer is Ed Green. We do a Glen Campbell tribute, because we played on his records. We also do a Sonny and Cher song. We were just about to go on the road, when COVID hit."
This just scratches the surface of Peake's extraordinary life. Did we mention he was a champion race car driver? While there may be no official designation of who was in the Wrecking Crew, by any definition, Don Peake deserves mention as a member of that historic assembly. Maybe even more important is the mark his guitar playing left on memorable Motown tunes that have become embedded not just in music history, but in the culture at large.
Don Peake Essential Listening:
Description: Don Peake recorded tracks with Ray Charles even after he stopped touring with the pianist, cutting classics like "America the Beautiful" and "Crying Time." Peake can be heard loud and clear on a lesser-known Charles cover, "Blue Moon of Kentucky," playing the signature intro and the solo over the fade. Toward the end of the track, you hear Charles saying to Peake with enthusiasm, "Play it! Play it 'til it gets good."
Description: Peake played the guitar line doubling the bass on the Jackson 5's "I Want You Back." In addition to complementing one of the most famous bass parts of all time, Peake appears on much of the Jackson 5's subsequent output. He plays a Coral electric sitar on "Maybe Tomorrow" from 1970's Third Album, and that's also Peake's early fuzz pedal shaping the memorable distorted part on "ABC" from the same year.
Description: In 1966, Peake was asked to go on the road with Bobby Darin, but declined because he wanted to stay put and be an arranger. A week later, Peake got a call from the singer's managers to arrange strings for "If I Were a Carpenter." Peake had never written parts for strings before, but quickly figured out how to write for a string quartet. This Bobby Darin hit would mark the beginning of an arranging and scoring career that would ultimately replace Peake's session work.
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Hereās how 21 killer players from the past year of Rig Rundownsāincluding Justin Chancellor, Zakk Wylde, MonoNeon, Carmen Vandenberg, Sturgill Simpson, Jason Isbell, and Grace Bowersāuse stomps to take their sounds outside the box.
TOOL'S JUSTIN CHANCELLOR
Justin Chancellorās Pedalboard
If you ever catch yourself playing air guitar to Tool, youāre probably mimicking Justin Chancellorās parts. āSchism,ā āThe Pot,ā āForty Six & 2,ā āH.,ā āFear Inoculum,ā āDescending,ā āThe Grudge,ā and plenty of others feature his buoyant bass riffs.
What stomps does he run his Wal, StingRay, and Fender basses through? Glad you asked. His setup is either a bass playerās dream or nightmare, but for someone as adventurous as Chancellor, this is where the party starts.
Youāll notice many of his pedals are available at your favorite guitar store, including six Boss boxes, an Ernie Ball Volume Pedal, and MXR Micro Amp. Crucial foot-operated pedals are in blue: the Dunlop JCT95 Justin Chancellor Cry Baby Wah with a Tone Bender-style fuzz circuit (far left) and DigiTech Bass Whammy (middle). He really likes using the Tech 21 SansAmp GT2 for distortion and feedback when the Whammy is engaged or heās playing up the neck. Covering delays are three pedalsāhe has the pink Providence DLY-4 Chrono Delay programmed to match drummer Danny Careyās BPMs in āPneuma,ā which slightly increase during the song from 113 ms to 115 ms. The Boss DD-3s are set for different speeds with the one labeled āFasterā handling āThe Grudgeā and the other one doing more steady repeats. Thereās a pair of vintage Guyatone pedalsāthe Guyatone VT-X Vintage Tremolo Pedal (Flip Series) and Guyatone BR2 Bottom Wah Rocker (a gift from guitarist Adam Jones). The Gamechanger Audio Plus pedal is used to freeze moments and allow Justin to grab onto feedback or play over something. The Boss GEB-7 Bass Equalizer and Pro Co Turbo RAT help reinforce his resounding, beefy backbone of bass tone, while the MXR Micro Amp helps goose his grimy rumbles. The Boss LS-2 Line Selector is a one-kick escape hatch out of the complicated signal chain for parts of āSchism.ā The Wal and Music Man stay in check with the TU-3S tuner, a pair of Voodoo Lab Pedal Power 2 Pluses help bring things to life, and everything is wired up with EBS patch cables.
STURGILL SIMPSON AND LAUR JOAMETS
Sturgill Simpsonās Pedalboard
Alt-country veteran Sturgill Simpson packed light for his latest run. His board bears just a Peterson Stomp Classic tuner running into a Fulltone True-Path ABY-ST, which splits his signal to his two Magnatone Panoramic Stereo amps. āI wouldnāt use a tuner if I didnāt have to,ā he chuckles. The LILY P4D beside the splitter lets him control his mic signal to cut interference from onstage noise.
Laur Joametsā Pedalboard
For his main board, Laur Joamets packs a little heavier than his boss. The platform, made by West Coast Pedal Board, carries a Peterson StroboStomp, Greer Amps Arbuckle Trem, sRossFX fuzz/overdrive, MXR Booster, T-Rex Replica, sRossFX germanium octave pedal, TC Electronic Viscous Vibe, Dunlop EP103 Echoplex, and Source Audio True Spring Reverb. An MXR Tap lets him tap in delay tempos. He has a second pedalboard, as well, for his Stage One steel guitar. It goes into a Peterson StroboStomp HD, then on to a Greer Black Tiger and Goodrich Sound Company volume pedal, before hitting his Magnatone Varsity Reverb and a custom-built Fender brown-panel Deluxe clone he calls āthe Charmer.ā
PANTERAāS ZAKK WYLDE AND REX BROWN
Zakk Wyldeās Pedalboard
When Panteraās bassist Rex Brown and singer Phil Anselmo decided to fire the band up again, the choice of fellow road dog Zakk Wylde on guitar seemed perfect. Hereās what Wylde had on the floor and in the racks for the bandās February date at Nashvilleās Bridgestone Arena.
His signature arsenal of effects seen here includes a MXR Wylde Audio Overdrive, MXR Wylde Audio Phase, Wylde Audio Cry Baby wah, and a Dunlop ZW357 Zakk Wylde Signature Rotovibe. The lone box that isnāt branded Wylde is a standard fare MXR Carbon Copy. Offstage, his rack is home to a MXR Smart Gate and MXR Wylde Audio Chorus thatās always on. Both are powered by a Voodoo Lab Pedal Power 3 Plus. Another drawer holds a Radial BigShot I/O True-bypass Instrument Selector, Lehle Little Dual II Amp Switcher, and a Radial BigShot EFX Effects Loop Switcher.
Rex Brownās Pedalboard
This tour was the first time Rex Brown used a switching system. His stage board sported a Dunlop JCT95 Justin Chancellor Cry Baby Wah, a 2000s Morley Pro Series II Bass Wah, Origin Effects DCX Bass Tone Shaper & Drive, a MXR M287 Sub Octave Bass Fuzz, and a Peterson StroboStomp HD. The brain of everything in the rack and onstage is the RJM Mastermind GT. And to help āmove mountains,ā Rex has a Moog Taurus III.
MSSVāS MIKE BAGGETTA AND MIKE WATT
Mike Baggettaās Pedalboard
Mike Baggetta has some core pedals in MSSV, his indie supergroup with legendary bassist Mike Watt and drummer Stephen Hodges. His arsenal includes a Creepy Fingers Hold Tight fuzz, an Electro-Harmonix Ring Thing, a Wilson Effects Freaker Wah V2, an EHX Deluxe Memory Man, and a Red Panda Tensor. The signal flows from his Benson amp into the Tensor, which he uses for glitch sounds, harmonizing, and overdub mode, among other feats. His Memory Man adds spaceāthe final frontier.
Mike Wattās Pedalboard
Mike Watt puts his signature Reverend Wattplower bass into a Broughton Audio high-pass filter, an EarthQuaker Devices The Warden optical compressor, and a Sushi Box Effects Finally tube DI that functions as a preamp. Thereās also a TC Electronic PolyTune.
MONONEON
MonoNeonās Pedalboard
The Memphis-born avant-funk bassist keeps it simple on the road with a signature 5-string, a tried-and-true Ampeg stack, and just four stomps. Almost all of his stomps have been zhuzhed up in his eye-popping palette. Heād used a pitch shifting DigiTech Whammy for a while, but after working with Paisley Park royalty, the pedal became a bigger part of his playing. āWhen I started playing with Prince, he put the Whammy on my pedalboard,ā Thomas explains. āAfter he passed, I realized how special that moment was.ā MonoNeon also uses a Fairfield Circuitry Randyās Revenge, a Fart Pedal (in case the Fairfield ring mod isnāt weird enough, we guess), and a JAM Pedals Red Muck covers fuzz and dirt needs. A CIOKS SOL powers the whole affair.
GRACE BOWERS
Grace Bowersā Pedalboard
Grace Bowers is one of the freshest new guitar stars to emerge in the past year. She has the essential fixinās for her classic rock tones: a Dunlop Crybaby Wah, Grindstone Audio Solutions Night Shade Drive, EarthQuaker Devices Tone Job, MXR Phase 90, MXR Phase 95, and Boss DD-2. Bowers powers them with a Voodoo Labs Pedal Power ISO-5.
GREEN DAYāS JASON WHITE
Photo by Raph Pour-Hashemi
Jason Whiteās Pedalboard
Long-time touring member Jason Whiteās stable is dominated by his Gibson Les Pauls and ES-335s. A Shure wireless system sends his signal to a rack set-up with an ISP noise gate, just in case Whiteās P-90s are picking up a lot of noise. From there, it hits a Dunlop Cry Baby and DVP1XL, then a MIDI-controllable RJM Effect Gizmo, which handles Whiteās effects: an MXR Reverb and Poly Blue Octave, Strymon TimeLine and Mobius, API Select TranZformer GTR, and a Custom Audio Electronics 3+SE Guitar Preamp, which gets engaged for clean tones and small combo sounds. A Lehle Dual SGoS Switcher and Fishman Aura DI Preamp handle changes with the piezo-equipped guitars. A Strymon Zuma provides the juice.
BONES UKāS CARMEN VANDENBERG
Carmen Vandenbergās Pedalboard
Carmen Vandenberg covers a lot of ground with her Bones UK guitar sounds, and sheās got a carefully curated collection of stomps to span the territory. Her guitar first hits an Ernie Ball Cry Baby before running through the rest of the pedals: a Boss TU-3, Fulltone OCD, Supro Drive, Pigtronix Octava, EHX Micro POG, Supro Chorus, Blackstar Dept. 10 Boost, EarthQuaker Devices Dispatch Master, MXR Carbon Copy Deluxe, Catalinbread Belle Epoch, and Boss NS-2. A Live Wire Solutions ABY manages the signals on their way to her signature Blackstar CV30s.
BLACK PUMASā ADRIAN QUESADA, BRENDAN BOND, AND ERIC BURTON
Adrian Quesadaās Pedalboards
Adrian Quesada loves tremolo and reverb, and uses a Strymon Flint for both. His other main stomp is the Electro-Harmonix Holy Grail that provides a healthy dose of spring reverb. Also along for the tour: a Line 6 Echo Park, a Catalinbread Echorec, a Boss GE-7 Equalizer, a Catalinbread Belle Epoch, and an EarthQuaker Devices. The Fulltone Clyde Wah Deluxe has stepped in for a different filter sweeper. Thereās also a JAM Pedals Ripple two-stage phaser, and a TC Electronic PolyTune2 Noir keeps his guitars in check. Thatās all on board one.
His second board includes a JHS 3 Series Delay, a JHS Crayon, and an Electro-Harmonix Nano POG. Utility boxes on hereāStrymon Ojai, JHS Mini A/B, and TC Electronic PolyTuneāhandle switching, tuning, and power.Brendan Bondās Pedalboard
Three pedals get the job done for Mr. Bond: an Acme Audio Motown D.I. WB-3 passive D.I., a JHS Colour Box, and a Boss TU-3 Chromatic Tuner.
Eric Burtonās Pedalboard
Frontman and guitarist Eric Burton is the bandās lone wireless member. To accommodate his onstage prowling, tech Bryan Wilkinson uses a Radial JDI passive direct box that takes in the XLR from the audio subsnake wireless rackmount and routes it into the first pedal: a Boss TU-3 Chromatic Tuner. From there, Burton only has a couple pedalsāa DigiTech Mosaic to mimic a 12-string for āOCT 33ā and a JHS Colour Box for any required heat. A Strymon Ojai turns everything on.
JASON ISBELL AND SADLER VADEN
Jason Isbellās Pedalboards
Jason Isbell could open a huge gear shop just by clearing off his boards and racks. First off, he has a complex wet/dry/wet setup that is parsed out via a RJM Mastermind, with two Magnatone Twilight Stereo combos carrying the all-wet effects. Thereās also a Radial JX44v2, which serves as the core signal manager. Above it, on the rack, is an Echo Fix Chorus Echo EF-X3R. Moving up the rack, one drawer includes an Ibanez DML10 Modulation Delay II, EarthQuaker Devices Tentacle, and a trio of stereo-field-only effects: a Boss MD-500, Strymon Volante, and Hologram Electronics Microcosm. Another level up, youāll find a Chase Bliss Preamp Mk II, Chase Bliss Tonal Recall Delay, Chase Bliss Dark World Reverb, Chase Bliss Condor EQ/Filter, Chase Bliss Gravitas Tremolo, Chase Bliss CXM-1978 Reverb (stereo-field only), Keeley 30ms Automatic Double Tracker, gold Klon Centaur, Analog Man Sun Lion Fuzz/Treble Booster, Analog Man King of Tone with 4-jack mod, Keeley 4-knob CompROSSor, Pete Cornish OC-1 Optical Compressor, EHX Micro POG, Analog Man ARDX20 Delay, and a trio of Fishman Aura Spectrum DIs.
Sadler Vadenās Pedalboard
Isbellās 6-string sparring partner Sadler Vadenās pedalboard chain starts with a Dunlop Clyde McCoy Wah, then a Lehle volume pedal, which feeds the Gig Rig. He uses a Line 6 M5 with a Dunlop expression pedal for a lot of modulation effects. Other pedals include a Crowther Prunes & Custard, Nordvang No.1, an Analog Man Dual Analog Delay, Comp, and King of Tone, a Strymon BlueSky, and a Greer Lightspeed. Every effect is isolated into the Gig Rig. The board has four outputs, two for each side of his 3rd Power British Dream, one for a Marshall plexi, and one that goes to an aux line and splits to a Vox Pacemaker. The auxiliary line is as a backup in case Sadlerās amps go down. It consists of a Strymon Iridium into a Seymour Duncan Power Stage that goes to FOH. And finally, his acoustic pedalboard sports a Shure wireless running into an ART Tube MP/C preamp into a L.R. Baggs Venue DI, with a Radial Engineering Bigshot selector.
MICHAEL LEMMO
Michael Lemmoās Pedalboard
Rising star player Michael Lemmo relies on his stomps for tone sculpting, but he doesnāt need much to get the job done. His signal hits a Korg tuner, followed by an Xotic EP Booster, Bearfoot FX Honey Bee OD, Red Panda Context, Boss DD-7, and TC Electronic Ditto. Theyāre all juiced by a Truetone 1 Spot Pro CS7.
HELMETāS PAGE HAMILTON
Page Hamiltonās Pedalboard
Page Hamilton used to travel with a full Bradshaw rig with rack gear, but heās reduced things to a pair of Eventide H9 units and a handful of Boss boxesāa PS-5 Super Shifter, a MT-2W Metal Zone Waza Craft, a TS-2 Turbo Distortion, a NS-2 Noise Suppressor, and a FB-2 Feedbacker/Booster. A couple of Peterson Stomp Classic tuners keep his ESP Horizons ready, and a Boss ES-5 Effects Switching System organizes all his sounds and settings.
BARONESSā JOHN BAIZLEY, GINA GLEASON, AND NICK JOST
John Baizleyās Pedalboard
The Baroness frontmanās board is packed with staged dirt boxes and tasteful mod stomps, all held in check with a GigRig G2, Peterson StroboStomp, and Ernie Ball Volume Pedal. The crown drive jewels are a heavily modded EHX Big Muff and Crowther Double Hot Cake, but a Beetronics FX Overhive and Pro Co RAT add sizzle, too. A Boss DD-3, DM-2W, and TR-2, EarthQuaker Devices Dispatch Master and Tentacle, MXR Phase 90 and Dyna Comp, and EHX Deluxe Memory Man handle the rest, while a DigiTech Whammy lurks for its moment to blast off.
Gina Gleasonās Pedalboard
Gleasonās favorite drive these days is the EQD Zoar. Piling on top of that are a MXR Super Badass Distortion, MXR Timmy, modded EHX Big Muff, and a touchy Philly Fuzz Infidel prototype; an Xotic SP Compressor and UAFX 1176 Studio Compressor tighten things up when needed. Three time machinesāthe Strymon TimeLine, EQD Space Spiral, and Boss DD-3āhandle delay, and a Walrus Slo dishes out reverb. The MXR EVH Phase 90 adds some color along with another DigiTech Whammy. The Ernie Ball Volume Pedal, Peterson StroboStomp, and GigRig G2 finish the line-up.
Nick Jostās Pedalboard
The bassistās board is powered by an MXR Iso-Brick, with an Ernie Ball Volume Pedal and Boss TU-3 pulling utility duties before an Xotic Bass BB Preamp, Boss ODB-3, DOD FX69B Grunge, MXR Stereo Chorus, and Tech 21 SansAmp Bass Driver DI.
WOLFMOTHERāS ANDREW STOCKDALE
Andrew Stockdaleās Pedalboard
When we walked into Nashvilleās Eastside Bowl for this Rig Rundown with Wolfmotherās alpha canine, Andrew Stockdale, it sounded like he was playing his SG through a Marshall stack at head-ripping volume. Nope! Stockdale was blasting skulls apart with a Line 6 HX Stomp doing the heavy tonal lifting. The rest of his boardās layout is a Snark floor tuner, an EHX Micro Synth (a Wolfmother staple), an Xotic AC Booster, an EHX Micro POG, a Dunlop Cry Baby 535Q Multi-Wah, a Boss TR-2 tremolo, a CIOKS DC5 power supply, and Shure GLXDC+ wireless.
FEARLESS FLYERS' CORY WONG AND MARK LETTIERI
Cory Wongās Pedalboard
Through a Shure GLXD16 wireless system, Cory Wong flows his guitar into his Neural DSP Quad Cortex, which runs a beta version of his Archetype: Cory Wong plugin, based off of a melding of a Dumble and a Fender Twin. The signal hits an onboard envelope filter and rarely used pitch shifter, then exits out the effects loop into a Wampler Cory Wong Compressor, Jackson Audio The Optimist, and a Hotone Wong Press. The signal goes back into the Quad Cortex, where thereās a preset phaser, stereo tape delay, and modulated reverb, plus a freeze effect. Two XLR outs run to front of house, while two run to Wongās Mission Engineering Gemini 2 stereo cabinet.
Mark Lettieriās Pedalboard
Mark Lettieriās signal first hits a Keeley Monterey Custom Shop Edition, followed by an MXR Deep Phase, J. Rockett HRM, J. Rockett Melody OD (Lettieriās signature), Pigtronix Octava, and a Dunlop DVP4, all powered by a Strymon Ojai. A TC Electronic TonePrint Plethora X5 pedalboard handles coordination and switching between the devices.
SLASHāS BLUES BALL BAND
Slashās Pedalboard
āI havenāt had a pedalboard in front of my feet since the ā80s,ā Slash told us. But with the Blues Ball tour, he kept it simple, stomping his own boxes. His chain includes a Peterson StroboStomp, Dunlop Cry Baby, MXR CAE Boost/Line Driver, Ibanez TS9 Tube Screamer, MXR EVH90, BBE Soul Vibe Rotary Simulator, Boss DD-3 Digital Delay, and MXR Uni-Vibe, with everything powered by a Voodoo Lab Pedal Power 2 Plus. All pedals are taped down with their settings dialed in. When his signal leaves the board, it hits a Whirlwind Selector A/B box, where it splits off between his amps and his Talk Box rig.
Tash Nealās Pedalboard
Tash Neal keeps a modest pedalboard at his feet: a DāAddario Chromatic Pedal Tuner, Dunlop Cry Baby, XTS Custom Pedals Precision Multi-Drive, EHX Green Russian Big Muff, and a Fender Waylon Jennings Phaser, powered by a T-Rex Fuel Tank.
RANCIDāS MATT FREEMAN
Matt Freemanās Pedalboard
Bassist Matt Freemanās signal goes wireless into one of his Avalon U5 Class A Active Instrument DI and Preamps, and then through a Way Huge Pork Loin Overdrive, set to give his Bassman a good push.
CHRISTONE āKINGFISHā INGRAM
Kingfishās Pedalboard
Kingfishās signal starts with a Shure Wireless BLX4, which hits a Boss TU-3w Chromatic Tuner. From there, the route is a Dunlop Cry Baby Mini Wah, a Marshall ShredMaster, and a Boss DD-3 Delay. The pedals live on a Pedaltrain Nano board and were assembled by Barry OāNeal at XAct Tone Solutions.
DIXIE DREGSā STEVE MORSE
Steve Morseās Pedalboard
Steve plays through a pair of 3-channel Engl Steve Morse signature 100-watt ampsāone wet, one dryābut his pedal chain is relatively simple: a Keeley Compressor, two Ernie Ball volume pedals, two TC Flashbacks, a TC Electronic Polytune, and a foot controller for his Engls.
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.
āThe new Fenix models represent our commitment to making premium-quality guitars accessible to players at every level, without compromising on sound, playability, or innovation,ā said Kepma USA president Tony Moscal. āWith their torrefied solid tops, thinner neck profiles, and unparalleled playability, these guitars deliver exceptional sound and feel typically reserved for professional instrumentsāall at an entry-level price.ā
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 youāre 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 playerās 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 playerās 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 AcoustiFexĀ® 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. Kepmaās 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: Kepmaās 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 Kepmaās 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 youāre 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 youāre 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.
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 bandās 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 wasnāt 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 itās the fansā 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 Giantsāchock full of rock ānā roll grooves both lilting and bone-shaking, and anthemic chord progressionsāthe group is as strong as ever. Chuck Garvey and Al Schnierās vibrant, bright guitars chime, crush, strum, and wail, and thereās a buoyant spirit and evocative lyrics. The lead single, āUps and Downs,ā 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 albumās 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 Derhakās 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. āMy syllables didnāt know how to find each other,ā 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.āI 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, bluegrassā¦. There was never any question that we could put all of this into the band.ā āAl 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 Yearās Eve concert in 2023, where several audience members were struck and killed by a vehicle outside the concert hall. Devastated, moe. responded by saying, āWe believe in the power of music to heal and unite.ā
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
- DāAddario XL140 (.010ā.052)
- Dunlop Primetone Semi Round 1.5mm
I asked Schnier how it felt to be making music with his partners after all theyāve been through. āThe band brings me a sense of place,ā he says, āa sense of identity and affirmation. The bonds between us are so deep. When weāre on the road, and we have a day off, we often all end up back in the bus around 8 oāclock just hanging out together. I donāt know if itās that weāre creatures of comfort or that we just like each otherās company. It truly is a family.ā
āThe bonds between us are so deep.ā āAl Schnier
The classic two-guitar frontline has defined the bandās 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. Schnierās 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 bandās guitar parts stem from the interplay between both players. Garvey and Schnier craft their lines by jamming, one riffing off the otherāthe 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 Garveyās 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 āBARTā
- 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 DejaāVibe 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
- DāAddario NYXL (.010ā.046)
The sound of moe. is often described as āgenre defying.ā I ask what this rather generic phrase means to them. āI grew up listening to the Grateful Dead,ā Schnier says. āThey were kind of a model, but there were so many other things that I loved as well. Punk, prog, bluegrassā¦. There was never any question that we could put all of this into the band."
āYou never know when youāre going through a crisis whether itās going to turn out okay.ā āChuck Garvey
Garvey chimes in and talks about his admiration for Frank Zappa. āWhen 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.ā
Over the many years, moe. has had many āupsā: innumerable headline tours, international festivals from Bonnaroo to Japanās 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 Govāt Mule. Next, 2025 brings a long tour. In some ways theyāre making up for lost time.
As for the ādownsā? Says Garvey: āYou never know when youāre going through a crisis whether itās 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. Itās part of that smaller communityābut also that huge community of fans who are right there with us when we go through these things.ā
Schnier, with a noticeable degree of emotion in his voice, adds, āItās all made us closer, stronger. Itās all because we have each other. I couldnāt do it without these guys. Iām so grateful for that.ā
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.
An overdrive boost that takes cues from a Klon but goes beyond by adding useful tone-sculpting features.
A large range of wide-open tones to explore in the overdrive/boost family. Easy to voice with various types of gear. Might free up space on your pedalboard.
Potentially a little more expensive than alternatives.
$249
Walrus Audio Voyager MkII
walrusaudio.com
When it comes toKlon-style pedals, I like to think I have my bases covered. Iāve done too much research, I own a few, and I have some personal methodology for deciding which ones go on the board for which gig. (Not even I always understand that methodology, but it seems to work!) Iād like to put a check mark next to boost/overdrive in my mental notebook, but things donāt always go according to plan, so, on occasion, I find myself wooed by new offerings.
I promised myself Iād approach the Walrus Voyager MkII with a steely resolve. āIām not going to fall for this pedal,ā I whispered to my current klone-du-jour as I swapped stomps, confident that Iād never feel the need to add more options to a perfect pedal formula, as the Voyager does with its six knobs. But I guess thereās always room to grow.
More Knobs!?
In spite of the many similarities, you canāt really call the Voyager MkII aklone. It has germanium 1N34A diodes like a klone does. When I ABād with myJHS Notaklƶnāwhich sounds exactly like my Klon KTR and has become my go-to thanks to its sturdier buildāI was able to dial them in to sound quite close. I wasnāt able to set the controls to identical positions and I had to use my ear to tune the Walrus to get them. But with a baseline established, it was time to explore.
The Voyager MkII features five modes, which include the 1N34A diodes with a bass boost (mode 2), symmetric silicon diodes (mode 3), asymmetric silicon diodes (mode 4), and asymmetric silicon diodes with a bass boost (mode 5). If youāre familiar with what that all means, you know what to expect. If youāve never tinkered with pedal design or dug into the finer details of your overdrives, distortions, and fuzzes deeply enough to understand those things, this is an excellent way to learn with your ears.
A 2-knob EQ, controlled by a footswitch, opens up the voicing of the Voyager. The mid control determines the amount of boost or cut from clockwise, and the freq knob selects the frequency that is cut or boosted, ranging from 350 Hz to 2 kHz.
Modes and Mids
I jumped around the modes to taste, finding each suitable in different scenarios. As much as I love the warm, compressed sound of the germanium diodesāand the bass boost option is a welcomed touchāthe silicon diodes are more open, dynamic, and even feel a little grittier. That creates a lot of sonic variety. I always keep another boost/overdrive on my board along with my Klon or klone, but the Voyager would be a fine way to replace both.
The mid boost turned out to be my favorite feature on the Voyager. This would be a super-handy thing for kicking on between one section of a song and another, perhaps changing color for a lead or single-string part after heavy strums.
As I switched guitars, it was handy to hone in on some frequencies. After reveling in the higher side of the gain knob with a Powers Electric A-Type into my Deluxe Reverb, I had a hankering for some Strat-like bridge pickup sounds. Grabbing my G&L Legacy, I fine-tuned the high-mid cut, taming some of that guitarās spanky quack and adding some saturation by using just the slightest touch of gain. Moving to my Creston JM, with the Voyager MkII set to moderate gain, I cranked the boost in the lower mid frequencies, where I discovered a cocked-wah sound that lent a ā70s Zappa flair to some off-kilter leads.
The mid boost proved especially useful when getting my existing gear to sit well with the Mk II. In front of my Mattoverse Just-a-Phase, cranking the high mids lent noticeably more attack to a particularly gooey phaser setting in a useful way. And when I plugged into my Champ, I was able to beef-up that ampās thinner sound in the same way I might otherwise use an EQ pedal.
The Verdict
The Voyager MkII is built from a Klon-style foundation. But its well-considered features make it a much more versatile tight boost and overdrive thatās easy to voice for different guitars, amps, and pedal pairings. With a wide range of tones on hand, it also allows me to stay āin the zoneā when looking for a sound instead of going on a pedal-swapping hunt for tone. At $249, the Voyager is priced competitively with other pedals in its class but offers more room to roam.