
David Hidalgo and Cesar Rosas discuss the band's new album, Native Sons, their legacy of bringing Mexican folk music into mainstream rock, early days playing in the punk scene, and how the group's singular sound evolved along the way.
Few bands have had careers as charmed or as unlikely as Los Lobos, and even fewer have successfully laced together the number of disparate styles found in the band's music to make such a unique yet cohesive sound. Los Lobos' blend of traditional Mexican folk, soul, blues, and roots rock is a direct reflection of the diverse musical environment they were immersed in coming up in East Los Angeles in the late '70s and early '80s. The band's voice has always mirrored L.A.'s eclectic sonic tapestry in a beautiful and authentic way, and in an era where the internet can sometimes dramatically homogenize how we make art by removing geography and local interaction from the process, Los Lobos' uncanny story and locally shaped sound are a reminder of bygone days.
They are a living, breathing, culturally significant remnant of a fast-disappearing version of Los Angeles—and one with a legacy much bigger than just their brilliant work on the La Bamba soundtrack—elevated by a unique personality and rendered in fabulous songs. The diversity which shaped Los Lobos' music has always made L.A. fertile ground for guitar culture, and a deep passion for the instrument has always underpinned Los Lobos' work.
The group's pair of guitar and vocal anchors, David Hidalgo and Cesar Rosas, have earned no small number of famous friends and fans in the guitar space over the years—including heavies like Billy Gibbons and Eric Clapton—and when Hidalgo is brought up in guitar circles, the conversation inevitably turns to how underrated a player he is. Despite the stout, soulful chops and deceptively difficult rhythms that lurk within Los Lobos' songs, guitar heroism has never been this band's bag. Los Lobos' odyssey has been a decidedly blue-collar affair that always put the songs first, from performing traditional Mexican folk tunes for punk audiences while opening shows for bands like Black Flag, X, and the Blasters in the early '80s, to sharing the stage with roots-rock greats and jamming with their heroes. Most importantly, Hidalgo and Rosas have learned from it all, remaining dedicated students of the various musical traditions that have influenced their sound.
Los Lobos - “Native Son” (Official Music Video)
Check out the title track from the band's 17th album.
Now, Los Lobos is looking back. Their latest album, Native Sons, is an unsurprisingly varied collection of cover tunes, which traces the band's early education and love affair with Southern California's music culture. "We went through hundreds of songs when we were choosing the songs for the album, and we took it back to the basics," David Hidalgo explains. "Everyone chose songs that meant something to them, so a lot of these were our breakthrough tunes, you know?"
The resulting recording is not only a fantastic primer on California's best music as Los Lobos sees it, but a prime example of this band's ability to take on just about any tune and make it their own without sacrificing what made the song charming in the first place. Hidalgo and Rosas are all-too-happy to discuss the music that shaped them as players and songwriters while growing up in Southern California during the glory days of AM radio. Hidalgo sets the scene for us.
"Growing up in L.A., everything was everywhere," he says. "You'd drive through all these different neighborhoods and you'd hear different music. The AM radio back then was great—it was wide open. You had rock 'n' roll like Chuck Berry, the Beatles, the Stones, the Animals, the Yardbirds, but also you had Stax stuff, like Sam & Dave and Otis Redding, and Motown. Then you had the Mexican music that was everywhere, from the mariachis playing in restaurants to all these different styles. So, it all made sense to us. My older brother was a drummer and he'd play weddings, and his band had to play everything. They'd play 'Time Won't Let Me' by the Outsiders and then they'd play a cumbia, or they'd play some Chuck Berry before playing a bolero. That was the tradition we grew up in. L.A. had T-Bone Walker and its blues side, but surf guitar was also born in Southern California, and you had guys like Dick Dale, and the South Bay had bands like the Pyramids and the Belairs. So, it was always diverse. On top of that, Fender came out of Southern California and Semie Moseley started Mosrite in Bakersfield, so a lot of pioneering guitar makers were from the L.A. area and it was just part of the culture. The city was different back then, too. Neighborhoods that are Black or Latino now used to be ranches, and there was lots of country music. The Wagon Wheel was a place owned by Joe Maphis in Norwalk, and you had honky-tonks 10 miles away from blues clubs where Bobby Bland was playing."
"When they threw us in that pool with Black Flag and the Circle Jerks and all those flash bands, shit man, we had to swim out of there!" —Cesar Rosas
Considering that Rosas met Hidalgo in junior high school, the pair's early musical interests were always closely aligned. However, Rosas found himself particularly drawn to the soulful side of things, which informed the airtight and colorful rhythm guitar work he excels at.
"Before I became a guitar player, I always took to a lot of soul and R&B music," Rosas says of his days as a nascent music fan. "In the AM radio days, KGFJ was my favorite station, and they played all Black music. So, I grew up listening to Aretha Franklin and Sam & Dave and the Memphis stuff, Booker T. & the M.G.s. And that meant I grew up loving guitar!"
The majority of Native Sons was tracked at Nest Recorders, which brought most of the band back to East L.A. from their homes in the suburbs, adding an extra layer of emotional weight to the process. However, since the record was cut during the pandemic, Rosas' contributions were tracked from the safety and comfort of his home studio in his "stocking feet," as he says. Rosas brought in album opener "Love Special Delivery"—a killer '60s rocker by Thee Midniters, an East L.A.-bred group that was among the first Chicano rock bands to have a major radio hit—and a sweet Willie Bobo ballad called "Dichoso," which Rosas finished with layers of fantastic yet delicate guitar work.
David Hidalgo's Gear
David Hidalgo plays a Silvertone during recent rehearsals for Los Lobos' Native Sons tour.
Photo by Piero F Giunti
Guitars
- Fender Custom Shop Nocaster
- Parts Telecaster with MIJ Body/MIM Baja Player Tele neck/TV Jones Filter'Tron in the bridge and humbucker in the neck
- '70s Les Paul Special
- '80s MIJ Fender Standard Strat
- Gibson Chet Atkins nylon-string solidbody
- 2000s Gretsch '59 Country Gentleman single-cutaway reissue
Amps
- Vintage Fender Deluxe Reverb
- Fender Pro Junior
- Modified Bell & Howell Projector amp
Strings & Picks
- Ernie Ball Slinkys (.009, .010, or .011 sets, depending on guitar)
- Herco .75 mm silver
Hidalgo's selections boast some of the album's standout guitar moments. He sought to honor the spirit of originals as closely as possible with his performances. "I've always been a guitar lover, so 'Bluebird' by Buffalo Springfield was one of mine. Between Neil Young, Stephen Stills, and Richie Furay, it has great guitar playing, great arrangements, and great tones. That was a song I've wanted to play since I was 16 years old, but it was always too hard."
The band's cover of War's "The World Is a Ghetto" features some of the finest guitar playing and tones on the album. Hidalgo claims it was a deceptively difficult track to get together, even for a decorated player such as himself. "It's one of those songs we grew up with, but you don't realize how intricate it really is until you start trying to play it," Hidalgo says. "Howard Scott's guitar playing is elusive. There's hard rhythms and he's riffing on it at the same time, and you can tell that band recorded that song live and in the moment, so they're not really set parts and they change throughout the song. So, I tried to at least cop that vibe."
TIDBIT: Los Lobos' 17th studio album, Native Sons, was recorded during the pandemic at L.A.'s Nest Recorders studio, except for guitarist Cesar Rosas' parts, which he tracked from the safety of his home studio in his "stocking feet."
The closing jam on the War cover flexes one of the rare moments on the album where the group allowed themselves to cut loose from an original arrangement. "The ending of that song always sounded like it went to the relative major to me, so we went into this almost Hendrix or Sonny Sharrock-like solo," says Hidalgo. "The end of that one was our chance to break it open and do our own thing a bit."
While the gear and amenities available at Nest were put to good use by his bandmates, Rosas had no shortage of killer gear at his disposal at home. The southpaw guitarist has amassed quite the collection of rare, vintage left-handed guitars over the years, many of which never leave his home studio, so the circumstances presented a rare opportunity to put them to work.
Cesar Rosas' Gear
Cesar Rosas stands by with a southpaw Candelas nylon-string during recent rehearsals for Los Lobos' Native Sons tour.
Photo by Piero F Giunti
Guitars
- 1952 Gibson ES-295
- 1960 Fender Stratocaster
- 1966 Fender Telecaster
- 1960s Gretsch Country Gentleman
Amps
- 1950s Fender tweed Deluxe
Strings & Picks
- Ernie Ball Slinkys (.009–.042)
- Clayton Triangle 1.0 mm
"I have my special gear that I keep at home, my vintage guitars and vintage tweed Fender amplifiers that I only use at home for recording," Rosas says. "'Dichoso' has three or four guitars overdubbed on it. I used a 1952 Gibson ES-295 and a 1960 Strat that's very dear to me. I recorded 'Love Special Delivery' with a Gretsch Country Gentleman and a 1966 Fender Tele. And I used an old '50s tweed Deluxe for those songs."
Hidalgo and Rosas have always brought their own unique playing styles and gifts as guitarists to Los Lobos' music, but one thing that's unified the duo is a love of gear and the endless hunt for tone. When asked if there's still tonal experimentation in the process after this many records, Hidalgo is emphatic about how much he enjoys that side of things. "Oh yeah! That's the fun of it and that's what keeps you doing it! It's gotten a lot simpler. We used to take 30 guitars and a bunch of amps to the studio, but we got it down to a hollowbody, a Les Paul or an SG, a Strat, a Tele, and a couple of old amps, like a Deluxe Reverb. There are ways to get a lot of sounds out of minimal gear. For amps, I used Deluxe Reverbs for cleaner sounds and I'd combine it with a Fender Pro Junior a lot, which sounds like an old tweed amp to me."
For Rosas, he'll take the real deal over hybrids any day. The self-proclaimed purist says, "Sometimes somebody throws an oddball guitar at me and I play it for a little while—like I had a Strat with a humbucker in it—but I eventually go, 'What's the point? I'll just play a Les Paul.'"
"We were playing a college in Madison, Wisconsin, once and there were a lot of young punk kids and they were having fun slamming, so we broke into this Mexican ballad and they started doing the same thing in the pit, but in slow motion." —David Hidalgo
The story of how Los Lobos fell in with L.A.'s emerging punk scene when the band was still performing traditional Mexican folk songs is more than just an unexpected detour. It's a tale that underlines how truly open-minded the early punk scene was. And it's a story that proves there are things to learn from all types of music if you're paying attention. Hidalgo and Rosas both look back on those days fondly. "There was no posing with those guys, and if it was real, people in that scene were open to hear what you had to do or say," Hidalgo remembers. "The sense of community, too. In the '80s, all the bands in L.A. supported each other. The Blasters asked us to open a show for them at the Whiskey a Go Go, and that was the stepping-stone that got us going, really. There was friendship, camaraderie, and respect for each other that made the L.A. scene special. We just kind of sped everything up a little bit so you could slam to it! We were playing a college in Madison, Wisconsin, once, and there were a lot of young punk kids and they were having fun slamming, so we broke into this Mexican ballad and they started doing the same thing in the pit, but in slow motion. It was fun and most of us were on the same page: If it was real and authentic, it didn't matter what it was. Everything is connected for me and that's what I draw from."
For Rosas, the way the punks approached guitar was powerful. "Just the way those guys played—they were fuckin' on fire! A lot of them just plugged straight into the amp and that hit home for me, and it rubs off on you," Rosas says. "It's just sick stuff and we could relate to that. When they threw us in that pool with Black Flag and the Circle Jerks and all those flash bands, shit man, we had to swim out of there! But we were into it with everybody and it was really cool! We're very lucky and very proud of our time in the punk scene. Those were very special times for us."
Native Sons' nostalgic spirit presents an opportunity to reconsider the band's journey, including the impact of their artistic breakthrough, 1992's Kiko. "That album was a turning point and a good time for us," Hidalgo recalls. "We had come so far, and on the album before, The Neighborhood, which I think is a great album and we did some good work on … but we had issues with the record company which soured the end result. It ruined the feel of the album because it ruined the enjoyment that we had doing it.
In this vintage photo, Los Lobos guitarists Cesar Rosas and David Hidalgo both play Strats at a gig circa 1984.
Photo by Debra Trebitz/Frank White Photo Agency
"So, when we did Kiko we needed something to fire us up again, and that's when we started working with Mitchell Froom and Tchad Blake, and they were in the same boat and wanted to shake loose from what they had done before with something they were excited about," Hidalgo continues. "That album means so much because we really learned how to use the studio with those guys. Kiko was the first time we went in the studio, wrote most of the songs in the studio, and changed the instrumentation and arrangements as we went. It really helped us get to the next destination as a band."
With so many years, critically acclaimed records, and wild experiences in the rearview, there's a lot for Los Lobos to be proud of, but the thing that brings both Rosas and Hidalgo the most pride is bringing Mexican folk music to new audiences and the tradition they've honored with their contributions to the form.
"The Wagon Wheel was a place owned by Joe Maphis in Norwalk, and you had honky-tonks 10 miles away from blues clubs where Bobby Bland was playing." —David Hidalgo
"The Mexican folk music we play is really challenging, and I'm really proud of when I can make that stuff happen," Hidalgo says. "You can compare it to bluegrass: Those players are so far advanced and you have to know that whole library of songs, but you have to have the chops for them. It's the same way with Mexican folk music, where it's a tradition and you have to be respectful to it, but at the same time, there's room to add your own voice and take it further. Folk music was made to evolve, you know?"
Rosas feels the same way, adding: "The legacy of the Mexican folk music that we carry is important. All of those rhythms and tough songs that we play—I'd like to be remembered for what we've done with that stuff."
Los Lobos - Kiko and the Lavender Moon (video)
This classic music video for "Kiko and the Lavender Moon," from Los Lobos' Kiko album (1992), showcases the group's unique fusion of Mexican folk music, rock, jazz, and other disparate styles.
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Here’s how 21 killer players from the past year of Rig Rundowns—including Justin Chancellor, Zakk Wylde, MonoNeon, Carmen Vandenberg, Sturgill Simpson, Jason Isbell, and Grace Bowers—use stomps to take their sounds outside the box.
TOOL'S JUSTIN CHANCELLOR
Justin Chancellor’s Pedalboard
If you ever catch yourself playing air guitar to Tool, you’re probably mimicking Justin Chancellor’s parts. “Schism,” “The Pot,” “Forty Six & 2,” “H.,” “Fear Inoculum,” “Descending,” “The Grudge,” 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 player’s dream or nightmare, but for someone as adventurous as Chancellor, this is where the party starts.
You’ll 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 he’s playing up the neck. Covering delays are three pedals—he has the pink Providence DLY-4 Chrono Delay programmed to match drummer Danny Carey’s BPMs in “Pneuma,” 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 “Faster” handling “The Grudge” and the other one doing more steady repeats. There’s a pair of vintage Guyatone pedals—the 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 “Schism.” 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 Simpson’s 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. “I wouldn’t use a tuner if I didn’t have to,” he chuckles. The LILY P4D beside the splitter lets him control his mic signal to cut interference from onstage noise.
Laur Joamets’ 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 “the Charmer.”
PANTERA’S ZAKK WYLDE AND REX BROWN
Zakk Wylde’s Pedalboard
When Pantera’s 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. Here’s what Wylde had on the floor and in the racks for the band’s February date at Nashville’s 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 isn’t branded Wylde is a standard fare MXR Carbon Copy. Offstage, his rack is home to a MXR Smart Gate and MXR Wylde Audio Chorus that’s 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 Brown’s 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 “move mountains,” Rex has a Moog Taurus III.
MSSV’S MIKE BAGGETTA AND MIKE WATT
Mike Baggetta’s 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 space—the final frontier.
Mike Watt’s 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. There’s also a TC Electronic PolyTune.
MONONEON
MonoNeon’s 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. He’d 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. “When I started playing with Prince, he put the Whammy on my pedalboard,” Thomas explains. “After he passed, I realized how special that moment was.” MonoNeon also uses a Fairfield Circuitry Randy’s Revenge, a Fart Pedal (in case the Fairfield ring mod isn’t 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 Bowers’ Pedalboard
Grace Bowers is one of the freshest new guitar stars to emerge in the past year. She has the essential fixin’s 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 DAY’S JASON WHITE
Photo by Raph Pour-Hashemi
Jason White’s Pedalboard
Long-time touring member Jason White’s 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 White’s 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 White’s 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 UK’S CARMEN VANDENBERG
Carmen Vandenberg’s Pedalboard
Carmen Vandenberg covers a lot of ground with her Bones UK guitar sounds, and she’s 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 PUMAS’ ADRIAN QUESADA, BRENDAN BOND, AND ERIC BURTON
Adrian Quesada’s 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. There’s also a JAM Pedals Ripple two-stage phaser, and a TC Electronic PolyTune2 Noir keeps his guitars in check. That’s 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 here—Strymon Ojai, JHS Mini A/B, and TC Electronic PolyTune—handle switching, tuning, and power.Brendan Bond’s 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 Burton’s Pedalboard
Frontman and guitarist Eric Burton is the band’s 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 pedals—a DigiTech Mosaic to mimic a 12-string for “OCT 33” and a JHS Colour Box for any required heat. A Strymon Ojai turns everything on.
JASON ISBELL AND SADLER VADEN
Jason Isbell’s 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. There’s 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, you’ll 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 Vaden’s Pedalboard
Isbell’s 6-string sparring partner Sadler Vaden’s 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 Sadler’s 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 Lemmo’s Pedalboard
Rising star player Michael Lemmo relies on his stomps for tone sculpting, but he doesn’t 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. They’re all juiced by a Truetone 1 Spot Pro CS7.
HELMET’S PAGE HAMILTON
Page Hamilton’s Pedalboard
Page Hamilton used to travel with a full Bradshaw rig with rack gear, but he’s reduced things to a pair of Eventide H9 units and a handful of Boss boxes—a 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.
BARONESS’ JOHN BAIZLEY, GINA GLEASON, AND NICK JOST
John Baizley’s Pedalboard
The Baroness frontman’s 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 Gleason’s Pedalboard
Gleason’s 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 machines—the Strymon TimeLine, EQD Space Spiral, and Boss DD-3—handle 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 Jost’s Pedalboard
The bassist’s 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.
WOLFMOTHER’S ANDREW STOCKDALE
Andrew Stockdale’s Pedalboard
When we walked into Nashville’s Eastside Bowl for this Rig Rundown with Wolfmother’s 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 board’s 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 Wong’s 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 there’s 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 Wong’s Mission Engineering Gemini 2 stereo cabinet.
Mark Lettieri’s Pedalboard
Mark Lettieri’s signal first hits a Keeley Monterey Custom Shop Edition, followed by an MXR Deep Phase, J. Rockett HRM, J. Rockett Melody OD (Lettieri’s 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.
SLASH’S BLUES BALL BAND
Slash’s Pedalboard
“I haven’t had a pedalboard in front of my feet since the ’80s,” 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 Neal’s Pedalboard
Tash Neal keeps a modest pedalboard at his feet: a D’Addario 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.
RANCID’S MATT FREEMAN
Matt Freeman’s Pedalboard
Bassist Matt Freeman’s 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 “KINGFISH” INGRAM
Kingfish’s Pedalboard
Kingfish’s 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 O’Neal at XAct Tone Solutions.
DIXIE DREGS’ STEVE MORSE
Steve Morse’s Pedalboard
Steve plays through a pair of 3-channel Engl Steve Morse signature 100-watt amps—one wet, one dry—but 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.
Black Sabbath to Reunite for First Time in 20 Years—Ozzy Osbourne’s Final Performance
The original Sabbath lineup will reunite on July 5 in Birmingham, England, and be joined by Metallica, Pantera, Slayer, and more.
The concert will feature founding members Tony Iommi on guitar, bassist Geezer Butler, drummer Bill Ward, and singer Ozzy Osbourne. Profits from the show, called "Back to the Beginning," will be donated to charities including Cure Parkinson's.
On future Black Sabbath plans, Ozzy's wife, music manager, and TV personality Sharon Osbourne had this to say (via Reuters) about Ozzy: “While other bandmembers might continue to make records and perform, Black Sabbath's gig at the birthplace of the band will certainly be the 76-year-old's final performance.
"For Ozzy right now, it's definitely: 'I love you and good night'," she said.
Kepma Guitars introduces the new Fenix Series of Grand Auditorium acoustic guitars, offering premium features at an entry-level price, plus their new travel-sized FC Mini Series.
Designed for both aspiring players and seasoned musicians, the Fenix Series offers premium features typically found in higher-priced instruments, all starting at just $249.99.
“The new Fenix models represent our commitment to making premium-quality guitars accessible to players at every level, without compromising on sound, playability, or innovation,” said Kepma USA president Tony Moscal. “With their torrefied solid tops, thinner neck profiles, and unparalleled playability, these guitars deliver exceptional sound and feel typically reserved for professional instruments—all at an entry-level price.”
The Kepma Fenix Series features a Grand Auditorium body style with a solid torrefied Sitka spruce top, delivering exceptional tonal resonance and stability. The proprietary Kepma Torrefication Process uses a precise combination of heat and humidity to remove moisture, oils, and sap from the wood, resulting in a stronger, more stable top that enhances string vibration and ensures consistent performance in any environment.
Back and sides are crafted from layered African mahogany, providing a warm, balanced sound. The neck, made of durable nato wood, is reinforced with a two-way adjustable truss rod and finished with a smooth satin coating for effortless playability.
The Fenix Series is packed with cutting-edge features to elevate the playing experience:
- New 4-Point Bolt-On Neck Joint: Ensures unparalleled stability that allows for easy adjustments and maintenance - a first at this price point.
- Ultra-Thin Water-Based Finish: Environmentally friendly and just 0.042mm thick, this finish protects the guitar while maximizing tonal projection and preserving the natural beauty of the wood.
- Beveled Binding for Comfort: High-quality ABS beveled binding enhances durability, prevents edge damage, and ensures a comfortable playing experience.
- C-Shaped Fast Neck: A player-friendly design that reduces hand fatigue, enhances playing fluidity, and supports all playing styles.
For players seeking even more versatility, the optional AcoustiFex K-10 Pro Pickup, Preamp & FX System transforms the Fenix into an all-in-one performance and practice powerhouse. This system includes built-in reverb, delay, and chorus effects, Bluetooth audio streaming, and a companion app for rhythm looping, metronome functions, and more. Whether you’re performing on stage or practicing at home, plugged into an amp or mixer, or simply playing unplugged, the AcoustiFex system delivers unmatched sound and convenience.
The Kepma Fenix™ Series offers four configurations to suit every player’s preferences:
- FGA1-130 (Natural Finish): Grand Auditorium, solid torrefied spruce top, layered mahogany back and sides. MAP: $249.99
- FGA1-130A (Natural Finish with AcoustiFex): Grand Auditorium, solid torrefied spruce top, layered mahogany back and sides, AcoustiFex K-10 Pro Pickup System. MAP: $299.99
- FGA1-130SB (Sunburst Finish): Grand Auditorium, solid torrefied spruce top, layered mahogany back and sides, sunburst finish. MAP: $249.99
- FGA1-130ASB (Sunburst Finish with AcoustiFex): Grand Auditorium, solid torrefied spruce top, layered mahogany back and sides, sunburst finish, AcoustiFex K-10 Pro Pickup System. MAP: $299.99
The new Fenix models are designed to inspire beginners and seasoned musicians alike, setting a new benchmark for performance and value in the industry.
Kepma Guitars is thrilled to announce the introduction of its versatile FC Mini Series, packed with cutting-edge technology that redefines expectations for travel-sized guitars.
The new FC Mini models include a variety of configurations to suit every player’s needs. The Spruce/Rosewood and Spruce/Mahogany options feature solid torrefied spruce tops paired with layered rosewood or mahogany back and sides, available in natural and sunburst finishes. The Mahogany/Mahogany model features a solid torrefied mahogany top with layered mahogany back and sides in a natural finish. Each guitar is offered in three versions: no pickup, with the AcoustiFex® K-10 Pro system, or equipped with the Elfin Sound System, and all come with a deluxe gig bag. Prices range from $399.99 to $549.99 MAP.
Big Sound in a Compact Package Traditionally, smaller guitars have been associated with compromised sound and tone. Kepma’s FC Mini Series shatters this notion by integrating advanced innovations and meticulous design to create a guitar that offers the full resonance and projection of a standard acoustic.
Premium Materials and Construction The torrefaction process removes moisture, oils, and sap from the wood, enhancing stability and delivering superior tonal richness. Back and sides crafted from high-quality mahogany or rosewood ensure durability and warmth in every note.
Technological Innovations
- Proprietary Bolt-On Neck Design: Kepma’s neck contour bolt-on neck joint ensures a perfect and stable connection between neck and body, offering ultimate playability and infinite adjustability.
- Rosewood Bracing: Solid rosewood bracing enhances top stability and reduces energy loss, resulting in superior articulation and sustain.
- Arched Back Design: A unique arched back improves resonance and eliminates the need for back bracing, allowing for harmonious vibrations and a fuller sound.
Enhanced Playability The FC Mini Series is engineered with the player in mind. The slightly thicker neck provides added stability, while the ergonomic C-shape design reduces fatigue during extended playing sessions. The sleek cutaway provides access to the higher notes on the fretboard for better playability. Lower string action, beveled binding, and redesigned precision sealed tuners further enhance comfort and ease of use.
Attention to Detail Kepma’s commitment to excellence is evident in every detail of the FC Mini Series:
- D'Addario XS Strings: Coated strings extend playing life and offer superior projection.
- Elegant Aesthetics: Features include a magnolia inlay on the fretboard, upgraded rosette, and a refined rosewood veneer headstock.
- Eco-Friendly Finish: A thin, water-based matte finish minimizes vibration damping for a clear, transparent sound.
Advanced Electronics for Modern Musicians
AcoustiFex K-10 Pro System Each new FC Mini Series model is available with the AcoustiFex K-10 Pro System, offering:
- Built-in reverb, delay, and chorus effects
- Bluetooth audio streaming for playing along with backing tracks
- An on-the-go USB interface for app connectivity, enabling looping, rhythm tracks, and practice tools like a metronome and tuner
- Whether you’re performing on stage or practicing at home, plugged into an amp or mixer, or simply playing unplugged, the AcoustiFex system delivers unmatched sound and convenience.
Elfin Sound System The FC Mini Series are also available with the new Elfin K-13 Sound System, developed collaboratively by Kepma and Double Acoustics. The system offers high sensitivity, accurate sound reproduction, strong output power, and low noise. The under-saddle piezo pickup delivers sweet treble and punchy bass, making it ideal for fingerstyle playing. Additionally, the preamp features a rechargeable battery system that can be conveniently charged using a standard USB-C phone charger cable. The Elfin K-13 Sound System was developed and voiced specifically for the Kepma ¾ size FC Mini Series guitars.
Complete Package Each FC Mini guitar comes with a padded deluxe gig bag and an accessory kit that includes a custom truss rod wrench, microfiber polishing cloth, bridge pins, picks, extra saddle, and string height gauge.
Purchase Options
Spruce/Rosewood, Natural Finish
- Solid Torrefied Spruce Top/Layered Rosewood Back & Sides
- No Pickup: Model FCM-SR, MAP: $449.99
- With AcoustiFex K-10 Pro: Model FCM-SRA, MAP: $549.99
- With Elfin Sound System: Model FCM-SRE, MAP: $549.99
Spruce/Rosewood, Sunburst Finish
- Solid Torrefied Spruce Top/Layered Rosewood Back & Sides, Sunburst Finish
- No Pickup: Model FCM-SR-SB, MAP: $449.99
- AcoustiFex K-10 Pro: Model FCM-SRA-SB, MAP: $549.99
- Elfin Sound System: Model FCM-SRE-SB, MAP: $549.99
Spruce/Mahogany, Natural Finish
- Solid Torrefied Spruce Top / Layered Mahogany Back & Sides, Natural Finish
- No Pickup: Model FCM-SM, MAP: $399.99
- With AcoustiFex K-10 Pro: Model FCM-SMA, MAP: $499.99
- With Elfin Sound System: Model FCM-SME, MAP: $499.99
Spruce/Mahogany, Sunburst Finish
- Solid Torrefied Spruce Top / Layered Mahogany Back & Sides, Sunburst Finish
- No Pickup: Model FCM-SM-SB, MAP: $399.99
- With AcoustiFex K-10 Pro: Model FCM-SMA-SB, MAP: $499.99
- With Elfin Sound System: Model FCM-SME-SB, MAP: $499.99
Mahogany/Mahogany, Natural Finish
- Solid Torrefied Mahogany Top / Layered Mahogany Back & Sides, Natural Finish
- No Pickup: Model FCM-MM, MAP: $399.99
- With AcoustiFex K-10 Pro: Model FCM-MMA, MAP: $499.99
- With Elfin Sound System: Model FCM-MME, MAP: $499.99
The new Kepma FC Mini Series combines portability, premium materials, and advanced technology to offer an unparalleled sound and playing experience. Whether you’re a traveling musician or a beginner seeking comfort and quality, the FC Mini Series is your perfect companion.
For more information, please visit kepmausa.com.
Shure introduces the Nexadyne line of dynamic instrument microphones.
Each Nexadyne super cardioid microphone boasts Shure’s patented Revonic Dual-Engine Transducer Technology. While typical instrument microphones use a single transducer, Nexadyne microphones feature two precisely calibrated transducers working together to achieve optimal performance that delivers natural, authentic clarity while minimizing unwanted noise.
Nexadyne’s combination of acoustic signal processing and exceptional polar pattern linearity, enables the microphoneline to deliver a stronger and clearer output. This output is more authentic to the performer and reduces audio engineers’ need to apply typical EQ corrections.
Featuring compact industrial designs and a discreet, black finish for low-profile visibility, Nexadyne Instrument Microphones provide exceptional sound quality, industry-leading durability, and stage-friendly functionality. Each Nexadyne microphone surpasses real-world reliability requirements show after show and stands as the road-ready choice for modern touring.
Nexadyne 5 Dynamic Guitar Amp Microphone
Capture the full detail and power of your signature amplified guitar tone. The Nexadyne 5 ensures the full range of your guitar tone is captured and ready for the mix every time. The incredibly small dynamic cartridge design enables a side-address form factor for improved placement. It can be positioned by hanging off any amp or used with a standard mic clip and stand.
Nexadyne 2 Dynamic Bass Amp / Kick Drum Microphone
Kick drums will just sound bigger. The Nexadyne 2 delivers true, low-end clarity and fullness on every stage, with contoured EQ, protection from stage rumble, and improved high-frequency extension and attack definition. The microphone is designed with its swivel joint separated from the XLR output source for secure placement without strain on output cables.
Nexadyne Instrument Microphones carry these street prices: The Nexadyne 5 is available for $219. The Nexadyne 2 is available for $249.
Each microphone includes a zippered bag and brass adapter. The Nexadyne 5 includes the A25E mic clip.
For more information please visit shure.com.