
Mastodon’s Bill Kelliher (guitar), Troy Sanders (bass/vocals), Brann Dailor (drums/vocals), and Brent Hinds (lead guitar).
With a gripping new album and a new direction in their music, the band continues to raise the stakes for what it means to be one of America’s most feverishly creative—and unreservedly beloved—heavy-rock guitar duos.
It’s a chilly night in late November, and the line for ticket holders has snaked all the way around the block. “Wow, that’s what I call dedication!” yells a passerby, marveling at the size of the crowd. Strict COVID protocols are causing delays at the doors to New York City’s sold-out Hammerstein Ballroom, but no one here seems to mind. After all, it’s been more than two years since the four prog-metal horsemen of Mastodon last descended on Gotham. What’s another half-hour in the cold, especially when the payoff is a sweat-soaked live set packed with brand new songs and some of the band’s most feral old-school headbangers?
For reasons that transcend the hassles of a pandemic lockdown, Hushed and Grim, Mastodon’s eighth and most wide-ranging and ambitious album, also went through a prolonged incubation period. It started, like most of the band’s projects, in the wake of tragedy, with the passing in late 2018 of their longtime manager and family friend Nick John, following a battle with pancreatic cancer. They responded with “Fallen Torches,” a song they tracked with Neurosis frontman Scott Kelly, just a few months after John’s death.
Mastodon - Pushing the Tides [Official Music Video]
“Fallen Torches” wound up on the 2020 compilation Medium Rarities, but it gave Mastodon the spark to begin thinking about a bold, concept-driven statement album dedicated to John’s memory. And Hushed and Grim, despite its title, is anything but quiet. It’s the mammoth, multi-layered sound of a band that’s working through its collective grief while feeding a ravenous hunger for experimentation and new directions. Clocking in at nearly 90 minutes, the double slab ambushes you with genre twists and turns—from the Crimson-esque psych flavors of “Teardrinker” to the amped-up hardcore groove of “Savage Lands”—even as it rewards you with special guests (Soundgarden’s Kim Thayil on “Had It All” and Southern rock rebel Marcus King on “The Beast”) and sonic gems galore.
When asked why every Mastodon album seems to come across as a deep and intensely personal experience, guitarist Bill Kelliher doesn’t flinch. “That’s the connection we have with our fans,” he says. “They kind of expect it by now from us—that emotional bond, that realism. I mean, everybody goes through it. Everybody has lost someone, or knows someone who had cancer, or who died in a car accident or some unspeakable tragedy. We just spill our guts about it. It’s almost medicinal.”
“I’ve had those Marshalls for a while. I bought them from Ruyter [Suys] from Nashville Pussy, who bought them when they were on tour with AC/DC, so they were actually Angus’ [Young] amps!” —Brent Hinds
In the grip of a creative torrent that yielded 25 demos, the band made a savvy move by recruiting producer David Bottrill, well-known for his work with Peter Gabriel and King Crimson, for tracking sessions at their own studio, West End Sound in Atlanta. “On one level, I wish we had pulled David in right away,” says lead guitarist Brent Hinds, “so when we were about to do the demos, that would have been the album, you know? But he is top-notch, no question. He’s a really cool human being, and he’s just great at what he does.”
Botrill quickly honed in on Mastodon’s enduring strengths: the vocal powers of drummer Brann Dailor and bassist Troy Sanders, and, in particular, the yin-and-yang symbiosis that fuels Hinds and Kelliher as guitar players. Where Kelliher is the more cerebral and deliberate of the two, Hinds plays like he’s about to burst into flames at any moment—and yet they gamely collaborate on riffs that writhe and dip with a deep-seated sense of melody, harmony, swift-picked precision, and endless groove. (The oft-quoted analogy is the legendary twin-guitar attack of Thin Lizzy’s Brian Robertson and Scott Gorham, and the comparison fits.)
TIDBIT: Mastodon’s eighth studio album, Hushed and Grim, is a tribute to their longtime manager and friend, Nick John, who passed away after a battle with pancreatic cancer. It was produced by David Bottrill at Mastodon’s own West End Sound in Atlanta.
With this in mind, Botrill encouraged both guitarists to push their sound further and explore more amp combinations and effects. “We really fine-combed through every single possibility of every song,” Kelliher explains. “I have this little floor pedal with four switches, and you can plug in four cabinets with one head and compare them very quickly. When David first showed up, we spent a day doing that, and he’s like, ‘Well, your Marshall [JCM 800] sounds great with the Friedman cabinet, and your Friedman [Butterslax] head sounds great with the Marshall cabinet.’ And then I had a Mojotone cabinet that I used with my [Friedman] BE Deluxe. So we had a nice big, thick sound for all the rhythm stuff.” (Kelliher has just collaborated with STL Tones to release a signature ToneHub Preset Pack—a plug-in suite that features all the setups he used for Hushed and Grim.)
He points to “Pain with an Anchor,” the molten leadoff cut from Hushed and Grim, as a prime instance of a new effect helping to guide his rhythm part, which he played on one of his signature ESP Sparrowhawks, a standby for most of the album. “In my head, I always heard more of a sitar-like sound,” Kelliher says, “so I bought an Electro-Harmonix Ravish [Sitar emulator]. It has a million settings, but luckily David had the patience to sit there with me and turn knobs while I played it. I wanted to keep it pretty clean, except for the very end of the song, which is this big, doomy chugga-chugga thing, so it sounds super heavy and percussive when that section comes in.”
Brent Hinds’ Gear
Brent Hinds riffs aplenty on one of his preferred Gibson SGs at Detroit’s Royal Oak Music Theatre in 2017. He opted for a vintage 1963 Gibson SG Junior on Mastodon’s new album, Hushed and Grim.
Photo by Ken Settle
Guitars
- Banker Custom Hammer Axe
- Banker Custom V
- Electrical Guitar Company Signature Custom V
- Epiphone Signature Flying V Custom
- 1963 Gibson SG Junior
- Gibson Custom Silverburst Flying V
- Gibson Les Paul Gold Top
Amps
- Orange Signature Terror
- Diezel VH4
- Marshall JMP Super Lead
- Fender Princeton Reverb (vintage)
- Marshall cabinets
Effects
- Dirty B Hinds Mastodrive
- Boss DD-6 Digital Delay
- Boss RE-20 Space Echo
- Ibanez TS808 Tube Screamer
- ISP Decimator
- Jim Dunlop 105Q bass wah (wide sweep)
- Line 6 DL4
- MXR Phase 90
- TC Electronic Flashback
- TC Electronic Corona Chorus
Strings and Picks
- D’Addario EXL145 Heavy (.012–054, .011–.052)
- Dunlop Yellow .73 mm Tortex
Hinds, although perhaps less enamored of exotic effects, nevertheless mixed it up with his choice of guitars, among them a vintage 1963 Gibson SG Junior, a custom Banker V, a Les Paul Goldtop, a Telecaster B-bender owned by Marcus King, and a Stratocaster owned by Banker’s Matt Hughes. (Hughes was also a source for a fleet of Fender ’57 amps that appear on the album.)
“I do play through my Mastodrive on ‘More Than I Could Chew,’” Hinds clarifies, citing the overdrive pedal, designed by his company Dirty B Hinds, that figures prominently on one of the heaviest-treading anthems on the album. “The landscape is really big on that song, with a lot of cool moving parts. And I’m pretty sure I was playing one of my JMPs mixed with the Diezel VH4. I’ve had those Marshalls for a while. I bought them from Ruyter [Suys] from Nashville Pussy, who bought them when they were on tour with AC/DC, so they were actually Angus [Young]’s amps! They’ve got a history, and they sound great.”
“Everybody has lost someone, or knows someone who had cancer, or who died in a car accident or some unspeakable tragedy. We just spill our guts about it. It’s almost medicinal.” —Bill Kelliher
All that heavy mojo invariably finds its way into the solos. Hinds dials in a remarkably buttery and bluesy tone, with just a hint of ZZ Top’s Billy Gibbons, toward the end of the doomy ballad “Skeleton of Splendor,” while his tasty Hendrixian vamp on “Sickle and Peace” gets a reverse delay treatment from Botrill that helps transport the song into a resplendently cosmic headspace. Further on, Marcus King brings an elastic, Carolina-fried slide to “The Beast,” and Kim Thayil turns back the clock for a wah-soaked euphoric wail on “Had It All.”
“That song is about loss,” Kelliher says, “and I figured Kim could relate, and would be the perfect guy to play an emotional solo.”
Of course, this wouldn’t be a Mastodon album without their reliance on D standard tuning (with some darker variations that include drop C and drop A), which naturally lends itself to the moody timbre of Hushed and Grim. For Kelliher, “Pushing the Tides” is the standout.
Bill Kelliher’s Gear
“I have this little floor pedal with four switches, and you can plug in four cabinets with one head and compare them very quickly,” says Bill Kelliher. He recently colloborated with STL Tones to release a signature plug-in suite that features all the setups from the new album.
Photo by Ken Settle
Guitars
- ESP Sparrowhawk Signatures
- ESP LTD Signatures
- ESP Eclipse (Silverburst double-cutaway)
- Banker Custom Excalibur
- Dunable Custom Gnarwhal
- First Act custom 9-string
- Dunable Custom Gnarwhal
- Gibson Signature “Halcyon” Les Paul
- Gibson Les Paul Custom
Strings
- D’Addario EXL140 (.010–.052)
Amps
- Marshall JCM800
- Friedman Signature Butterslax
- Friedman BE 100 Deluxe
- Fender Vibro-King (formerly owned by Duane Denison of Jesus Lizard)
- Silvertone 1464 Solid State 100
- Marshall and Friedman cabinets
Effects
- Line 6 Helix with HX Stomp
- Electro-Harmonix Ravish Sitar Emulator
“A song like ‘Roots Remain’ [from 2017’s Emperor of Sand] has that same feel,” he says. “I’m repeating myself a lot, but you know, look at the Ramones. They took the same three chords and played them in a different rhythm, and it’s a different song, and no one ever notices [laughs]. So there are certain notes that I know in my head that when I play them together, it gives me this sad feeling. When I’m doing a dissonant chord, or dissonant notes, sometimes it’s a feeling like your ship is sinking. And in my head, I have these categories of what I can see on the guitar. It’s like, this song needs fear, this one needs sadness, this one needs regret. I’ve gotten to where I can kind of conjure that up with my hands.”
It’s not a stretch to refer to Hushed and Grim as Mastodon’s version of Quadrophenia or Physical Graffiti, and that’s primarily because the band itself is expanding its sonic horizons more noticeably than on any other album they’ve done to date. When you’re open to embracing the energy, grief has a way of drawing out your most combustible and authentic mode of expression … but it’s not a crutch you can lean on for too long. At some point, catharsis and redemption must take hold.
“In my head, I have these categories of what I can see on the guitar. It’s like, this song needs fear, this one needs sadness, this one needs regret. I’ve gotten to where I can kind of conjure that up with my hands.” —Bill Kelliher
“When we lost Nick and then the lockdown happened. Everyone needed that time to deal with a lot of things, you know?” Hinds observes. “I think that was good for us. We’d been going at a thousand miles an hour for like 20 years, so everyone needed that time off to just chill a little bit. It was really nice to be able to sit around and just focus on some music for a change.”
With all those years in the trenches together, Mastodon are probably more focused and sure-footed than they’ve ever been as a band. That cohesiveness and confidence shine through now that they’re taking the stage again, and it’s lifting their fans right up along with them—for plenty more raucous trips ’round the sun, we expect. Better buckle up and hold on.
Mastodon - Live 2020 [Full Show]
In this recent performance for Adult Swim, Mastodon take all the loss and pain from the last few years and bring catharsis to the stage, with a neon glow and their elephant-sized, multi-layered sound.
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Montana’s own Evel Knievel
If artists aren’t allowed to take risks, and even fail, great art will never be made. Need proof? Check Picasso, Hendrix, Monk, and Led Zeppelin.
In sixth grade, I went to a strict Catholic school. When you have an Italian-Irish mother, that’s just part of the deal. The nuns had the look and temperament of the defensive line of the ’70s Oakland Raiders. Corporal punishment was harsh, swift, and plentiful–particularly toward boys—and we all feared them. All but one second grader. I can’t remember his first name; nobody used it, because his last name was Knievel. His uncle was Evel Knievel, the greatest and perhaps only celebrity ever to come from my home state, Montana. On the playground, we would watch in awe as this wild Knievel kid raced by us, nuns chasing in an awkward, sluggish pursuit as he knocked kids over, dust, books, and gravel flying behind his path of terror. This kid was fearless. It was truly inspiring to watch.
I hadn’t thought about my schoolmate for decades, until recently, when I saw Dave Chappelle talking about a terrible show he had in Detroit where the audience rebelled against him and began chanting, “We want our money back. We want our money back.” Chappelle told the angry mob: “Good people of Detroit. Hear me now. You are never getting your f*****g money back. I’m like Evel Knievel. I get paid for the attempt. I didn’t promise this shit would be good.”
Good art is a gamble. Look at Picasso. In 1907, he spent nearly a year drawing rough sketches and eventually painting his jagged, raw, unpretty Les Demoiselles d’Avignon. Picasso kept Les Demoiselles d’Avignon in his Montmartre, Paris, studio for years after its completion due to the mostly negative reaction of his immediate circle of friends and colleagues. After its first public showing in 1916, critics were hostile. Today, the painting is hailed as a pivotal moment in art history—the first true work of both Cubism and modern art. Many argue that the 20th century began culturally in 1907, with this painting that today hangs in the Museum of Modern Art in New York. Picasso wasn’t paid to make folks comfy; he got bank for shoving boundaries.
Similarly, I remember my sister and I watching a clip of Hendrix’s feedback-drenched “Star-Spangled Banner” at Woodstock. I couldn’t really process it at the time, but I knew I was watching something that had never been done. When he got to the “bombs bursting in air” part, it sounded like a barrage of explosions. Then, he references the mournful military bugle call “Taps,” played on bases at the end of each day and at funerals. My sister was offended. When I asked why, she said it was “unpatriotic.” I watch it now and I see a Black Army veteran who justifiably had a complex relationship with the country he had served. Martin Luther King was assassinated a year earlier, police brutality toward Black citizens was common. Black Americans were disproportionately stuck in low-wage jobs, and unemployment rates for Black workers were roughly double those of white workers. And although Hendrix was discharged, many of his Army buddies were overseas fighting a war they did not understand or support. So, yes, unpatriotic seems appropriate. But Hendrix’s performance was iconic because he dared to try to show his complex feelings through his guitar.“That’s the sweet spot: Fearless doesn’t mean flawless.”
Listen to Led Zeppelin’s groundbreaking “Black Dog.” The B section is so wonky, sticking out like a sore thumb with that weird timing that always feels wrong to me, but it would not be the rock masterpiece it is without that unsettling section. Maybe that’s the sweet spot: Fearless doesn’t mean flawless. Thelonious Monk’s janky genius proves that; those off-kilter notes hit you in the gut, not the head. Beck, Bowie, Coltrane… they didn’t polish away the edges; they leaned into them. That’s what makes you feel like a kid at an amusement park, wide-eyed and along for the ride.
When somebody hires me, they get what they get. I want to nail it, but art is subjective, so my idea of what feels right may not jibe with theirs. Humans are not great at communicating, so often I walk away from sessions and gigs wondering if my contribution was good, great, or garbage. But that’s a stupid question I try not to allow myself to indulge. You can’t do great work playing scared. There are times when music is not creative, just painting by numbers, trying to give the customer what they think they want. I do a lot of that to make a living, but that’s more like being a vending machine spitting out custom orders, not an artist.
Real artists are like that Knievel kid—leaving a trail of chaos, and not apologizing for it. I think artists who do it the best flip the script. Their audience isn’t just a judge, but a co-conspirator in the mess. They’re betting on the artist’s next move, not buying a finished product. They’re paying for the front-row seat to potential, not a flawless show. The paycheck was for the swing, not the home run. If the audience pays for “enjoyment” that turns artists into jukeboxes, not creators… if artists aren’t free to fail… innovation dies.
Stringjoy has introduced the Ariel Posen Signature String Set, a heavy-gauge Nickel Wound set designed in close collaboration with acclaimed slide guitarist and singer-songwriter Ariel Posen.
The Ariel Posen Signature String Set from Stringjoy
Ideal for B Standard, Open C, and other lower tunings, this set offers exceptional tone and feel for players who want to explore new sonic territory while maintaining their guitar's unique voice.
Each string in this set is built with Stringjoy’s trademark quality: wound at tension with high compression winds for maximum output, durability, and smooth playability. The result? Strings that hold up under pressure while delivering a natural, expressive voice—perfect for hybrid playing and expressive slide work.
Ariel Posen Signature Set Specs:
• .014 – .018p – .026w – .038 – .050 – .062
• Wound 3rd string
“If you didn’t know these were 14-62 gauges, you’d swear they were just 11s tuned down,” said Ariel Posen. “They feel like home and preserve the sound of the guitar, even in lower tunings. That’s the biggest thing—it still sounds like guitar.”
“We’ve spent ten years experimenting and testing together to find the right combination,” said Scott Marquart, Stringjoy Founder & President. “This release is more than just a new product—it’s the culmination of a shared journey between friends and musicians. Ariel’s set is uniquely him, and I think players will love how it feels and responds.”
Stringjoy’s Ariel Posen signature string set carry a street price of $13.99. Learn more at at stringjoy.com.
Kemper updated the entire product range introducing the all-new Kemper Profiler MK 2 Series. More Power. More Flexibility.
KEMPER PROFILER - The all-new PROFILER MK 2 Series
Kemper today announces the immediate availability of the all-new KEMPER PROFILER MK 2 Series. Kemper continues to raise the bar with the upcoming Profiler MK 2 Series — a bold evolution of the Profiler lineup (All PROFILERs: Head, Rack, Stage, the Player, and the powered versions), delivering more power, more flexibility, and more creative potential than ever before.
At the heart of the PROFILER MK 2 Series works an upgraded processing engine, unlocking faster performance, with boot times clocking in around 20 seconds, and a host of new features that expand the boundaries of what a modern guitar or bass rig can do.
A New Era of Effects:
20 Blocks in Series, the most powerful effects architecture ever found in a Kemper unit - The PROFILER MK 2 Series now offers seven additional effect blocks, raising the total number of simultaneous audio effect blocks to an incredible 20 — all running with zero added signal latency. It’s like having an entire, fully integrated pedalboard with pedal essentials at your feet — but one that boots in seconds, never needs rewiring, and always remembers your settings.
A new Era of Profiling:
Kemper announces a new profiling technology for the MK 2 series. Availabilty is expected during Summer. Currently in extended testing with some selected third-party profile vendors the new profiling offers:
- More than 100,000 individual frequency points meticulously analyzed for the most precise amp recreation ever achieved.
- Next-Level Speaker & Dynamically adjustable Cabinet Resonance – Capturing the true dynamics of your setup with the longest and most complex impulse responses in the industry.
- Liquid Profiling Technology – Seamlessly integrate the original amp’s gain and tone controls, transforming a single profile into a fully dynamic, living amplifier.
- Unparalleled Precision & Feel – A cutting-edge hybrid approach combining precise, deterministic analog measurement with Kemper’s industry-leading profiling intelligence.
Overview - All that’s new in the PROFILER MK 2 in more Detail:
All-New FX Section – 7 Additional FX Slots - ThePROFILER MK 2-Series introduces an expanded FX section with seven dedicated “pedalboard essential” FX slots, featuring: A new second Noise Gate (Palm Ninja), Compressor, Pure Booster, WahWah, Vintage Chorus, Air Chorus, and Double Tracker.
Adding these to the pre-existing 10 audio blocks, Spectral Noise Gate, Transpose Effect, and Volume Pedal - in total this provides users with 20 simultaneous audio effect blocks, setup gig-ready right out of the box while maintaining full flexibility for customization.
This new layout makes it convenient to cover all the bases and offers 8 flexible FX blocks available for the acclaimed tone shapers and studio-grade unique FX the KEMPER PROFILER is famous for.
Performance Meets Portability - With a smarter internal design and new lightweight aluminum components, the Profiler Stage Mk 2 has shed excess weight — making it even more gig-friendly without sacrificing the tank-like build quality musicians rely on. Whether for touring the world or heading to a local session, this is the most travel-ready full-featured Profiler yet.
Mk 2-ready Player! - For all guitarists and bassists already rocking the compact PROFILER Player, there is good news: it’s been “MK 2”-ready from day one, meaning it’s fully aligned with the power and potential of the new series, and now, on LVL 1 already, it features 16 simultaneous FX in total. This new extended signal flow becomes available for all Player owners as a free update, and yes, it will get Profiling, too. Making the PROFILER Player out of the box the features richest and most professional performance and recording solution - with its travel-friendly footprint and convenient price point!
8-Channel USB Audio Support for the new Mk 2-Series - Native 8-channel USB audio support to all KEMPER PROFILER MK 2 Series units, enabling seamless multitrack recording and reamping directly into your DAW – no external interface required.
Loop Longer, Play Harder - The integrated Looper also gets a serious upgrade. With up to two full minutes of recording time, the MK 2 Series lets you capture extended phrases, build layered soundscapes, or craft entire performances — all on the fly. (Looper available from LVL 3 for the Player)
Speed and Responsiveness Upgrades - Major improvements under the hood. Boot times, preset switching, and UI responsiveness are noticeably faster and smoother, especially in Performance Mode.
Christoph Kemper, Founder & CEO:
“The new PROFILER MK 2-Series makes the PROFILERs feel more like a complete rig than ever before. With instant access to essential FX, full USB audio integration, and improved playability, we’re giving our users a platform that adapts and grows with them.”
Pricing & Availability:
The new KEMPER PROFILER MK 2 Series models are available now from dealers worldwide and directly from the Kemper Online Store. All the new features require a KEMPER PROFILER MK 2 Series device. Visit www.kemper-amps.com for downloads and release notes.
PROFILER Head $1,348.00
PROFILER Rack $1,398.00
PROFILER Stage $1,498.00
PROFILER Player $ 699.00
PROFILER PowerHead $1,798.00
PROFILER PowerRack $1,798.00
PROFILER Remote $ 469.00
At a glance!
The Kemper Profiler MK 2 Series isn’t just about doing more. It’s about doing it better, faster, and without compromise. With unmatched tonal power, surgical precision, and effortless usability, this is the most complete and forward-thinking Profiler platform yet.
The Billy Idol guitarist rides his Knaggs into Nashville.
There’s nothing subtle about Billy Idol, so it tracks that there’d be nothing subtle about the guitars used onstage by his longtime guitarist, Steve Stevens. Famous for his guitar work with Idol and the Grammy-winning symphony of sustain “Top Gun Anthem,” Stevens brought a brigade of eye-popping signature electrics and some choice other jewels out on the road with Idol this spring.
The tour touched down at Bridgestone Arena in downtown Nashville in May, and while Stevens was jetting into town, PG’s John Bohlinger met up with tech and guitar builder Frank Falbo to learn the ins and outs of Stevens’ rig.
Brought to you by D’Addario
Cherry Pie
This cherryburst is one of a score of single-cut Knaggs Steve Stevens signature models in Stevens’ arsenal. He plays with heavier Tortex picks and uses Ernie Ball strings, usually .010–.048s.
More, More, More (Sustain)
This Knaggs Steve Stevens Severn XF, complete with a Sustainiac pickup system, was designed to mimic the look of one of his old guitars, and the stage lights make this finish go insane. It comes out for three to four songs in any given set, including “Rebel Yell.”
Songs from the Sparkle Lounge
This Knaggs Steve Stevens, finished in silver sparkle, is outfitted with a killswitch, push-pull control knobs, and Fishman Fluence pickups. Falbo was on the R&D team that helped design the Fluences.
Other guitars backstage include a red sparkle Knaggs with PAFs, a Godin LGXT with piezo saddles and Seymour Duncan pickups that sends three signals (synth, electric, and piezo), a pair of piezo- and MIDI-equipped Godin nylon-string guitars, a dazzling Gibson Les Paul with stock Gibson pickups, a Suhr T-style electric, and a Ciari Ascender for travel and dressing-room rehearsal.
Tube Heart, Digital Brains
Stevens runs through a pair of Friedman heads—a B100 and Steve Stevens SS100, plus a third backup—with each panned hard to either the left or right. Both signals run through a Neve 8803 rack EQ into two RedSeven Amplification Amp Central Evo loadboxes, and through their impulse response programs to front of house. A Neural Quad Cortex is on hand as a backup and for fly dates.
Steve Stevens’ Pedalboard
Stevens’ pedal playground is masterminded by an RJM Mastermind GT, which lives on its own board alongside a Fractal FM3 MK II. He orchestrates most of the changes himself, but Falbo is ready to flip switches backstage in case Stevens is away from his board for a key moment.
The centre hub, built on a Tone Merchants board, carries a TC Electronic PolyTune2 Noir, Xotic Effects Super Sweet Booster, Vox wah, Ernie Ball volume pedal, Mission Engineering expression pedal, DigiTech Whammy Ricochet, Suhr Discovery, JHS Muffuletta, DigiTech Drop, ISP DECI-MATE, Walrus Voyager, Suhr Koji Comp, Zvex Super Ringtone, DryBell Vibe Machine, and Ammoon EX EQ7. An Ebtech Hum Eliminator, two Strymon Ojais, and a Strymon Zuma keep the wheels greased.
The board to the right carries a Boss RV-500, Fender Smolder Acoustic OD, Lehle Dual Expression, Boss GM-800, Empress Bass Compressor, Grace Design ALiX preamp, Fishman Aura, and a Peterson tuner. Utility boxes include an Ernie Ball Volt and a Radial J48.