Rob Ickes and Trey Hensley first connected in Nashville in 2013, after the two had individually established themselves as formidable players in the bluegrass scene.
Life on the road is, quite literally, a driving force in country music. From the baleful strains of Hank Williams’ classic “Lost Highway” to Willie Nelson’s perennially uplifting “On the Road Again,” the endless black ribbon has inspired more songs, with a wider range of moods and emotions than there are twists and turns on a Blue Ridge mountain switchback. So it was only fitting that when Rob Ickes and Trey Hensley started digging into ideas with Grammy-winning producer Brent Maher, they found themselves chasing a familiar theme.
“Three crappy gigs in Ohio had a lot to do with it,” Ickes recalls with a laugh as he recounts the story behind the title cut to Living In A Song, the duo’s fourth album together, and their second with Maher producing. “I remember I was sick that weekend, just wore out, and I was sleeping in the car between soundcheck and showtime. It was just a weird experience, and then a couple of weeks later, Trey started singing this song. In the end, I think it’s about persevering. It can suck out here, but this is what you do when you love something, you know?”
Rob Ickes & Trey Hensley - Thanks
To be sure, the journey to where they are now has covered a lot of miles. After moving cross-country from the Bay Area to Nashville in 1992, Ickes emerged as a fleet-fingered demon on the dobro, first as a founding member of bluegrass band Blue Highway, whose early albums were released on Dick Freeland’s Rebel Records, the original home of bluegrass heroes the Seldom Scene. (That band’s Mike Auldridge, a key influence and eventual collaborator with Ickes, is a dobro legend in his own right.) A long-time player of Tim Scheerhorn’s resonator guitars—with his Wechter Scheerhorn 6500 series signature model introduced in 2006—Ickes is renowned for his singularly wide range of expression on lap steel. Folding down-home blues, country, and jazz into his repertoire, he has shared the spotlight with such heavyweights as Merle Haggard, Earl Scruggs, Vince Gill, and Alison Krauss, to name just a few.
Rig Rundown: Rob Ickes & Trey Hensley
Full Rig Details: https://bit.ly/Ickes-HensleyRRSubscribe to PG's Channel: https://bit.ly/SubscribePGYouTubeClick here to check out their new album Living in ...In 2013, he connected with Hensley in Nashville. Then just 22, Hensley had already carved out his own path as a child prodigy, having made his Grand Ole Opry debut with Earl Scruggs himself at the tender young age of 11. Brandishing a stalwart ’54 Martin D-28, he’s a sterling and technically gifted flatpicker whose own contemporaries claim him as an influence, but one of his most endearing traits is undoubtedly his humility. Just ask him to tell the story of how he came to play at the Carter Family Fold for Johnny and June Carter Cash; he still sounds as bowled over by the experience as he must have been when he was a kid.
For Living In A Song, the picking duo worked with producer Brent Maher, with whom they collaborated on 2019’s World Full of Blues.
“Actually, I think we borrowed one of Johnny’s tube mics to record vocals this time,” Hensley says with a smile. In the same train of thought, he name-drops Luther Perkins, whose licks on Cash’s “Folsom Prison Blues” were an early inspiration, as well as Roy Nichols—the understated but precision flatpicker on Cash’s classic “Tennessee Flat Top Box,” and later known for his long and legendary stint with Merle Haggard’s band. When it comes to knowing his craft, Hensley is still just as much a student as he is an innovator of country, bluegrass, rockabilly, and good old-fashioned rock ’n’ roll.
All that experience came to bear on Living In A Song, which has its roots in the songwriting sessions that Ickes and Hensley took up in earnest with Brent Maher at his Blueroom Studios in Berry Hill, just outside of Nashville. “Mostly I come at it as a guitar player,” Hensley says with his usual modesty. “I’m a guitar player first, a singer way out in second somewhere, and a songwriter in distant third, you know? So from my perspective, here’s a guitar thing from me or Rob, and then all these cool melodies that Brent would just come up with, seemingly out of thin air. I mean, we wrote 30 songs or more, so that was a totally different experience, and I think that’s the overlying theme of this record. It’s just us being songwriters. That’s how this one is so much different.”
“I mean, we wrote 30 songs or more, so that was a totally different experience, and I think that’s the overlying theme of this record. It’s just us being songwriters.”—Trey Hensley
Maher has worked with all the major players—his biggest songwriting success was “Why Not Me” by the Judds, but he’s engineered and produced sessions with Willie Nelson, Kenny Rogers, Nickel Creek, Shelby Lynne and plenty more. “We had written with Brent a little bit before,” Ickes notes, referring to 2019’s World Full of Blues (which also features guest shots from Vince Gill and Taj Mahal), “but with this record, we definitely made a conscious decision to write most of it. Then when the pandemic came along, it was like okay, we’ve got a little bit more time now. And I wouldn’t say he taught us, but just by working with somebody like that, you learn a lot. I know Trey and I both gained a lot of confidence from the experience, because you just start with nothing, and then after a couple of hours, you’ve got something.”
Rob Ickes' Gear
Ickes has two resonator signature models: one from the Wechter Scheerhorn 6500 series and the other by Byrl Guitars.
Photo by Jim Summaria
Guitars
- Byrl Guitars Rob Ickes Signature Series resonator
- Byrl Guitars flamed-maple shallow-body resonator
- ’40s Oahu Tonemaster lap steel
- 1932 Rickenbacker Frying Pan
- Fishman Nashville Series Resonator Guitar pickups
Amps
- ’65 Fender Deluxe black-panel
Effects
- Fishman Spectrum DI box
Strings & Picks
- D’Addario Medium Bronze (.016–.056)
- BlueChip Reso thumb pick
- Cobalt BP gold-plated finger picks
The album jumps off with the title cut—a slow-building ode that quickly grows inspirational, channeling tastes of Kris Kristofferson and Beggars Banquet-era Rolling Stones. Playing Maher’s full-sounding ’80s Gibson J-200 acoustic (his main guitar throughout most of the album), Hensley captures the feeling of solitude from the first line: “Well, I’ve been on this highway for about eight hours now….” with Ickes following on one of several resonators made by Indiana-based luthier Byrl Murdock (who designed and debuted a signature model with Ickes just last year). When the rest of the band kicks in—Pete Wasner on keyboards, Mike Bub on bass, and John Alvey on drums—and Ickes proceeds to rip a lap-steel solo on a vintage Oahu Tonemaster running through Maher’s ’65 black-panel Fender Deluxe, it all becomes clear what they’re going for: a rich, tone-heavy experience, tracked mostly live in the studio with few overdubs, and harking back to a time when capturing the pure essence of the song was the only goal.
“It wasn’t like they got the tape measure out to see how close the microphone was to my guitar, you know?” Hensley jokes. “But there’s a lot of attention to detail. We even toyed around with the idea of cutting analog, but tape just breaks the budget before you even get started. In the end, it didn’t matter. With Brent and his engineer Charles [Yingling], it just seems like they get great sounds in that room without really thinking about it too much.”
And when they plugged in, the same principles applied. You can hear a taste of the Allman Brothers in the barrelhouse anthem “Moonshine Run,” where Hensley grabs a ’52 Telecaster copy, built by Bristol, Tennessee’s own Chuck Tipton. “I talked Chuck into building me a Tele because he had just taken all these blueprints of a real ’52, or maybe even a ’51 Broadcaster—one of these really killer guitars,” he explains. “It’s been my main electric up until recently, and the Fender Deluxe just crushes the damn thing. I hooked up my wah on the third verse for five seconds just to please myself [laughs]! That amp makes anything sound good.”
“We even toyed around with the idea of cutting analog, but tape just breaks the budget before you even get started. In the end, it didn’t matter.”—Trey Hensley
And once again, it’s this commitment to capturing a sound, always in service to the song, that makes Living In A Song such a compelling document. Whether it’s in the poignant Glenn Campbell-isms of “Backstreets Off Broadway” (with Ickes blending seamlessly on background vocals), or the rapidfire energy that propels their version of the Doc Watson classic “Way Downtown” (a Martin D-28 vehicle for Hensley, with bluegrass ace Stuart Duncan burning up his fiddle in tribute), or the spontaneous mischief that sparked “Louisiana Woman” (a jam inspired from-the-hip by Buck Owens’ famed “Diggy Liggy Lo,” and rounded out by Tim Lauer on accordion), Ickes and Hensley are so sympatico with where they’re headed, at this point it just seems to come naturally.
“Most of our favorite records are very live-in-the-studio,” Ickes observes, “so that’s typically the way we operate. And it goes really quick. I don’t think we’ve taken more than two days to make a record yet.”
Trey Hensley's Gear
Hensley made his debut at the Grand Ole Opry, playing with Earl Scruggs, when he was just 11 years old.
Photo by Jim Summaria
Guitars
- ’80s Gibson J-200
- 1954 Martin D-28
- 2021 Martin D-41 standard (on tour)
- 1965 Harmony Sovereign Deluxe H1265
- Preston Thompson acoustic with Gene Parsons B-bender
- Chuck Tipton T-style
- L.R. Baggs Anthem SL pickup
Amps
- ’65 Fender Deluxe black-panel
- Fender Tone Master Deluxe (live)
Effects
- L.R. Baggs Voiceprint DI box
- Boss CE-2W Waza Craft Chorus
- Boss HM-2W Waza Craft Heavy Metal Distortion
- DigiTech Whammy Ricochet
- Electro-Harmonix Micro Q-Tron
- Grace Design ALiX preamp
- Keeley Reverb
Strings & Picks
- D'Addario Nickel Bronze (.013–.056)
- BlueChip TAD60 picks
For his part, Ickes also finds it easier to tap into a deeper level of expression, and some of that has to do with his main instrument. “I was playing Scheerhorns forever, but Byrl’s guitars have just a little more crispness,” he says. “What I like in a really good dobro—and I think a lot of this actually has to do with the way they do the bridge, but there’s a response time. I mean, this guitar is in your face frickin’ immediately. It just seems like it gets to my ear quicker than any other guitar I’ve played. And that’s exciting, you know? It’s like a force or something.”
The excitement becomes visceral on songs like A.P. Carter’s “I’m Working On A Building” and the haunting ballad “I Thought I Saw A Carpenter,” which Ickes wrote for his dying father. His flawless instincts on lap steel are beginning to reach that rarified zone where the chord choices that would ordinarily originate with a pedal-steel guitar have crept into his playing—sometimes unexpectedly, but always with a relaxed sense of intention that still keeps him grounded.
“Most of our favorite records are very live-in-the-studio, so that’s typically the way we operate. I don’t think we’ve taken more than two days to make a record yet.”—Rob Ickes
There’s one player he cites as a key influence. “Jerry Byrd, man,” he says without hesitation. “He had this way of playing that was like a voice, you know? Obviously on a slide instrument, the pitch is very critical, and very difficult, and he just never missed it. It came from his soul, and at the same time he was just a great technician. You never heard the bar; you never heard the pick. All you heard was the music.”
For Living In A Song, as the title suggests, Rob and Trey explored their songwriting abilities more earnestly than on previous records.
Photo by Jeff Fasano
“Technically on the dobro, we don’t usually give a lot of vibrato,” he continues, “but he did, and it didn’t sound nervous. To me, that opened up a whole new way of playing using my left hand that I had never considered, because I didn’t want that nervous sound. And I honestly don’t know how he does it, but it’s kind of rubbed off on me. Somehow I’m able to do it, and it just sounds more in tune.”
Of course, the act of songwriting itself describes an ongoing journey toward self-discovery—the “long and winding road” that can lead to enlightenment, or wisdom, or redemption, or any exalted state you can imagine when you’re tapping into what Harlan Howard called “three chords and the truth.” As if to accentuate the point, Hensley takes the album’s concluding song, “Thanks,” as an example of the serendipity that can unfold so suddenly when you attune yourself to what’s right in front of you.
“I mean, this guitar is in your face frickin’ immediately. It just seems like it gets to my ear quicker than any other guitar I’ve played.”—Rob Ickes
“A friend of mine, Lyle Brewer, had written the melody,” he recalls, “and he asked me if I might want to write something to it. And honestly, it just sat there for a bit, because I didn’t listen to it with enough intention to really focus on it, but the title of the song as he had written it was ‘Thanks.’ And of course I’m a big Tom T. Hall fan, and as soon as I heard it, it sounded like something he would have written. It just came to me and it was done. It was done before it ever began, really. I feel like that song always existed, and I just stumbled on it, you know?”
When the duo convened with Maher at the studio to record it, lightning struck again. “It was just us, me and Rob and Brent, sitting in the studio with a few mics up, with no real intention other than we’re gonna get this down as a demo. And I remember Brent—you can hear it. He picks up a guitar about a verse in, and starts hitting the back of it, as a percussion thing, you know? We got to listening to it, and Brent told us, ‘What do you think if we just use this version? It has a vibe to it, and it’s silly to try it again if we’ve already got it.’ And I love it, because that’s the version that made the record. Every time I hear Brent pick up that guitar, it just makes me smile.”
YouTube It
Ickes and Hensley perform the title track from Living In A Song, with Trey leading with his rich vocal and acoustic textures before Rob enters with his signature resonator twang and harmonies.
Onstage, Tommy Emmanuel executes a move that is not from the playbook of his hero, Chet Atkins.
“My biggest decision every day on tour is, ‘What do I want to start with? How do I want to come out of the gate?’” Emmanuel explains to me over a video call. “A good opener has to have everything. It has to be full of surprise, it has to have lots of good ideas, lots of light and shade, and then, hit it again,” he says, illustrating each phrase with his hands and ending with a punch.“You lift off straightaway with the first song, you get airborne, you start reaching, and then it’s time to level out and take people on a journey.”
In May 2023, Emmanuel played two shows at the Sydney Opera House, the best performances from which have been combined on his new release, Live at the Sydney Opera House. The venue’s Concert Hall, which has a capacity of 2,679, is a familiar room for Emmanuel, but I think at this point in his career he wouldn’t bring a setlist if he was playing Wembley Stadium. On the recording, Emmanuel’s mind-blowingly dexterous chops, distinctive attack and flair, and knack for culturally resonant compositions are on full display. His opening song for the shows? An original, “Countrywide,” with a segue into Chet Atkins’ “El Vaquero.”
“When I was going to high school in the ’60s, I heard ‘El Vaquero’ on Chet Atkins’ record, [1964’s My Favorite Guitars],” Emmanuel shares. “And when I wrote ‘Countrywide’ in around ’76 or ’77, I suddenly realized, ‘Ah! It’s a bit like “El Vaquero!”’ So I then worked out ‘El Vaquero’ as a solo piece, because it wasn’t recorded like that [by Atkins originally].
“The co-writer of ‘El Vaquero’ is Wayne Moss, who’s a famous Nashville session guy who played ‘da da da’ [sings the guitar riff from Roy Orbison’s ‘Pretty Woman’]. And he played on a lot of Chet’s records as a rhythm guy. So once when I played ‘El Vaquero’ live, Wayne Moss came up to me and said, ‘You know, you did my part and Chet’s at the same time. That’s not fair!’” Emmanuel says, laughing.
Atkins is the reason Emmanuel got into performing. His mother had been teaching him rhythm guitar for a couple years when he heard Atkins on the radio and, at 6, was able to immediately mimic his fingerpicking technique. His father recognized Emmanuel’s prodigious talent and got him on the road that year, which kicked off his professional career. He says, “By the time I was 6, I was already sleep-deprived, working too hard, and being forced to be educated. Because all I was interested in was playing music.”
Emmanuel talks about Atkins as if the way he viewed him as a boy hasn’t changed. The title Atkins bestowed upon him, C.G.P. (Certified Guitar Player), appears on Emmanuel’s album covers, in his record label (C.G.P. Sounds), and is inlaid at the 12th fret on his Maton Custom Shop TE Personal signature acoustic. (Atkins named only five guitarists C.G.P.s. The others are John Knowles, Steve Wariner, Jerry Reed, and Atkins himself.) For Emmanuel, even today most roads lead to Atkins.
When I ask Emmanuel about his approach to arranging for solo acoustic guitar, he says, “It was really hit home for me by my hero, Chet Atkins, when I read an interview with him a long time ago and he said, ‘Make your arrangement interesting.’ And I thought, ‘Wow!’ Because I was so keen to be true to the composer and play the song as everyone knows it. But then again, I’m recreating it like everyone else has, and I might as well get in line with the rest of them and jump off the cliff into nowhere. So it struck me: ‘How can I make my arrangements interesting?’ Well, make them full of surprises.”
When Emmanuel was invited to contribute to 2015’s Burt Bacharach: This Guitar’s in Love with You, featuring acoustic-guitar tributes to Bacharach’s classic compositions by various artists, Emmanuel expresses that nobody wanted to take “(They Long to Be) Close to You,” due to its “syrupy” nature. But for Emmanuel, this presented an entertaining challenge.
He explains, “I thought, ‘Okay, how can I reboot “Close to You?’ So even the most jaded listener will say, ‘Holy fuck—I didn’t expect that! Wow, I really like that; that is a good melody!’ So I found a good key to play the song in, which allowed me to get some open notes that sustain while I move the chords. Then what I did is, in every phrase, I made the chord unresolve, then resolve.
Tommy Emmanuel's Gear
“I’m writing music for the film that’s in my head,” Emmanuel says. “So, I don’t think, ‘I’m just the guitar,’ ever.”
Photo by Simone Cecchetti
Guitars
- Three Maton Custom Shop TE Personals, each with an AP5 PRO pickup system
Amps
- Udo Roesner Da Capo 75
Effects
- AER Pocket Tools preamp
Strings & Picks
- Martin TE Signature Phosphor Bronze (.012–.054)
- Martin SP strings
- Ernie Ball Paradigm strings
- D’Andrea Pro Plec 1.5 mm
- Dunlop medium thumbpicks
“And then to really put the nail in the coffin, at the end, ‘Close to you’ [sings melody]. I finished on a major 9 chord which had that note in it, but it wasn’t the key the song was in, which is a typical Stevie Wonder trick. All the tricks I know, the wonderful ideas that I’ve stolen, are from Michael Jackson, Stevie Wonder, Lionel Richie, James Taylor, Carole King, Neil Diamond. All of the people who wrote really incredibly great pop songs and R&B music—I stole every idea I could, and I tried to make my little two-and-a -half minutes as interesting and entertaining as possible. Because entertainment equals: Surprise me.”
I share with Emmanuel that the performances on Live at the Sydney Opera House, which include his popular “Beatles Medley,” reminded me of another possible arrangement trick. In Harpo Marx’s autobiography, Harpo Speaks, I preface, Marx writes of a lesson he learned as a performer—to “answer the audience’s questions.” (Emmanuel says he’s a big fan of the book and read it in the early ’70s.) That happened for me while listening to the medley, when, after sampling melodies from “She’s a Woman” and “Please Please Me,” Emmanuel suddenly lands on “While My Guitar Gently Weeps.”
I say, “I’m waiting for something that hits more recognizably to me, and when ‘While My Guitar’ comes in, that’s like answering my question.”
“It’s also Paul and John, Paul and John, George,” Emmanuel replies. “You think, ‘That’s great, that’s great pop music,’ then, ‘Wow! Look at the depth of this.’”
Often Emmanuel’s flights on his acoustic guitar are seemingly superhuman—as well as supremely entertaining.
Photo by Ekaterina Gorbacheva
A trick I like to employ as a writer, I say to Emmanuel, is that when I’m describing something, I’ll provide the reader with just enough context so that they can complete the thought on their own.
“You can do that musically as well,” says Emmanuel. He explains how, in his arrangement of “What a Wonderful World,” he’ll play only the vocal melody. “When people are asking me at a workshop, ‘How come you don’t put chords behind that part?’ I say, ‘I’m drawing the melody and you’re putting in all the background in your head. I don’t need to tell you what the chords are. You already know what the chords are.’”
“Wayne Moss came up to me and said, ‘You know, you did my part and Chet’s at the same time. That’s not fair!’”
Another track featured on Live at the Sydney Opera House is a cover of Paul Simon’s “American Tune” (which Emmanuel then jumps into an adaptation of the Australian bush ballad, “Waltzing Matilda”). It’s been a while since I really spent time with There GoesRhymin’ Simon (on which “American Tune” was first released), and yet it sounded so familiar to me. A little digging revealed that its melody is based on the 17th-century Christian hymn, “O Sacred Head, Now Wounded,” which was arranged and repurposed by Bach in a few of the composer’s works. The cross-chronological and genre-lackadaisical intersections that come up in popular music sometimes is fascinating.
“I think the principle right there,” Emmanuel muses, “is people like Bach and Beethoven and Mozart found the right language to touch the heart of a human being through their ears and through their senses ... that really did something to them deep in their soul. They found a way with the right chords and the right notes, somehow. It could be as primitive as that.
Tommy Emmanuel has been on the road as a performing guitarist for 64 years. Eat your heart out, Bob Dylan.
Photo by Jan Anderson
“It’s like when you’re a young composer and someone tells you, ‘Have a listen to Elton John’s “Candle in the Wind,”’ he continues. “‘Listen to how those notes work with those chords.’ And every time you hear it, you go, ‘Why does it touch me like that? Why do I feel this way when I hear those chords—those notes against those chords?’ I say, it’s just human nature. Then you wanna go, ‘How can I do that!’” he concludes with a grin.
“You draw from such a variety of genres in your arrangements,” I posit. “Do you try to lean into the side of converting those songs to solo acoustic guitar, or the side of bridging the genre’s culture to that of your audience?”
“I stole every idea I could, and I tried to make my little two-and-a-half minutes as interesting and entertaining as possible. Because entertainment equals: Surprise me.”
“If I was a method actor,” Emmanuel explains, “what I’m doing is—I’m writing music for the film that’s in my head. So, I don’t think, ‘I’m just the guitar,’ ever. I always think it has to have that kind of orchestral, not grandeur, but … palette to it. Because of the influence of Stevie Wonder, Billy Joel, and Elton John, especially—the piano guys—I try to use piano ideas, like putting the third in the low bass a lot, because guitar players don’t necessarily do that. And I try to always do something that makes what I do different.
“I want to be different and recognizable,” he continues. “I remember when people talked about how some players—you just hear one note and you go, ‘Oh, that’s Chet Atkins.’ And it hit me like a train, the reason why a guy like Hank Marvin, the lead guitar player from the Shadows.... I can tell you: He had a tone that I hear in other players now. Everyone copied him—they just don’t know it—including Mark Knopfler, Eric Clapton, Jimmy Page, all those people. I got him up to play with me a few times when he moved to Australia, and even playing acoustic, he still had that sound. I don’t know how he did it, but it was him. He invented himself.”
YouTube It
Emmanuel performs his arrangement of “What a Wonderful World,” illustrating how omitting a harmonic backdrop can have a more powerful effect, especially when playing such a well-known melody.
Along with contemporaries like MGMT and Passion Pit, Greenwich, New York, duo Phantogram’s experiments crosspollinating hip-hop, indie, and punk rock helped cement and elevate a new era of electronic-influenced alt-rock and indie music. At the start of the 2010s, you’d be hard-pressed to find a college radio station or dorm-room playlist that didn’t include a Phantogram hit.
Sixteen years after the release of their debut record, band leaders Josh Carter and Sarah Barthel, who started Phantogram in a town of just a few thousand people, are touring behind their latest full-length, 2024’s Memory of a Day. The tour included a sold-out stop at Nashville’s Ryman Auditorium—a different sort of barn than the kind they used to perform in back in Greenwich—where PG’s John Bohlinger caught up with Carter and Barthel. Courtesy of some help from their tech, the duo showed us how they’re pulling off their theatrical live experience.
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Music Mantogram
Carter is endorsed by Ernie Ball Music Man guitars, so all three of his road axes are variations on his current favorite Cutlass model. This one, first among the trio, is finished in black with a gold pickguard, and like its stablemates, it bears the Phantogram logo inlaid on the first fret. Carter removes the vibrato bar and uses his hand to pull the bridge up to nail the warbles. Aside from that, this one is all stock, and strung with Ernie Ball Paradigm .010s. While he sometimes grabs a pick, Carter plays most of the set with an acrylic nail on his index finger.
Brown Sound
This first backup Cutlass is finished in brown with the woodgrain peeking through and a burgundy tortoiseshell pickguard. It has a Seymour Duncan single-coil-sized humbucker in the bridge position for a hotter output than its black counterpart.
Step It Up
This natural finish Cutlass has had the same pickup mod as the brown one, but this one stays tuned a half-step up for special deployment.
Clean Business
Carter uses a wireless system to run to this Neural DSP Quad Cortex at his feet. His tech has set it up to emulate many of the pedals Carter uses in the studio. Carter appreciates the tactile and flexible nature of the system; it can take MIDI programming so Carter can focus on performing, or it can be rigged up to function like a traditional pedalboard. He uses a mix of amp emulations, including AC30-, 5150-, Fender tweed-, and Jazz Chorus-style patches.
A Boss volume and expression pedal alongside the Quad Cortex give Carter some extra control over the setup.
Josh Carter's Pedalboard Playground
While Carter carried a compact stomp station for tour, he’s addicted to stompboxes and uses them for inspiration when writing and sound building during studio sessions. Here’s what a small selection shared from his collection:
“The most prominent pedals I used for years onstage before switching to the Quad Cortex were the Line 6 DL4, Electro-Harmonix Holy Grail, Boss
DD-6 Digital Delay, Boss OC-3 Super Octave OC-3, Fulltone OCD, Wampler Ego Compressor, and Route 66 American Overdrive.
My go-to studio pedals are the MXR Joshua Ambient Echo, Line 6 DL4, Death By Audio Reverberation Machine, Electro-Harmonix Holy Grail, Chase Bliss Generation Loss MkII, Chase Bliss Mood MkII, Boss DD-500 Digital Delay, Chase Bliss Audio Automatone CXM 1978, Old Blood Noise Mondegreen Delay and Reflector Chorus.
And some honorable mentions for pedals I’ve been really digging as of late would be the Neon Egg Planetarium, Roland Space Echo, and various vintage & new spring reverbs.
Silver Stunner
Sarah Barthel initially played keys in Phantogram, but she learned bass and mimicked her synth parts on the instrument so she could move about freely and interact more with Carter. This custom-made sparkle-finish Fender Mustang is the perfect size for her, and she just recently started playing it with a pick. She runs into a Quad Cortex, too, but the Fender Bassman stack lurking behind the bass serves as an onstage monitor.
Jazzmaster
Barthel isn’t confined to the bass, either. At some points in the set she jumps onto this prized Jazzmaster, which she’s had for 15 years.
