
Slash and Myles Kennedy have been teaming up since 2010, when Kennedy was chosen to front Slash’s touring band. Since then, they’ve made four studio albums together.
Despite almost the entire band getting Covid while recording in Nashville, Slash featuring Myles Kennedy and the Conspirators refused to be stopped. The result, 4, is their best album to date.
When you think of Slash (born Saul Hudson), several things immediately come to mind. There’s his signature top hat, his flowing curly locks, his killer solos and bluesy riffs, and, of course, the Les Paul—the iconic axe that’s been by his side since the mid ’80s when he broke ground on Guns N’ Roses’ Appetite for Destruction with timeless classics like “Sweet Child o’ Mine” and “Welcome to the Jungle.” There’s some controversy surrounding the actual guitar used on that album, with speculation that it wasn’t actually a Gibson but rather a replica made by luthier Kris Derrig. No matter the origin of that guitar, Slash popularized the Les Paul at the time when pointy-headed super strats ruled the world.
In fact, he single-handedly brought the Les Paul back into vogue, and rare models began fetching unheard of sums. With supergroup Velvet Revolver and his solo project, Slash featuring Myles Kennedy and the Conspirators, the Les Paul has remained Slash’s inseparable partner-in-crime. Gibson named Slash their global brand ambassador and has collaborated with him on 17 signature Les Pauls since 1997. So, it’s not surprising that when Gibson Records launched, Slash was the first artist they contacted.
The new album from Slash featuring Myles Kennedy and the Conspirators, 4, is Gibson Records’ inaugural release. It features Todd Kerns on bass, Brent Fitz on drums, Frank Sidoris on rhythm guitar, and Kennedy on vocals. Kennedy is also known as the lead singer for Alter Bridge. It’s less common knowledge that Kennedy is a monster guitarist with a degree in jazz studies and commercial music. In his formative years, Kennedy led Cosmic Dust, a fusion band that was the vehicle for his Frank Gambale meets Mike Stern pyrotechnics. Kennedy doesn’t play guitar on 4, but when they’re on tour, to avoid straining his voice, Kennedy locks himself in the hotel room and sheds endlessly.
Slash ft. Myles Kennedy and The Conspirators - The River Is Rising (Official Music Video)
Spirit Animals
The songwriting process for 4 began during the Living the Dream tour in 2019 in the dead time before and after shows. “It’s not a rule but I always write stuff for the next record while we’re on the road with the previous,” says Slash. “A lot of this new record was initiated in that process. In dressing rooms before the show, on the bus sometimes—though usually not on the bus because everybody is all over the place—and definitely in the hotel rooms. Because I never really go anywhere. I just stay in my room. I record stuff onto my phone—the cat’s out of the bag [laughs]. When I bring something to soundcheck and the band starts to jam on an idea, I record from the board.”
Slash is a self-taught zookeeper and has housed and cared for countless wild animals, so it makes sense that animals served as inspirations for some of the songs on 4. He got his first pet rat, a black-and-white creature named Mickey, from disco/funk legend Sly Stone. One of Slash’s anacondas, Sam, resides at the Nashville Zoo, and whenever Slash is in town, he’ll go visit him. Once, Slash snuck his mountain lion, Curtis, into the opulent Four Seasons hotel after the Northridge earthquake displaced him.
Given that history, it’s fitting that the album closer, “Fall Back to Earth,” began while Slash was on safari in South Africa at Kruger National Park, inspired by the sounds of monkeys and hippos he heard in the nighttime as he looked up at the stars in the majestic sky. “I took my guitar to the park, yes [laughs],” says Slash. “I just came up with this melody, which was the main theme of ‘Fall Back to Earth,’ and I stuck with that. I loved it because it came from a place of inspiration because of the environment that I was in.”
“For me, as a sort of semi-insecure guitar player, there are things that I did want to go back and fix, but Dave was like, ‘Come on, man.’ I was like, ‘I know, I know.’” —Slash
Kennedy, a self-proclaimed softie, also took inspiration from an animal. He wrote “Fill My World” from the imagined viewpoint of his Shih Tzu, Mozart. “It was a few years ago and I was on tour. My wife had come out to see me, and we were both trying to get home. We have a little dog named Mozart and he usually stays with friends or a dog sitter. They dropped him off thinking we’d be back in an hour or two. Unfortunately, a storm rolled in, so we basically got stuck. As the storm hit, we were freaking out because we were watching on the cameras. He was at the house by himself and the thunder and the lightning—which the dogs just hate—were just scaring the hell out of him. You could see it. It was kind of heartbreaking so I thought it would be interesting to write a song from his perspective. What might have been going through his head at that point.” At one point in the song, an audible crack in Kennedy’s voice can be heard.
Enter Dave Cobb
After the songs were written, it was time to make studio arrangements. “I talked to a couple of trusted executives in the industry that I know, and I said, ‘I’m looking for a good rock ’n’ roll producer,’” recalls Slash. “And, of course, the list was very short. I had four guys to look at. Two of them were interesting, two of them were, no.”
Grammy-winning producer Dave Cobb easily got the gig. “We just talked about records we loved,” recalls Cobb. “We talked about how records used to be made where you came into the room and recorded to tape with no separation and played as if you were a band playing live instead of making it a big procedure. And that’s how we hit it off. I remember growing up and learning how to play guitar, and Slash was huge to me. I was a little nervous to talk to him.”
TIDBIT: Slash and his band, Myles Kennedy and the Conspirators, recorded 4 at Nashville’s iconic RCA Studio A. Dave Cobb produced the album, which is also the inaugural release for Gibson Records.
“He wanted to record a rock band live in the studio and I wanted to be a rock band that recorded live in the studio, so we hit it off right away,” says Slash. The band set up at Nashville’s RCA Studio A, a legendary space that Chet Atkins’ built where every country music luminary from Dolly Parton to Waylon Jennings has recorded. “The vibe in that place is so inspiring, I have to say … everybody’s recorded there,” says Slash. “Steve Cropper’s got an office upstairs. I never got to meet him but just the fact that he was in the building was just so cool.”
Guitars, bass, and drums were recorded live in one room, and Kennedy did his vocals live in an adjacent booth. Everyone was at ease, just rockin’ out, which made for a particularly stellar vocal performance from Kennedy. “I thought I was just laying down vocals for scratch tracks. I thought I was just helping guide the band, so they know, ‘Okay we’re on the verse, or we’re on the chorus.’ Then I assumed that in a week or so we’d go in, and I’d re-cut the vocal,” says Kennedy. “But Dave was happy with them. That’s the way they get a singer to relax—tell him it’s just a scratch track (laughs).”
Cobb’s ability to embrace the moment also relaxed Slash’s usual quest for perfection. “For me, as a sort of semi-insecure guitar player, there are things that I did want to go back and fix, but Dave was like, ‘Come on, man.’ I was like, ‘I know, I know,’” Slash says.
Slash’s Gear on '4'
One of the most expressive combos of all-time: Slash and his inseparable Les Paul. He wrote one of the songs from 4 while at a game park in Africa. “I took my guitar to the park, yes,” he says with a laugh.
Photo by Annie Atlasman
Guitars
- Gibson ’59 reissue Les Paul (2)
- Gibson ’68 reissue Les Paul Custom
- Gibson ’69 reissue Flying V
- Kris Derrig Les Paul replica (1986)
- Most of Slash’s guitars are outfitted with his signature Seymour Duncan APH-2 Alnico II Pro Slash humbuckers
Strings & Picks
- Ernie Ball Slash Signature (.011–.048)
- Dunlop custom picks 1.14 mm
Amps
- Marshall Silver Jubilee 2555 JCM Slash Signature 100-watt head
- 1960 Marshall 4x12 cabinet loaded with Celestion Vintage 30s
Effects
- MXR EVH Phase 90
- MXR CAE Boost/Overdrive
- Dunlop Heil Talk Box
- Hammond Leslie
- Hughes & Kettner Tube Rotosphere
Dangerous Times
When Slash was in Guns N’ Roses, they were called “The Most Dangerous Band in the World” because of their hedonistic excesses. Now, older and wiser, Slash isn’t quite as carefree. For the recording session, to avoid public exposure and reduce the chance of getting Covid, the band hired a tour bus to bring them from Vegas to Nashville.
The bus first picked up Slash in L.A. and brought him to Vegas, where most of the other band members live. Myles drove into Vegas from Washington. Upon arriving in Sin City, they met up at a clinic, and after all testing negative, got on the bus and headed to Nashville. After a night’s rest, they got straight to business the next morning. At a breakneck rate of two songs per day, 90 percent of the record was done in five days. And then on the sixth day, when Slash was gearing up for some guitar overdubs, he got an unexpected call from Kennedy.
“He called me on my cell phone, which was odd to begin with,” recalls Slash. “Then he said that he had tested positive. Because we had to do regular testing, I was like, ‘Oh fuck.’ I couldn’t understand how that could possibly have happened because we hadn’t gone anywhere. Consequently, Brent, Todd, and one of the engineers at the studio were positive as well.”
Slash is synonymous with vintage Les Paul guitars and has collaborated on 17 signature models since 1997. Here he’s playing a ’59 reissue at the Fillmore Detroit with Myles Kennedy in 2015.
Photo by Ken Settle
Kennedy was also baffled. “The first time we tested was like three days before we got there and the next time we tested was the morning we walked into the studio. Everybody was fine and I was fine,” Kennedy recalls. “Then about 24 hours later I started to notice some strange symptoms. I thought they were allergies initially and, especially since I just tested, I thought, ‘There’s no way it’s Covid.’ But unfortunately, as the symptoms continued to evolve, I realized it was something a little more serious.”
Everyone had to go into quarantine, but that didn’t mean the music making had to stop. “I started to do what little guitar overdubs I had—I had some harmonies, and some sitar parts,” says Slash. “Then two days later I tested positive. It was inevitable because we were all living in the same house and sharing a communal kitchen. The house was now effectively called ‘Covid Manor.’” Only Sidoris avoided getting Covid.
Luckily, the setup of their accommodations made it possible to quarantine and still be productive. “It was perfect,” says Kennedy. “I had a little separate house outside the house. I think it was like a pool house or something. I ended up recording Todd’s vocals because Todd ended up getting sick as well. He would come out during the day, and I would set up my DAW and we would do the backing vocals.”
“Spirit Love,” “Whatever Gets You By,” and “Fall Back to Earth” were all finished in the pool house, and then the files were sent to Cobb.
“Seeing him actually in the studio, it was a ‘Holy Shit’ level of guitar playing. I knew he was incredible, and I knew he was a legend, but he’s way better than that when you see him in person.” —Dave Cobb
Dumble Destiny
Cobb’s gear inventory is impressive, and during the sessions Slash crossed paths with a true bucket-list item. “It was the first time I consciously knew I was playing through a Dumble amp. I’ve been hearing that name forever, but I didn’t know what it was,” admits Slash. “[Cobb] introduced me to a Fender that Dumble had customized, and it sounds fuckin’ amazing. I didn’t actually record anything with it, but it just sounded really good.”
Cobb recalls, “You know, Slash sounds good through a lot of things. He sounded great through that Dumble. When he plugged into it, it sounded like Slash—rock ’n’ roll, over the top, classic. It sounded like a great rock ’n’ roll amp when he played through it.”
Sadly, Alexander Dumble passed away in January, a few weeks after this PG interview with Slash took place. It seems almost like fate that their worlds collided shortly before Dumble’s passing. Slash commissioned Dumble to build him an amp, which may be one of the last projects the famed builder completed. “I got in touch with Alex after the session and he actually did a Fender for me,” Slash says. “It sounds really great. He’s not easy to get in touch with or to get him to do something, it became very apparent. So it was an honor to have him do something for me. But I didn’t know the history before. There was some discrepancy over the cost of it for a second, but he and I got to be good friends as a result of that. I didn’t know how much it cost, I thought five meant five-hundred bucks [laughs].”
Photo by Annie Atlasman
While Slash enjoys his Dumble amp—the new discovery—he stuck to a tried-and-true formula for 4. His iconic Marshall Silver Jubilee 100-watt heads into a 4x12 straight cabinet with Celestion Vintage 30s was the rig of choice.
For guitars, Slash had his staples at the ready. “I used my Kris Derrig replica, which is like my go-to guitar for recording,” he says. “But I also used a ’69 reissue Flying V, which I got last Christmas, that sounds great on a couple songs. I used two ’59 reissues, one apiece on two different songs, a ’68 Custom reissue on one song, and that was basically the setup.”
As Cobb put it, it doesn’t really matter what the gear is: Slash is going to sound like Slash. “Slash’s tone—the way he plays through a Silver Jubilee—is the ideal tone for Slash, you know what I mean?
“I’ll tell you what’s really cool. I know from being a fan, how good he is as a guitar player, and as a writer, and all of that,” Cobb continues. “But seeing him actually in the studio, it was a ‘Holy Shit’ level of guitar playing. I knew he was incredible, and I knew he was a legend, but he’s way better than that when you see him in person. I mean the solos on the record are live and he’s going for it, and it came out so classic and timeless. And his playing has so much feel and heart and soul. I didn’t realize how much better he is than I even thought he was. That was probably the biggest revelation. When he plugs in, it’s like, “I know why he’s Slash.” I was in the room with the engineer and the assistant in the control room, and we were all like, ‘Holy shit. This is way bigger and better than we even thought it was going to be.’”
Slash ft.Myles Kennedy & The Conspirators - Anastasia | Live in Sydney
Slash is a master of coaxing an impressive array of sounds out of his beloved Les Pauls. In the intro to “Anastasia,” he gets an acoustic vibe by using a fingerstyle approach combined with the Les Paul’s rhythm pickup setting. Once the distortion kicks in, he launches into a post neo-classical, pedal-point riff, before launching into all-out carnage once Myles Kennedy’s vocals enter.
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Columnist Janek Gwizdala with heroes Dennis Chambers (left) and Mike Stern (right).
Keeping your gigging commitments can be tough, especially when faced with a call from a hero. But it’s always the right choice.
Saying “yes!” to everything early on has put me in a place now where I can say no to almost everything and still be okay. That wasn’t without its challenges. I’d like to share a story about a “yes” that would haunt me for years.
As bass players, we can, if we choose, quite easily find ourselves in a wide variety of situations without having to change much about our sound or our playing. If your time is good and you’re able to help those around you feel good and sound better, the telephone will pretty much always ring.
Playing jazz as an electric-bass player living in New York City from 2000 to 2010 was somewhat of a fool’s errand in terms of getting work. No one wanted electric bass, and bandleaders would go to the bottom of a list of 100 upright players before they would even think about calling you. Not only that, but I wasn’t even at the top of the electric list when I first moved there. Not even close. Anthony Jackson, Richard Bona, Will Lee, Tim Lefebvre, James Genus, Lincoln Goines, Mike Pope, John Benitez, Matthew Garrison—that’s a who’s who of the instrument when I first moved to town, and I was very much a freshman with almost no experience. Almost…
I’d been lucky enough to play extensively with Kenwood Dennard (Jaco’s drummer), and a little with Hiram Bullock (Jaco’s guitarist) before moving to NYC which helped create a little momentum, but only a VERY little.
This is where the story begins:
I’d sent Mike Stern a demo back in late ’97. He’d not only taken the time to listen to it but had called my parents’ house right after I moved to the U.S. to tell me he loved it and wanted to hang. I missed the call but eventually met him at a clinic he gave at Berklee.
Of course, I was buzzing about all of this. It helped me stay laser-focused on practice and on moving to NYC as soon as possible. I got the typical “look me up when you get to town” invitation from Stern and basically counted the seconds through the three semesters I stayed at Berklee until I could split town.
I arrived with a ton of confidence but zero gigs. And nothing happened overnight. It really took saying yes to literally everything I was offered just to keep a roof over my head. Through that process, I felt like I was getting further away from playing with my jazz heroes.
The early gigs were far from glamorous—long hours, terrible pay, and sometimes, after travel expenses, they cost me money to play.
“Whenever I have a single moment of doubt, I think about the time I had to say no to my heroes—the reasons I moved to America, the reason I do what I do.”
When Stern finally called, a few years into living in NYC, things started to move pretty quickly. I began playing a lot of gigs at the 55 Bar with him, and short road trips became a thing—a four-night stint at Arturo Sandoval’s new club in Miami, gigs in Chicago, Cleveland, and upstate New York, and then some international work, including a tour of Mexico and a trip to Brazil, if I remember right.
But the hardest phone call of my career came from Mike not long into my time touring with him. It went something like this:
“Hey man, what’s your scene in April? Lincoln can’t make a trip to the West Coast. It’s just one gig. Trio… with DENNIS CHAMBERS.”
Mike didn’t shout Dennis’ name, but that’s how I heard it. My all-time hero. Someone I’d been dreaming about playing with for over 15 years. And here’s the kicker: I had to say no.
I’d just committed to six weeks with Jojo Mayer’s band Nerve in Asia and Europe, and there was no way I could bail on him. And there was no way I could afford to ditch six weeks of work for a single gig with Mike. To say that haunted me for years is an understatement. I was destroyed that I had to turn it down.
The tour with Jojo was amazing—the posters hang in my studio as a reminder of those times to this day. And thankfully, I was able to go on some years later and play dozens of shows with Mike and Dennis all over the world—truly some of the highlights of my career.
I still think about that phone call, though. Whenever I have a single moment of doubt, I think about the time I had to say no to my heroes—the reasons I moved to America, the reason I do what I do. I get emotional writing and thinking about it even now. But I've learned to never have regrets and understand you just have to believe in the process and maintain the willpower to continue—no matter what.
New RAT Sound Solution Offers a Refined Evolution of Distortion
ACT Entertainment ’s iconic RAT brand has unveiledthe Sterling Vermin, a boutique distortion guitar pedal that blends heritage tone with modernrefinement. With a new take on RAT’s unmistakable sound, Sterling Vermin delivers a new levelof precision and versatility.
“The Sterling Vermin was born from a desire for something different — something refined, withthe soul of a traditional RAT pedal, but with a voice all its own,” says Shawn Wells, MarketManager—Sound, ACT Entertainment, who designed the pedal along with his colleague MattGates. “Built in small batches and hand-soldered in ACT’s Jackson, Missouri headquarters, theSterling Vermin is a work of pure beauty that honors the brand legacy while taking a bold stepforward for creativity.”
The Sterling Vermin features the LM741 Op-Amp and a pair of selectable clipping diodes.Players can toggle between the traditional RAT silicon diode configuration for a punchy, mid-range bite, or the BAT41 option for a smoother, more balanced response. The result is a pedalthat’s equally at home delivering snarling distortion or articulate, low-gain overdrive, with a wide,usable tonal range throughout the entire gain spectrum.
The pedal also features CTS pots and oversized knobs for even, responsive control that affordsa satisfying smoothness to the rotation, with just the right amount of tension. Additionally, thepolished stainless-steel enclosure with laser-annealed graphics showcases the merging of thepedal’s vintage flavor and striking design.
“From low-gain tones reminiscent of a Klon or Bluesbreaker, to high-gain settings that flirt withBig Muff territory — yet stay tight and controlled — the Sterling Vermin is a masterclass indynamic distortion,” says Gates, an ACT Entertainment Sales Representative. “With premiumcomponents, deliberate design and a focus on feel, the Sterling Vermin is more than a pedal, it’sa new chapter for RAT.”
The RAT Sterling Vermin is available immediately and retails for $349 USD. For moreinformation about this solution, visit: actentertainment.com/rat-distortion .
The Miku was introduced about 10 years ago and is based on the vocal stylings of Hatsune Miku, a virtual pop icon. But it does much more than artificial vowels and high-pitched words.
It’s tempting to think of this pedal as a joke. Don’t.
It all started a few years ago through a trade with a friend. I just wanted to help him out—he really wanted to get a fuzz pedal but didn’t have enough cash, so he offered up the Korg Miku. I had no idea then, but it turned out to be the best trade I’ve ever made.
Here’s the truth: the Korg Miku is not your typical guitar pedal. It won’t boost your mids, sculpt your gain, or serve up that warm, buttery overdrive you’ve always worshipped. Nope. This little box does something entirely different: It sings! Yes, sings in a Japanese kawaii accent that’s based on the signature voice of virtual pop icon Hatsune Miku.
At first glance, it’s tempting to dismiss this pedal as just a gimmick—a joke, a collector’s oddity, the kind of thing you buy for fun and then forget next to your Hello Kitty Strat. But here’s the twist: Some take it seriously and I’m one of those people.
I play in a punk band called Cakrux, and lately I’ve been working with a member of a Japanese idol-style girl group—yeah, it’s exactly the kind of wild mashup you’d ever imagine. Somewhere in the middle of that chaos, the Miku found its way into my setup, and weirdly enough, it stuck. It’s quirky, beautiful, occasionally maddening, and somehow … just right. After plenty of time spent in rehearsals, studio takes, and more sonic experiments than I care to admit, I’ve come to appreciate this pedal in unexpected ways. So here are a few things you probably didn’t know about this delightfully strange little box.
It’s Not Organic—and That’s OK
Most guitar pedals are chasing something real. Wah pedals mimic the human voice—or even a trumpet. Tube Screamers? They’re built to recreate the warm push of an overdriven tube amp. Cab sims aim to replicate the tone of real-world speaker setups. But the Miku? It breaks the mold. Instead of emulating reality, it channels the voice of a fictional pop icon. Hatsune Miku isn’t a person—she’s a vocaloid, a fully digital creation made of samples and synthesis. The Miku doesn’t try to sound organic, it tries to sound like her. In that sense, it might be the only pedal trying to reproduce something that never existed in the physical world. And honestly, there’s something oddly poetic about that.
A World-Class Buffer
Here’s a fun fact: I once saw a big-name Indonesian session guitarist—you know, the kind who plays in sold-out arenas—with a Miku pedal on his board. I was like, “No way this guy’s busting out vocaloid lines mid-solo.” Plot twist: He only uses it for the buffer. Yep, the man swears by it and says it’s the best-sounding buffer he’s ever plugged into. I laughed … until I tried it. And honestly? He’s not wrong. Even if you never hear Miku sing a note, this pedal still deserves a spot on your board. Just for the tone mojo alone. Wild, right?
“The Miku is one of those pedals that really shouldn’t work for your music, but somehow, it just does.”
Impossible to Tame
Most pedals are built to make your life easier. The Miku? Not so much. This thing demands patience—and maybe a little spiritual surrender. First off, the tracking can be finicky, especially if you’re using low-output pickups. Latency becomes really noticeable and your picking dynamics suddenly matter a lot more. Then there’s the golden rule I learned the hard way. Never—ever—put anything before the Miku. No fuzz, no wah, no compressor, not even a buffer! It gets confused instantly and says “What is going on here?” And don’t even think about punching in while recording. The vocal results are so unpredictable, you’ll never get the same sound twice. Mess up halfway? You’re starting from scratch. Same setup, same take, same chaotic energy. It’s like trying to recreate a fever dream. Good luck with that.
Full Range = Full Power
Sure, it’s made for guitar, but the Miku really comes to life when you run it through a keyboard amp, bass cab, or even a full-range speaker. Why? Because her voice covers way more frequency range than a regular guitar speaker can handle. Plug it into a PA system or a bass rig, and everything sounds clearer, richer, way more expressive. It’s like letting Hatsune Miku out of her cage.
The Miku is one of those pedals that really shouldn't work for your music, but somehow, it just does. Is it the best pedal out there? Nah. Is it practical? Not by a long shot. But every time I plug it in, I can’t help but smile. It’s unpredictable, a little wild, and it feels like you’re jamming in the middle of a bizarre Isekai anime scene. And honestly, that’s what makes it fun.
This thing used to go for less than $100. Now? It’s fetching many times that. Is it worth the price? That’s up to you. But for me, the Korg Miku isn’t just another pedal—it’s a strange, delightful journey I’m glad I didn’t skip. No regrets here.
Two guitars, two amps, and two people is all it takes to bring the noise.
The day before they played the coveted Blue Room at Third Man Records in Nashville, the Washington, D.C.-based garage-punk duo Teen Mortgage released their debut record, Devil Ultrasonic Dream. Not a bad couple of days for a young band.
PG’s Chris Kies caught up with guitarist and vocalist James Guile at the Blue Room to find out how he builds the band’s bombastic guitar attack.
Brought to you by D’Addario.
Devilish Dunable
Guile has been known to use Telecasters and Gretsches in the past, but this time out he’s sticking with this Dunable Cyclops DE, courtesy of Gwarsenio Hall—aka Jordan Olds of metal-themed comedy talk show Two Minutes to Late Night. Guile digs the Dunable’s lightness on his shoulders, and its balance of high and low frequencies.
Storm Warning
What does Guile like about this Squier Cyclone? Simple: its color. This one is also nice and easy on the back, and Guile picked it up from Atomic Music in Beltsville, Maryland.
Crushing It
Guile also scooped this Music Man 410-HD from Atomic, which he got just for this tour for a pretty sweet deal. It runs alongside an Orange Crush Bass 100 to rumble out the low end.
James Guile’s Pedalboard
The Electro-Harmonix Micro POG and Hiwatt Filter Fuzz MkII run to the Orange, while everything else—a DigiTech Whammy, Pro Co Lil’ RAT, and Death by Audio Echo Dream 2—runs to the Music Man. A TC Helicon Mic Mechanic is on board for vocal assistance, and a TC Electronic PolyTune 3, Morley ABY, and Voodoo Labs Pedal Power 3 Plus keep the ship afloat.