
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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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.
Each night of a G3 tour ends with an all-out jam and on Reunion Live, the trio hits classics by Cream, Hendrix, and Steppenwolf. “When you hear each guy solo, you can hear how we’ve changed through the years,” says Vai.
Joe Satriani, Steve Vai, and Eric Johnson reflect on their groundbreaking tour with a fiery live album that took nearly 30 years to make.
“When you’re young, you’re attracted to all these [guitar] ideas—do this, do that,” says Eric Johnson. “You’re like a sponge. If you get yourself out of the way, get rid of the ego, and stay open, you remain a student your whole life. But at the same time, you get to the point where you’re like, ‘There’s only so much time, and I don’t need to learn this and that.’ There are things that Joe [Satriani] or Steve [Vai] do that I’ll never be able to do.”
Some guitarists would find that notion depressing—of finally extinguishing the naive youthful fire to master every technique on their instrument. (It’s probably easier to find peace when you’re one of the world’s most revered players, with platinum sales and Grammys on your résumé.) But when Johnson looks at Satriani and Vai, his fellow virtuosos on the 2024 G3 reunion tour, the idea of “letting go” puts a smile on his face.
“Although we stay open, we define some of our journey,” says Johnson. “We can’t be everything to everybody. Then you start appreciating what someone else is doing even more.”
That sense of refinement is crucial to the story of G3, the triple-guitar tour conceived by Satriani and launched alongside Johnson and Vai in 1996. Over the years, the event has morphed to incorporate players from just about every style: from blues-rock (Kenny Wayne Shepherd) to prog-metal (Dream Theater’s John Petrucci) to hard rock (Uli Jon Roth) to the eerie soundscapes of King Crimson’s Robert Fripp. Far from a rote shred-fest, it’s a celebration of the electric guitar’s unlimited possibilities. And Satriani’s been thinking a lot about that idea following the G3 reunion tour, which ran for 13 dates last January, spawned a new concert album (Reunion Live), and will eventually birth a documentary helmed by his son ZZ.Recorded live at the Orpheum Theatre in Los Angeles, Reunion Live documents the culmination of a 13-date tour that brought the trio together for the first time since the original tour in 1996.
“He had an interesting idea for a film,” Satriani says. “Our first G3 show happened the week he turned four, and we decided we were always going to take him with us. He wanted to do a film not only about that and about G3 but also his whole point of view growing up with a very strange father and this community of guitar players. He wanted to know their perspective on guitar playing and music and this life he’s been a part of.”
The younger Satriani grew even more ambitious, proposing that the OG G3s [OG3s?] get together for another tour. “ZZ wanted to see what it was really like, after decades of traveling with me and the different bands, to get onstage and play,” Satch says. “It all sort of happened in those last two shows at the Orpheum in Los Angeles. ZZ came on and played a song, and that sort of brought the film full-circle—from the four-year-old to the 32-year-old playing onstage with his dad. The [as-yet-unreleased] film has really developed into this epic story about guitar players. Eric and Steve have been so generous with their time, letting ZZ interview them about music, guitar, and what it means to them. But that’s really how the whole thing got started this time around.”
“30 years later, you can really see more of the dynamic difference in our go-to notes and riffs. Joe is more Joe now; Eric is more Eric now; and I’m more me now.”—Steve Vai
Reunion Live unfolds like the actual G3 shows, with miniature heavy-hitter sets from each artist (you get Vai’s “For the Love of God,” Satriani’s “Surfing With the Alien,” Johnson’s “Desert Rose”), followed by a trio of generous, triple-guitar cover-song jams—in this case, ripping versions of Robert Johnson’s blues staple “Crossroads,” Steppenwolf’s open-road proto-metal anthem “Born to Be Wild,” and Jimi Hendrix’s hard-psych powerhouse “Spanish Castle Magic.” The latter, fronted by Johnson, is the album’s centerpiece: 11-plus minutes of instrumental fireworks that perfectly showcase each player’s distinct flavor. Toward the end, the groove lays back into a quiet, funky simmer—the perfect platform for an onslaught of tasteful flourishes and ungodly shredding.
Back in 1996, the trio barnstormed across the country and laid waste to guitar nerds everywhere with a scorching version of Zappa’s “My Guitar Wants to Kill Your Mama.”
Photo by Ebet Roberts
“The thing I liked about that [choice] was that it’s very common to play a Hendrix song in a jam, but most people play the usual suspects,” says Vai. “Eric’s Hendrix catalog runs deep, and he’s played ‘Spanish Castle Magic’ on multiple occasions, and I’ve played it in the past. When it came up on this G3, I was very excited because it’s a great song to play. It’s just got a great feel to it, and the groove for soloing is very open. I was very happy to see that.”
“I hate the word ‘competition.’ But if we didn’t want to challenge each other, we wouldn’t have agreed to do the tour.”—Joe Satriani
“I remember doing so many cover songs over the past few decades, and every once in a while you come up with an all-purpose song that anyone, from any walk of life, can come join you on,” says Satriani. “And then you have these other songs that really shine a light on an individual’s foundation as a player and some of their early inspirations. I know that all three of us were so into Jimi Hendrix. I love doing that song. I’d do any Hendrix song. Eric and I have a lot of experience going out with the Experience Hendrix [tribute] tour. He figured into our early musical lives—even before I played guitar, I was a big Hendrix fan.”
“Crossroads” is also fascinating on many levels. Sure, it’s hard for any good rock band to screw this one up, and it could be the most obvious pick for any guitar jam, but the song’s simple blues structure also allows for a delicious whiplash, magnifying the vast differences in tonality and note choice between each guitarist.
“At first, when ‘Crossroads’ came in, I was like, ‘OK, it’s this classic rock song.’ But once you’re onstage and playing it, the riff is so great,” says Vai. “It’s robust. When you hear each guy solo, you can hear how we’ve changed through the years. Not just us—any guitar player who sticks with their craft goes through various evolutions into different directions. Some can stagnate, but you’re usually inching toward something different. Most of the time physicality is involved in that. When I hear ‘Spanish Castle Magic’ or ‘Crossroads,’ the stuff on this jam, my ears are listening to 30 years ago, in a sense, when we would trade. Today, 30 years later, you can really see more of the dynamic difference in our go-to notes and riffs. Joe is more Joe now; Eric is more Eric now; and I’m more me now. I’ve abandoned trying to sound conventional in any way.” The more they sound like the definitive versions of themselves, as on this G3 tour, the more in tune with each other they seem to be.Joe Satrian's Gear
The G3 mastermind would never use the word “competition,” but feels like his fellow G3ers wouldn’t show up if they didn’t want to be challenged.
Photo by Jon Luini
Guitars
- Various Ibanez JS Models (tuned to Eb standard)
Amps
- Marshall JVM410HJS
- Two Marshall 1960B 4x12 cabinets
Effects
- Vox Big Bad Wah
- Boss OC-3
- DigiTech SubNUp
- MXR EVH Flanger
- DigiTech Whammy
- Boss DD-8 (in effects loop)
- Voodoo Lab Pedal Power
Strings & Picks
- D’Addario XL110 (.010–.046)
- D’Addario Satch Grip Picks
“I would listen to Joe and Steve, and I would marvel at the guitar playing and the consistency of how great it was, but for me, it was [also] an opportunity to look beyond [it],” says Johnson. “It was a bit of an epiphany doing this tour because I tuned into the energy they had, the songs they were writing, the sounds they were getting, the shows they were doing. It even made the guitar playing more interesting because there was another dynamic I was tuning in to more. Not that it wasn’t always important, but as you get older, you try to see the whole hemisphere and what that means to the audience. It’s a win-win because it doesn’t take anything away from the guitar—it makes it more interesting to have encased in that bigger thing. I noticed that more this time, which made me feel good.”
“We can’t be everything to everybody.”—Eric Johnson
The G3 tour, and particularly the encore jams, are fascinating at the conceptual level: taking players largely renowned as soloists, and forcing them to share stages and trade licks—working to compliment each other’s playing instead of simply flexing their muscles and drawing on some primal competitive drive.
“The ego is the definition of competition,” says Vai. “Its perspective is, ‘How do I stack up? How do I rise above? How do I sell more, make more, have more, be more than anyone else?’ This is nothing personal to me—this is in the collective of humanity. Ego can wreak havoc in your life and cause a lot of dysfunction and stress. You don’t know it because you’re unconscious of the way the ego can be competitive. More in my earlier days, in the background, there was a perspective of competitiveness. This doesn’t just go for G3, but it was never in a playing way. I felt, ‘My playing is so abstract and bizarre that there’s no one else doing this weird stuff.’ Of course, this is still ego.”
Steve Vai's Gear
“When I hear ‘Spanish Castle Magic’ or ‘Crossroads,’ the stuff on this jam, my ears are listening to 30 years ago, in a sense, when we would trade,” remembers Vai.
Photo by Jon Luini
Guitars
- Ibanez mirror-topped JEM “BO”
- Ibanez John Scofield JSM
- Ibanez JEM 7VWH “EVO”
- Ibanez Universe 7-String
- Ibanez Hydra Triple-Neck Guitar
- Ibanez JEM 7VWH “FLO III”
- Ibanez PIA (tuned to Eb standard)
Amps
- Synergy SYN-2 Preamp
- VAI Synergy Module
- B-MAN Synergy Module
- Fractal Audio AXE-FX III Turbo
- Fryette LX-II Tube Power Amp
- Carvin V412 cabinets with Celestion Vintage 30 speakers
Effects
- Lehle A/B Box
- Dunlop 95Q Wah
- Ibanez Jemini Distortion/Overdrive
- DigiTech Whammy DT
- CIOKS DC-7 Power Supply
Strings, Picks, & Accessories
- Ernie Ball Skinny Top Heavy (.010–.052)
- Ernie Ball Regular Slinky (.010–.046)
- Ernie Ball Super Slinky (.009–.042)
- Ernie Ball 7-String Set (.009–.056)
- DiMarzio Cables
- Electric Fan
- InTuneGP GrippX Picks (1.14 mm and 1.50 mm)
“But when it came to Joe, it was a very different dynamic because he was my [guitar] teacher—he taught me how to play,” remembers Vai. “Joe was my mentor. I admired him. We were joined at the hip throughout our careers. In the earlier days, you listened to the other guy, and there’s the perspective. One is a very egoic perspective, which sees things as competition. The other perspective is, ‘What can I learn here? What can I get from this that’s going to improve my tools?’ Boy, there’s plenty of that in every G3 tour, every situation I’ve ever been in. But it’s a perspective only you can choose. The feeling of competition, I don’t like it. If someone is selling more records or playing faster or tastier or their songs are better, it behooves me to see how I can gain on a personal level from that. If I was the coach of a basketball team, I’d say, ‘It doesn’t matter if you win this game. It’s not as important as doing your very best.’ In reality, the only one you’re ever competing with is yourself—your bar.”
“If someone is selling more records or playing faster or tastier or their songs are better, it behooves me to see how I can gain on a personal level from that.”—Steve Vai
Satriani shares a similar sentiment—that being “complimentary” in a project like G3 is a real talent and a gift. Working on the documentary has put him in a retrospective mode, thinking about past tours and how they’ve worked to be more expansive and, perhaps, even provocative in their presentation.
Eric Johnson's Gear
“We can’t be everything to everybody. Then you start appreciating what someone else is doing even more,” says Johnson.
Photo by Jim Summaria
Guitars
- 1958 Fender Stratocaster
- Fender Eric Johnson Signature Stratocaster
- Fender Stratocaster with internal preamp
Amps
- Fender Bandmaster Reverb
- 50-watt Marshall JTM45 Super Tremolo
- 100-watt Marshall JTM45 Super Tremolo
- Two-Rock Classic Reverb Signature
- ’60s stereo Marshall cabinet with Electro-Voice EVM12L speakers
- ’60s Marshall cabinet with vintage 25-watt Celestion Greenback speakers
Effects
- EP-3 Echoplex
- TC Electronic Chorus
- Ibanez Tube Screamer
- Dunlop Fuzz Face
- MXR M-166 Digital Time Delay
- Dunlop Cry Baby Wah
- BK Butler Tube Driver
- Electro-Harmonix Deluxe Memory Man
- Bill Webb Fuzz Pedal
Strings & Picks
- D’Addario Pure Nickel (.010–.046)
- Dunlop Jazz III picks
“Yesterday I was searching for an original print of a photo from [the G3 tour] in ’97,” he says, “where Robert Fripp was opening the shows, unannounced, hidden behind a wall of gear. That was his request—to play as people were filing into the venues. I found this great photo of Robert onstage with his guitar and four-year-old ZZ standing next to him holding a plastic pail—I think it was at Jones Beach. It reminded me of how crazy the notion was at the time of Robert joining up with the tour. But he was so excited about it and wanted to do it. We had fantastic times traveling together and hanging out backstage and getting to know each other on that particular tour, and that set the tone for me—knowing that, not only did I have comrades like Eric and Steve, who felt the same way that I did about collaboration in a live setting, but now there was Robert and Kenny Wayne Shepherd, and the concept of G3 started to really catch fire. It was really heartwarming to know that this sort of gunslinger attitude that existed in the ’80s about guitar players could be challenged. We could create something really inclusive about different styles and generations of players and take it on the road. That came back to me when I saw that photo.”
“I hate the word ‘competition,’” Satriani says elsewhere, surveying G3 history. “But if we didn’t want to challenge each other, we wouldn’t have agreed to do the tour. We get to hear each other’s sets, which is great—we don’t often get to do that when we’re off on our own tours. And then we get to stand next to each other and see what just pops out of nowhere, what each artist decides to throw out as an improvisation. Every night is a once-in-a-lifetime thing. If you can somehow work that into your musical life, you’re really lucky—so I count myself really lucky.”
YouTube It
Watch Satriani, Johnson, and Vai tear through Cream’s classic interpretation of “Crossroads.” In this video, directed by ZZ Satriani, you can get a feel for the history the trio shares with vintage G3 clips and more.
Meet Siccardi Number 28: a 5-ply, double-cut solidbody tribute to Paul Bigsby’s “Hezzy Hall” guitar.
Reader: Mark Huss
Hometown: Coatesville, PA
Guitar: Siccardi Number 28
May we all have friends like Ed Siccardi—along with a rare stash of tonewoods and inspiration to pay tribute to a legendary luthier.
I have too many guitars (like at least some of you I’m sure), but my current No. 1 is a custom guitar made for me by my friend Ed Siccardi. Ed is an interesting and talented fellow, a retired mechanical engineer who has amazing wood and metal shops in his basement. He also has an impressive collection of tonewoods, including rarities like African mahogany and some beautiful book-matched sets. He likes to build acoustic guitars (and has built 26 of them so far), but decided he wanted to make me an electric. The fruit of this collaboration was his Number 27, a Paul Bigsby tribute with a single-cut body—looking very much like what Bigsby made for Merle Travis. Note that Bigsby created this single-cut body and “Fender-style” headstock way before Gibson or Fender had adopted these shapes. This was a really nice guitar, but had some minor playing issues, so he made me another: Number 28.
Number 28 is another Paul Bigsby tribute, but is a double cutaway a la the Bigsby “Hezzy Hall” guitar. This guitar has a 5-ply solid body made of two layers of figured maple, cherry, swamp ash, and another layer of cherry. The wood is too pretty to cover up with a pickguard. The tailpiece is African ebony with abalone inlays and the rock-maple neck has a 2-way truss rod and extends into the body up to the bridge. It has a 14" radius and a zero fret. Therefore, there is no nut per se, just a brass string spacer. I really like zero frets since they seem to help with the lower-position intonation on the 3rd string. The fretboard is African ebony with abalone inlays and StewMac #148 frets. The peghead is overlaid front and back with African ebony and has Graph Tech RATIO tuners. The guitar has a 25" scale length and 1.47" nut spacing. There are two genuine ivory detail inlays: One each on the back of the peghead and at the base of the neck. The ivory was reclaimed from old piano keys.
This is Number 27, 28’s older sibling and a single-cut Bigsby homage. It’s playing issues led to the creation of its predecessor.
I installed the electronics using my old favorite Seymour Duncan pairing of a JB and Jazz humbuckers. The pickup selector is a standard 3-way, and all three 500k rotary controls have push-pull switches. There are two volume controls, and their switches select series or parallel wiring for their respective pickup coils. The switch on the shared tone control connects the bridge pickup directly to the output jack with no controls attached. This configuration allows for a surprisingly wide variety of sounds. As an experiment, I originally put the bridge volume control nearest the bridge for “pinky” adjustment, but in practice I don’t use it much, so I may just switch it back to a more traditional arrangement to match my other guitars.
The Milwaukee-based “guitarist’s guitarist” doles out decades of midwest wisdom on this episode of Wong Notes.
You might not know Greg Koch, but we’ll bet your favorite guitarist does. In 2012, Fender called the Wisconsin blues-guitar phenom one of the top 10 best unsung guitarists, and in 2020, Guitar World listed Koch among the 15 best guitar teachers. He’s been inducted into the Wisconsin Area Music Industry Hall of Fame. Koch is a bonafide midwest guitar god.
He joins Cory Wong on this round of Wong Notes for this meeting of the Middle-America minds, where the duo open with analysis of music culture in Wisconsin and Minnesota—Koch taught at Saint Paul’s now-shuttered McNally Smith College of Music, which Wong attended. Koch and Wong zero in on the blues roots of most modern music and talk through soloing theories: It can be as easy or as hard as you want it to be, but Koch shares that he likes to “paint himself into a corner,” then get out of it.
Koch and Wong swap notes on the pressures of studio performance versus the live realm, and how to move on from mistakes made onstage in front of audiences. Plus, Koch has created scores of guitar education materials, including for Hal Leonard. Tune in to find out what makes a good guitar course, how to write a guitar book, Koch’s audio tips for crystalline live-stream sessions, and why he still prefers tube amps: “I like to crank that sh*t up!”