
The litter, minus one: most of the line-up of Snarky Puppy’s Empire Central.
This 6-string Cerberus finds it way home on Empire Central, an album honoring classic Black music and the band’s Dallas roots.
Back in the big-band-swing heyday of the 1940s, seeing up to 20 musicians onstage performing what was the era’s brand of popular music was not just common, but the norm. Today, with 19 members and a rotating crew of 25, Snarky Puppy is perhaps some new-age iteration of that once ubiquitous model—an electric jazz-rock-funk fusion orchestra version.
But before the four-time-Grammy-Award-winning ensemble was so massive in both size and sound, it was a somewhat smaller group of 10 college students, formed by bassist Michael League while he was studying at the University of North Texas in Denton, a city 30 miles outside of Dallas. The band’s music featured a blend of the aforementioned genres, and given the makeup of their original members, that made them an incidental example of cultural integration.
Snarky Puppy - Belmont (Empire Central)
“The band started with only white kids, when we were in college, but we basically only played the music of Black Americans,” acknowledges Chris McQueen, one of Snarky Puppy’s three guitarists. “Whether it was jazz or fusion, gospel, R&B … that was the source of all our inspiration. We started playing gigs, jamming with several musicians from the Black Dallas music scene. They were our heroes. That’s how we got connected to that world.
“What ended up happening was, we combined it, and it felt very natural,” he continues. “Shaun Martin, Bobby Sparks, Robert ‘Sput’ Searight, Jason ‘JT’ Thomas…. All those guys welcomed us in. I remember we would go to jam sessions. Sput was playing drums, and we would get up there and play the same songs that he wanted to, while coming at it from a very different perspective … then would meet in the middle and hopefully inspire each other.”
“People think of Nashville or Austin, but Dallas is really where it’s at!”–Chris McQueen
As Snarky Puppy’s lineup grew to include those players and many more, the group’s makeup became increasingly diverse. And on their new release, Empire Central,League asked the collective to reconnect with both the city of their founding and the lineage of Black music that defines their sound. “This is a ‘coming home’ kind of album. The idea was to try to either do an homage to [our musical foundation] or encapsulate it; pay tribute to it,” McQueen shares. “Dallas doesn’t always get the credit it deserves for being the music city that it is. People think of Nashville or Austin, but Dallas is really where it’s at!”
The 77-minute album was recorded over the course of eight nights in front of a live audience at Deep Ellum Art Company in Dallas, and, like everything Snarky Puppy has done, is musically polyglottal. While combining jazz, rock, funk, R&B, soul, and various international elements into one new, chimerical artistic mode is becoming a modern vernacular in its own right, the way they pull it off is all their own—as if it was delivered to us, their humble audience, via interstellar starship.
Snarky Puppy’s new album features a 19-piece version of the ensemble paying homage to its roots in Black American music and in the Dallas-area scene from which it emerged.
For example, “Trinity,” composed by guitarist Mark Lettieri, doesn’t announce a definitive musical identity. Rock weaves in, funk weaves out, and jazz makes for some adhesive, overall giving off a strong Weather Report influence. Violinist Zach Brock’s horn-driven “Honiara” jumps between odd-meter grooves, while keyboardist Bobby Sparks’ “Take It!” leans into a deep pocket with vibrato-heavy synthesizers and laidback trumpets. It also features a synth solo by Bernard Wright, a close friend of the group who passed away not long after the recording sessions.
More than half the band’s members contributed original compositions to Empire Central, and it all came together quickly. Leading up to the recorded performances, which took place in early March 2022, each composer put together a demo to bring to the band. While some final aspects of the arrangements were decided as a collective, most of each song was fully prepared before being shared.
Mark Lettieri’s Gear
Mark Lettieri used PRS guitars, a Dano baritone, and a Kemper Profiler for the Empire Central sessions. Here, he digs into his signature PRS Fiore model.
Photo by Brian Friedman
Guitars
- PRS Mark Lettieri Signature Fiore
- PRS McCarty 594
- Danelectro ’56 Reissue Baritone
Amps
- Kemper Profiler (Naylor Duel 60 head and 1x12)
Strings & Picks
- Dunlop (.009–.044, Fiore; .010–.046, McCarty 594; .014–.068, Danelectro)
- Dunlop heavy celluloid
Effects
- J. Rockett Mark Lettieri Signature Melody OD/EQ
- J. Rockett Hot Rubber Monkey
- Boss DS-1 Distortion
- MXR Poly Blue Octave
- MXR Carbon Copy
- MXR EVH Phase 90
- TC Electronic Nova System multi-effects
- TC Electronic Hall of Fame
- Line 6 M5 Stompbox Modeler
“Usually, whoever writes the song writes everything. They just make demos in Logic. We’ll send the Logic files to everyone in the band, and everybody learns all of the parts,” says Bob Lanzetti, another of Snarky’s guitarists. “We’ll learn the chords or the melodies; usually it’s not totally figured out in terms of form. Then, when we get together, we’ll trade parts around and see what works best for each section. Things definitely shift when we play live, too. Depending on who ends up being on stage, you might have to play parts that you’ve never played before. It keeps you on your toes, for sure.”
The drum parts are “sometimes, but not usually” fleshed out, Lanzetti explains. “If anything, it would be some kind of simple groove just to keep time. A lot of the time, we leave it up to the percussionists and drummers to come up with something, ’cause it’s always much better than what the rest of us do.”
The track list for Empire Central was put together during a series of intensive rehearsals for the live performances. As Lettieri explains, rehearsals were roughly 8 to 10 hours each day. “We would basically work on two songs in the morning, two songs in the afternoon, then two more songs that night. We holed up at Universal Rehearsal in Dallas, and that was our home for about a week.”
Given that Snarky Puppy’s mix of genres lends itself to a live setting, there’s been some division among fans over the quality of their studio versus stage recordings. For Empire Central, the band sought to actualize the best of both worlds through a live-in-the-studio recording process they prefer, with the Deep Ellum Art Company audience wired into the mix via headphones.
“Depending on who ends up being on stage, you might have to play parts that you’ve never played before. It keeps you on your toes, for sure.”–Bob Lanzetti
“The albums that most people know us for are ones that we did [with that setup], where we were trying to blend the best parts of a studio album with the best parts of a live album,” explains McQueen. “We felt like we needed that energy, but we didn’t want to have the sound of a live album, so the solution was to do that.”
In preparation for the performances, a crew built a studio at the venue that was fully equipped with mixing consoles, drums, keyboards, DI boxes, and Kemper Profiler amps, creating what Lettieri refers to as a “laboratory for us to record in.” Kempers were ideal for the small bar space. “Having that many guitar amps would have been a sound isolation nightmare,” he notes. They captured about five to six takes of each song. “It wasn’t really like a live gig, in the sense that we wanted to stay true to the compositions and keep our risk-taking to a minimum,” Lettieri adds, “but also, we still wanted to express ourselves and feed off of the audience.”
Lanzetti and Lettieri each contributed a song to Empire Central, following League’s suggestion to draw influences from artists who shaped Black music history. Lanzetti shares, “Especially in the United States, Black music is such a huge part of everything. Pretty much everything that exists was influenced by Black Americans, and in the early days by Africans who were brought here. It’s music we all grew up with. It was such a huge part of who I am. With writing, everything that you’ve ever listened to is going to be all wrapped up in that.”
Chris McQueen’s Gear
“We listen to each other a lot, and probably end up imitating each other,” says Chris McQueen of the band’s trio of guitarists. “We’re trying to mimic each other sometimes, or at least I am.”
Photo by Brian Friedman
Guitars
- Moollon Thinline T Classic
- Moollon LP-style
Amps
- Supro Coronado
- Supro Royal Reverb
- Brown-panel Fender Princeton
- Kemper Profiler (Doug Sewell amp)
Strings & Picks
- Dunlop Nickel .010s
- Blue Chip TD60
- Dunlop Gator 2.0 mm
- Surfpick wooden picks
Effects
- J. Rockett Archer
- Moog MF Delay
- Moog MF Chorus
- Moollon Tremolo
- Moollon British Octah Fuzz
- Telonics Multi-Taper Volume Pedal
- ZVEX Instant Lo-Fi Junky
- MXR M300 Reverb
- Vintage MXR Envelope Filter
- Jim Dunlop Cry Baby
- MXR Phase 95
- MXR Uni-Vibe
- (Wingman Option Knobs on all pedals)
With 19 members in the band, you might think it would besomewhat like a traditional big band, in the sense that there would be first, second, and third chairs, etc. But that’s not really how Snarky Puppy works. “There’s no competition,” says Lettieri. “Everyone’s on equal footing. Mike [League]’s assembled this crew of players that are all top-notch, who all have a very unique thing that they bring to the table. I think the main thing that makes the band work is just the massive amount of respect we have for each other’s talent.”
“Everyone has the opportunity to be an artist. None of us are really sidemen within Snarky Puppy,” Lanzetti adds. There is, however, still a leader in League, although his approach has shifted somewhat over the years. “In the beginning, Mike controlled things a lot more,” Lanzetti continues. “But once everyone started to get a sense of what the band was, and it started to have its own identity and its own sound, everybody kind of understood it and then he didn’t need to control it so much.”
“It’s kind of impossible, especially for a band this size, to be without a leader,” McQueen says, elaborating on some of the practical inner workings of performances. “We’ve kind of developed a system where, if he’s shaking his head, that means, ‘No, stay there, do exactly what you’re doing right now.’ And if he’s nodding his head, that means, ‘Yes, go on to the next thing.’ And that’s pretty much the way that we keep things organized.”
McQueen, Lanzetti, and Lettieri each come from slightly different musical backgrounds, which shape their individual playing and contributions to Snarky Puppy’s sound. McQueen mentions that he’s probably spent the most time playing indie rock, notably in the Texas-based bands Oso Closo and Foe Destroyer, which gives his approach a rawer edge. “I’m definitely very inspired by Radiohead, too—always have been,” he adds.
“It wasn’t really like a live gig, in the sense that we wanted to stay true to the compositions and keep our risk-taking to a minimum. But we still wanted to express ourselves and feed off of the audience.”–Mark Lettieri
“We listen to each other a lot, and probably end up imitating each other,” he continues. “We’re trying to mimic each other sometimes, or at least I am. I don’t know if the other guys are,” he laughs. He plays guitars made by Moollon, a Korean manufacturer, including a thinline T-style and another model that’s “kind of like a Les Paul, but not quite as saturated sounding.” Regarding influences, Hendrix is his “North Star,” but Kurt Rosenwinkel and Johnny “Guitar” Watson also come up, as well as the psychedelic rock band, Unknown Mortal Orchestra. “It’s a continual virtuous cycle between hearing the music in my head, finding it on the instrument, and then playing it well. It’s a little bit of that Hendrix thing, too,” he continues. “He was very obsessed with surprising people. Once you get them accustomed to the thing that they think they’re going to hear from you, you play something else.”
For the past few years, Lanzetti has been playing a Fodera, made by the Brooklyn-based company, modeled after his favorite Stratocaster. “I have a Tokai as well that I used to use all the time. I’m starting to use it a little more again,” he shares. “But that’s what I’m usually playing—some sort of single-coil Strat-type sound. I also do a lot of single-note, syncopated funky stuff. I used to be in an Afrobeat band, so a lot of that influence comes out.”
Lanzetti lists Bill Frisell, Wayne Krantz, and David Fiuczynski of the Screaming Headless Torsos among his main influences, along with Freddie King, Albert King, Django Reinhardt, and Charlie Christian. “Then, besides that, a lot of the textural stuff I do is kind of coming from non-guitar-based music. I’m really into a lot of 20th-century classical music—people like György Ligeti, Belá Bartók, Arnold Schoenberg, and Anton Webern.”
When it comes to improvising, Lanzetti says, “The goal for me is to try to have there be no difference between improvising free or improvising on a tune. A lot of times when I’m practicing, I’ll play free for a while, and then start improvising over a tune. I try to make it feel as open as it did when I was playing free.”
Bob Lanzetti’s Gear
For the Empire Central sessions, Bob Lanzetti relied on a Tokai S-style and the Fodera seen here.
Photo by Brian Friedman
Guitars
- Fodera S-style
- Tokai S-style
Amps
- Kemper Profiler (Fender Vibrolux)
- Victoria 20112
Strings & Picks
- D’Addario sets
- Gravity Gold series 1.5 mm
Effects
- ZVEX Fuzz Factory
- ZVEX Box of Rock
- Boss DD-6 Digital Delay
- Boss VB-2 Vibrato
- Empress Tremolo
- Strymon blueSky
- Electro-Harmonix POG2
- EBow
Lettieri comes from a rock background, but has a “pretty heavy funk influence, and sometimes I like to shred, sometimes I like to play lyrical stuff. The Snarky Puppy guitar chair is a challenging gig, because a lot of times I’m playing a part that makes more sense when somebody else plays it.” He shares that when the band is on tour, he might be the only guitar player, and then he has to learn Lanzetti and McQueen’s parts. “It stretches me,” he elaborates. “They probably feel the same: ‘Aw, man, I’ve got to learn this Lettieri part! This is a Lettieri part!’ But with this record in particular, I’m at home with a lot of the stuff I’m playing. I don’t feel like I’m having to wear someone else’s pants to do it.”
Lettieri’s primary guitar is a PRS Mark Lettieri Signature Fiore. His secondaries include a PRS McCarty 594 and a Danelectro ’56 Baritone reissue. His big three influences are Prince, Jeff Beck, and Eddie Van Halen, but also mentions Stevie Wonder, Steely Dan, Metallica, A Tribe Called Quest, and ZZ Top as heroes. As an improviser, he subscribes to Eddie Van Halen’s philosophy that soloing can be like “falling down the stairs and landing on your feet.” “That always resonated to me,” he says. “I love risk-taking improvisers. Sometimes it’s brilliant, sometimes it’s flawed, but it’s human and it’s personal.”
It’s clear from the guitarists that the band dynamic is overall familial and playful. After hearing about our interview with Lanzetti, Lettieri immediately interjects, “Whatever he said was a lie! All hearsay. He’s a big liar.”
And McQueen later calls everything into question, saying, “But you don’t know if Mark is a liar, too. How can you know who to trust?”
“Everyone has the opportunity to be an artist. None of us are really sidemen within Snarky Puppy.”–Bob Lanzetti
Lettieri adds, “We haven’t killed each other yet, so I guess we’re good enough buddies. It’s a family at this point.”
“There’s so many different kinds of personalities given the fact that the band is so big,” says Lanzetti. “It’s also nice because you can bounce around from little groups of a couple people. There are little groups within the band of people who like to hang out with each other a lot. But we all really like food, so we like to go find nice restaurants or whatever a particular place has to offer.” He adds, as an afterthought, “We used to play frisbee a lot.”
In response to a tongue-in-cheek question asking what this album would say if it had a voice, Lettieri laughs heartily: “It would say, ‘What’s up!’ You know what I mean? It’s a very inviting album. It’s deep compositionally, but it’s not going to be over your head.” He continues, “Honestly, it might be a cool way for a lot of people who have never heard the band to hear the band. There’s something for everybody. There’s some pretty heavy, intricate stuff; there’s some really beautiful, melodic ballad stuff; there’s some really deep, groovin’ stuff. It’s a little bit of energy. I’m really, really stoked about this one.”
Snarky Puppy - Bet (Empire Central)
In this excerpt from the live sessions for Empire Central, Snarky Puppy highlight their intuitive synergy on “Bet,” with 19 voices forging one fluid vibe.
- Rig Rundown: Snarky Puppy ›
- Hooked: Mark Lettieri on Jimi Hendrix's "Hey Joe" ›
- Cory Wong: The Sound of Joy ›
- The Evolution of Guitar Content and Media - Premier Guitar ›
Lutefish, the real-time music collaboration device and platform, is excited to announce a suite of new features designed to simplify setup, streamline collaboration, and offer more flexible subscription options for Lutefish Stream users. These latest updates, Audio Presets, Automatic Session Recall, Improved Scheduling with Contact Visibility, and a new Yearly Subscription Plan, are all about making it easier than ever for musicians to jam together, no matter where they’re based.
Save Time and Stay in the Flow with Audio Presets & Session Recall
Musicians can now save and reuse their exact audio settings, reducing setup time and ensuring every session sounds exactly as they want.
- Automatic Session Recall: When users leave a session, their current audio levels are automatically saved and restored when they rejoin.
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“These tools are all about saving time and hassle,” said Patrick Finn, Business Manager at Lutefish. “Musicians want to make music, not spend time rebalancing levels every session. With presets and recall, we’re giving them time back and helping them sound their best, every time.”
Smarter Scheduling and Contact Visibility
The latest update to Lutefish also made it easier to find collaborators and book sessions. Users can now:- View all their contacts at a glance when scheduling a session.
- Instantly identify which contacts own a Lutefish Stream device—so they will always know who’s ready to jam.
Go Yearly and Save 20%
Lutefish now offers a Yearly Subscription Plan, providing users with the same great access as the monthly plan at a 20% discount.
This option is now available within the Lutefish app and web platform, and current monthly users are eligible for a discount with an upgrade to a yearly subscription.
Lutefish’s mission has always been to empower musicians to connect and collaborate without boundaries. With these new updates, Lutefish Stream continues to break down barriers—whether you’re jamming with a friend across town or collaborating with a bandmate 500 miles away.
For more information and to start jamming today, visitlutefish.com.
Empress Effects is proud to announce the release of the Bass ParaEq, a bass-specific parametric EQ pedal.
Building on the success of their acclaimed ParaEq MKII series, which has already gained popularity with bassists, the Bass ParaEq offers the same studio-grade precision but with features tailored for bass instruments.
Basses of all types – including electric and upright basses with active and passive electronics – can benefit from the Bass ParaEq’s tone-sculpting capabilities.
The new pedal follows the success of the Empress Bass Compressor and ParaEq MKII Deluxe, which have become some of the company’s best-reviewed and top-selling products. The Bass Compressor’s popularity confirmed what Empress had long suspected: bassists are eager for tools built with their needs in mind, not just adaptations of guitar gear.
The Bass ParaEq retains the line’s powerful 3-band parametric EQ and studio-style features while introducing a bass-optimized frequency layout, a selectable 10MΩ Hi-Z input for piezo-equipped instruments, a dynamically-adjusted low shelf, and automatic balanced output detection—perfect for live and studio use alike.
The Bass ParaEq also offers an output boost, adjustable by a dedicated top-mounted knob and activated by its own footswitch, capable of delivering up to 30dB of boost. It’s perfect for helping your bass punch through during key moments in live performance.
Whether dialing in clarity for a dense mix or compensating for an unfamiliar venue, the Bass ParaEq offers precise tonal control in a compact, road-ready form. With 27V of internal headroom to prevent clipping from even the hottest active pickups, the Bass ParaEq is the ultimate studio-style EQ designed to travel.
Key features of the Bass ParaEq include:
- Adjustable frequency bands tailored for bass instruments
- Selectable 10MΩ Hi-Z input for upright basses and piezo pickups
- Auto-detecting balanced output for long cable runs and direct recording
- Three sweepable parametric bands with variable Q
- High-pass, low-pass, low shelf, and high shelf filters
- Transparent analog signal path with 27V of internal headroom
- Buffered bypass switching
- Powered by standard 9V external supply, 300mA (no battery compartment)
The Bass ParaEq is now shipping worldwide. It can be purchased from the Empress Effects website for $374 USD and through authorized Empress dealers globally.
Few musical acts did more to put their fame and fortune to good use than punk rock icon Wayne Kramer. Known for his enduring commitment to activism, especially in justice reform, his life story embodies the defiant, DIY ethos of punk, directly inspiring generations of bands and musicians who followed. Now, fans and fellow musicians alike can attempt to emulate Kramer’s incendiary sound with the new, limited-edition pedal.
Designed before his death in February 2024, Wayne Kramer—together with friend Jimi Dunlop (Dunlop CEO) and Daredevil Pedals owner Johnny Wator —the pedal features artwork from artist and activist Shepard Fairey (Obey Clothing founder). A majority of profits from the sale of the pedal goes directly to Kramer’s charity supporting the rehabilitation of incarcerated people of all ages, genders, and backgrounds.
In honor of his close friend, Tom Morello—the innovative guitarist behind Rage Against the Machine, Audioslave, the Nightwatchman, and more—demoed the pedal, showcasing its sound and shining light on Wayne Kramer’s incredible legacy.
Tom Morello Introduces MC5 Wayne Kramer-Inspired Pedal For Charity: MXR Jail Guitar Doors Drive
"What they've tried to bake into the MXR® Jail Guitar Doors Drive distortion pedal is not just Wayne's sound but Wayne's attitude, and the grit and the rawness of Detroit and of the MC5," said Morello, one of Kramer’s best friends, during his demo of the pedal. "This is the guitar pedal that was used on the song 'Heavy Lifting' that I recorded with Wayne for the last MC5 record.
"Named after the late rocker's charity—which provides instruments and art workshops to incarcerated individuals as rehabilitation tools—the MXR® Jail Guitar Doors Drive pedal aims to capture all of the high-voltage energy of Wayne Kramer's sound. It features two uniquely voiced gain circuits cascaded together with a singular pot controlling both the output level of each circuit and the overall saturation level of the distortion.
Music makers looking to capture Kramer’s raw, fiery sound can pick up the new MXR® Jail Guitar Doors Drive pedal, exclusively on Reverb via The Official MXR Jail Guitar Doors Drive Reverb Shop for $199, here: https://reverb.com/shop/the-official-mxr-jail-guitar-doors-reverb-shop.
The veteran Florida-born metalcore outfit proves that you don’t need humbuckers to pull off high gain.
Last August, metalcore giants Poison the Well gave the world a gift: They announced they were working on their first studio album in 15 years. They unleashed the first taste, single “Trembling Level,” back in January, and set off on a spring North American tour during which they played their debut record, The Opposite of December… A Season of Separation, in full every night.
PG’s Perry Bean caught up with guitarists Ryan Primack and Vadim Taver, and bassist Noah Harmon, ahead of the band’s show at Nashville’s Brooklyn Bowl for this new Rig Rundown.
Brought to you by D’Addario.Not-So-Quiet As a Mouse
Primack started his playing career on Telecasters, then switched to Les Pauls, but when his prized LPs were stolen, he jumped back to Teles, and now owns nine of them.
His No. 1 is this white one (left). Seymour Duncan made him a JB Model pickup in a single-coil size for the bridge position, while the neck is a Seymour Duncan Quarter Pound Staggered. He ripped out all the electronics, added a Gibson-style toggle switch, flipped the control plate orientation thanks to an obsession with Danny Gatton, and included just one steel knob to control tone. Primack also installed string trees with foam to control extra noise.
This one has Ernie Ball Papa Het’s Hardwired strings, .011–.050.
Here, Kitty, Kitty
Primack runs both a PRS Archon and a Bad Cat Lynx at the same time, covering both 6L6 and EL34 territories. The Lynx goes into a Friedman 4x12 cab that’s been rebadged in honor of its nickname, “Donkey,” while the Archon, which is like a “refined 5150,” runs through an Orange 4x12.
Ryan Primack’s Pedalboard
Primack’s board sports a Saturnworks True Bypass Multi Looper, plus two Saturnworks boost pedals. The rest includes a Boss TU-3w, DOD Bifet Boost 410, Caroline Electronics Hawaiian Pizza, Fortin ZUUL +, MXR Phase 100, JHS Series 3 Tremolo, Boss DM-2w, DOD Rubberneck, MXR Carbon Copy Deluxe, Walrus Slo, and SolidGoldFX Surf Rider III.
Taver’s Teles
Vadim Taver’s go-to is this cherryburst Fender Telecaster, which he scored in the early 2000s and has been upgraded to Seymour Duncan pickups on Primack’s recommendation. His white Balaguer T-style has been treated to the same upgrade. The Balaguer is tuned to drop C, and the Fender stays in D standard. Both have D’Addario strings, with a slightly heavier gauge on the Balaguer.
Dual-Channel Chugger
Taver loves his 2-channel Orange Rockerverb 100s, one of which lives in a case made right in Nashville.
Vadim Taver’s Pedalboard
Taver’s board includes an MXR Joshua, MXR Carbon Copy Deluxe, Empress Tremolo, Walrus ARP-87, Old Blood Noise Endeavors Reflector, MXR Phase 90, Boss CE-2w, and Sonic Research Turbo Tuner ST-200, all powered by a Voodoo Lab Pedal Power 2 Plus.
Big Duff
Harmon’s favorite these days is this Fender Duff McKagan Deluxe Precision Bass, which he’s outfitted with a Leo Quan Badass bridge. His backup is a Mexico-made Fender Classic Series ’70s Jazz Bass. This one also sports Primack-picked pickups.
Rental Rockers
Harmon rented this Orange AD200B MK III head, which runs through a 1x15 cab on top and a 4x10 on the bottom.
Noah Harmon’s Pedalboard
Harmon’s board carries a Boss TU-2, Boss ODB-3, MXR Dyna Comp, Darkglass Electronics Vintage Ultra, and a Voodoo Lab Pedal Power 2 Plus. His signal from the Vintage Ultra runs right to the front-of-house, and Harmon estimates that that signal accounts for about half of what people hear on any given night.