
Adestria guitarists Russell Klein and Brian Stump reveal the serendipity that led to forming their 6-piece metalcore outfit—which in four short years has hammered out a stunningly brutal sound full of intricate layers, time signatures, and catchy melodies.
“If I didn’t do this, I’d regret it for the rest of my life,” says Russell Klein, as he discusses the difficult decision he made when he dropped out of UC San Diego’s chemical engineering program in 2010 to tour with metalcore sensation Adestria as lead guitarist. It was a serious gamble to risk a lucrative career prospect that offered financial security for a life potentially filled with Taco Bell combo dinners as a road warrior. And while many others who’ve made similar bets in pursuit of their dreams live in some sort of limbo waiting for their day to come, it appears that Klein’s risky move is starting to pay off. In the four short years since the band’s inception, Adestria has accomplished what most bands spend their whole careers trying to achieve, and their success story is, in many ways, the stuff music dreams are made of.
Adestria got its start serendipitously at a party when singer Matt Anderson met up with people who shared similar musical tastes. Over drinks, the initial talks began and a casual jam session was arranged. But no one had major expectations. “I don’t think we had any idea we were going to get as serious as we have,” says rhythm guitarist Brian Stump. But it happened, and it happened fast. In 2010 the band recorded an EP, Oh the Places You’ll Go, which generated a ton of buzz almost immediately upon its release and resulted in Alternative Press magazine naming them the No. 5 unsigned band. This led to a deal with Artery Recordings in late 2011, and they recently released their full-length debut, Chapters.
Adestria’s brutal breakdowns and virtuosic, effortless-sounding fretwork might give the impression that these players were child prodigies, but that’s hardly the case. Keyboardist Mikey Colasardo first picked up his instrument upon joining the band, and it has taken Adestria—whose members are largely self-taught—quite some time to develop their finesse. “We all weren’t that great in the beginning,” says Klein. “It took a lot of hard work and practice together to reach a point where we were all at a mutual ability that was good enough. Our older music wasn’t nearly as technical.” Stump echoes that: “The musicianship has come a long way since we started, and it’s still getting better and better the more and more we play.” Currently on the road with the SoundRink Tour, Klein and Stump discuss their band’s evolving chemistry and the art of keeping order in a young six-piece band.
Chapters is like an epic odyssey—
there are so many layers
and parts that come out of
nowhere. What’s your typical
writing process like?
Russell Klein: It always starts
off with some sort of riff for the
guitar, then we add drums, and
from there we add keyboards
and additional layers. We
modify it as we go, section by
section, and work on the parts
to make sure it’s not too long,
or we’ll move a part from one
place to another, or change a
note here or there. Lately, we’ve
been doing a lot of writing on
the computer.
Brian Stump: We’ll build a foundation, then tweak from there. Everyone’s opinion definitely comes into effect.
With so many people in the
band, do each of you have to
make a lot of compromises?
Stump: Yeah, it makes the writing
process a little difficult at
times, but nothing good ever
comes easy. I don’t mind taking
the hard route.
How do you communicate the
riffs to each other—do you
write them out in tab or give
each other mp3s?
Klein: Brian and I just teach
each other how to play the
parts. Generally, we all write
together as a group. We practiced
four days a week, so we
were all together during the
writing process.
Stump: I also tab-out riffs using a program called Guitar Pro. It’s an incredible app that I’ve got it on my iPhone. When we’re on tour, even if I don’t have my guitar handy, I can sit and bust out a couple of riffs. I can do it over and over, because god knows I’ve got plenty of time on the road.
With two guitarists, a bassist,
and a keyboard player, it must
be easy to clutter things up,
sonically. How do you arrange
things so that everyone has
their own space?
Klein: There’s a lot to contribute,
and sometimes someone obviously
has to take a backseat. Our
keyboard player holds a lot of
rhythm notes down and then
accentuates a lot of the lead notes.
For the most part, we haven’t run
into too many problems there,
because we have things designated
as “when we [the guitarists] do
stuff” and “when the other person
is taking the lead.”
Stump: Basically, Russell takes the leads and we use our keys as less of an in-your-face, techno, secondary lead instrument and more for creating atmospheric textures.
But there are several moments
on Chapters, like in “More
Than You Know” and “1984,”
where the piano is the featured
instrument.
Stump: Piano’s great over
breakdowns for certain parts.
That’s kind of where we give
Mikey his moment to shine,
and I’ll keep a solid rhythm and
harmonize certain lines in these
spots. None of us are overly
zealous to be in the spotlight all
the time. It’s nice that we can
kind of balance it between us.
On songs like “1984” and
“Compromised,” the guitar
parts under the vocals are
almost like a shred etude, with
nonstop 16th- or 32nd-notes.
Did you do that to differentiate
the parts?
Stump: Yeah, we definitely try
to keep ourselves busy. It’s nice
to have your part in a song and
just kind of hand the torch
over—keep it rotating around.
So it’s not because, if Brian’s
playing chords and Mikey’s
adding stuff on the keyboards,
then playing fast, perpetual
motion lines is one of the only
other textures left?
Klein: Yeah, that’s pretty much
the reason behind it. We just
want to make sure that the parts
are interesting even without the
vocals and other stuff. We want
to make sure that there’s always
something going on.
In the breakdown in
“Compromised,” you play a
series of arpeggios that are
executed with some tricky
rhythms. Where does that
rhythmic chicanery come from?
Klein: That idea came from our
producer Nick Sampson, who
plays a lot of styles like that. He
likes those “off” timings. We
shot some ideas back and forth.
We wanted to do a breakdown,
but we also wanted to have a
lead over it. It was something
we’d never done before, and it
turned out pretty sweet. When
you get another mind in there
helping you write stuff, you get
stuff you wouldn’t necessarily
come up with on your own.
Nick’s band, I Am Abomination,
was a huge influence on us.
What other bands or players
have influenced your music?
Klein: A major influence when
we first started playing was As
I Lay Dying—you can hear it
in our music, for sure. August
Burns Red and the Devil Wears
Prada are other huge influences.
We try to do a mix of the heaviness
and style of Devil Wears
Prada, but get a little more
technical and add guitar riffs
and little things like that.
Stump: Yeah, we’ve been compared to the Devil Wears Prada before. I guess the melodic breakdowns are where people make the connection. I also like jamming on my acoustic guitar and really like Andy McKee. He’s pretty mellow. If I’m lying down and I want to relax, I listen to that.
Would you ever try to incorporate
some of Andy McKee’s
influence into your writing?
If taken from the right angle,
it could probably work with
your music.
Stump: Definitely, with a lot of
the tapping. It would be awesome
to somehow incorporate that in.
Did you do anything deliberate
during the Chapters
songwriting process to differentiate
yourselves from
your influences?
Klein: Yes—we didn’t want to
do the usual heavy-metal riffs
nonstop, and then breakdown,
and then break down the breakdown.
We wanted to add a lot
more musicianship to it, so it’s
not necessarily just heavy breakdowns.
We’ll have a part where
we have a lot of guitar work,
and then a lot of drums—a lot
of cymbal hits between a lot of
fills—and then we’d have a part
with the piano. At our shows,
we do have heavy breakdowns—
and we like it heavy here and
there—but we don’t want it
to be only that. We wanted to
show that we’re not just any
hardcore band. We wanted to be
taken seriously as musicians.
Was it hard in the beginning to
find like-minded people who
also had a similarly high level
of technical ability? Because
your music’s not easy …
Klein: In the beginning, it was
definitely a lot less technical.
The skill level has definitely
grown majorly in the last four
years. We’ve all kind of done it
together. We all worked on our
songwriting together to develop
this style that we all liked,
because we all are into slightly
different styles and we tried to
get it to mesh together. Russell
has also kind of taken me under
his wing.
Did you take lessons or are
you self-taught?
Stump: I started real young,
playing trumpet, and then
played drums in a punk band. I
moved to guitar when I was 18.
I’ve mostly been self-taught, but
I’m definitely open to getting
lessons. Learning on my own
is awesome, but it’s getting to
the point where it helps to have
that different brain.
Klein: I took lessons for about a year when I was in elementary school, and then I actually stopped playing guitar for about five years. When I picked it up again in high school, I taught myself from that point on. I read a lot of Wikipedia articles trying to figure out theories, and I also talk to a lot of other guitar players. In San Diego, there are lots of really talented musicians and they’ll be like, “Have you ever tried doing something like this?” or “It helps me remember different chords by doing it this way.”
Although it seems like it’s
worked out very well for you
guys, one of the tricky things
about teaching yourself is that
if you learn something wrong,
there’s no one there to help
you fix it—and it could lead
to bad habits.
Klein: A lot of people have a lot
of bad habits. I have a couple of
bad habits, and it took me a while
to teach myself to not do that
same thing over and over again.
Like what?
Klein: Some people hold the
pick with the side of their
index finger and put their
thumb on top of it, whereas
some people hold it with their
fingertips, using the index,
middle finger, and thumb
together. The first is the standard
way, and the other isn’t.
Is there a disadvantage to one
way or the other?
Klein: Yeah, with one you use
more finger movement, and the
other you use more wrist. When
you move your wrist, that’s the
proper way to do it and you can
get more control. But Brian uses
more of a fingertip style, which
works for him. It’s just two different
styles of guitar playing.
Is it true that Mikey couldn’t
really play keyboards when he
first joined? If so, that’s pretty
remarkable. Even though he’s
not playing a lot of virtuosic
runs, it still takes a great deal
of musicianship to keep it
together and not get lost.
Klein: That’s right. He first
picked up keyboards when we
started the band. But he also
took a couple of classes at the
college where we went when he
started out, and he started getting
a lot of practice there. He
got on the ball with learning
how to play really quickly.
Let’s talk about gear. What
guitars do you use?
Klein: Right now Brian and I
both use ESP LTDs. I’ve got
an LTD Viper 1000. They’re
not quite the custom ones, but
they’re a little over a $1,000
brand new. We’re working on
getting an endorsement from a
couple of different guitar companies,
something a little more
high-end.
Stump: Mine has a Les Paullike body and is flat black, with EMG pickups. The EMGs are like butter—they pick stuff up a lot better. I’ve never really messed around with a whole lot outside of EMGs. I just picked it up and loved it from the beginning. I don’t feel like I need to change anything.
Yeah, EMGs do pick up a lot
of details.
Klein: When we were recording,
the EMGs picked up so
much from the open strings
that we had to tape those
strings off.
Do you do that live, too?
Klein: No, not live—it’s pretty
much indistinguishable live.
How about amps?
Klein: Right now, I have a
Peavey JSX with a 5150 cab.
Stump: I use an EVH 5150 III. It’s got 6L6 power tubes, which give it an incredible tone.
Do you guys EQ your amps
differently to differentiate
your parts, or do you set them
similarly to create one big
wall of sound?
Stump: My amps usually are set
with a little more low end. But,
in general, our tones are pretty
close. We don’t want it sounding
off balance and lopsided.
How about the oft-overlooked
components of tone, like
strings and picks?
Klein: My favorite picks are
1.14 mm Snarling Dogs Brain
Picks. They’re really thick and
have a special grip on them,
which I like because I get pretty
sweaty when I play and lose
traction sometimes. And we’re
both using Dean Markley Blue
Steels strings, .011–.052.
Stump: We’re looking into thickening the gauge, though, just to give it a little more beef. But right now it’s kind of like, “If it ain’t broke, don’t fix it.” As far as picks, I don’t know why but I can’t play on anything except those grippy nylons. I guess I’m just spoiled because I started from day one with them. Anything else just kind of strains my fingers. I like the nylon .88s—they have a little bit of flex, but aren’t too flimsy.
Russell Klein's Gear
Guitars
ESP LTD Deluxe Viper 1000
Amps
Peavey JSX head, Peavey 5150
4x12 cab, Mesa/Boogie 4x12 cab
Effects
Boss DD-20 Giga Delay
Strings, Picks, and Accessories
Dean Markley Blue Steel .011–
.052 sets, 1.14mm Snarling Dogs
Brain Picks, Mogami cables, Line
6 Relay G50 wireless, DiMarzio
ClipLock straps
Brian Stump's Gear
Guitars
ESP LTD EC-1000
Eclipse Deluxe
Amps
EVH 5150 III head, Mesa/
Boogie Dual Rectifier
head, Marshall JCM900
4x12 cab
Effects
Ibanez TS9 Tube
Screamer
Strings, Picks, and Accessories
Dean Markley Blue Steel
.011–.052 sets, .88mm
Snarling Dogs Brain
Picks, ISP Decimator
noise-reduction pedal,
Boss TU-3 tuner, Monster
cables, Line 6 Relay
G50 wireless, DiMarzio
ClipLock straps
Russell, a lot of shredders like
light-gauge strings to facilitate
speedy lines. Are you still able
to easily shred with the .011s
on top?
Klein: Yeah. A lot of people use
even thicker strings than that.
This is actually a thin gauge for
our style of music. I know a lot
of people use .012–.056.
Judging by some of your
promo videos—where you’re
downing a lot of shots—you
guys party pretty hard. How
do you keep it together playing
music this difficult with
alcohol-impaired motor skills?
Klein: We’re pretty strict about
not partying before we play, and
we’re really good at not doing
too much beforehand. After
we play, we go absolutely nuts,
but beforehand we might do a
drink or two together just to
ease the nerves.
Rule number one for me is: Keep your head straight until after you play. You’ll play a better show. Everyone’s on the same page about that. We enjoy partying, but we don’t want to project that image ... maybe our videos are doing a pretty poor job. We don’t want to project an overly party-band image, because a lot of kids come out to our shows and I don’t want to be coming up to them smelling like booze, totally trashed, and making an idiot of myself. We do party, but we try to keep it at a level—at least at shows— where it’s very controlled.
I’ve played shows where I’ve partied a little bit beforehand and I wasn’t happy with my performance. We’ve all done the same thing but, if we’re not in the right state of mind, we’re just not happy with ourselves—because we’re our own worst critics.
YouTube It
Watch Russell Klein and Brian Stump lead Adestria’s live aural assault.
Adestria kicks off this August 2011 gig at the
Bottom Lounge in Chicago with a ruckus, maintaining
a totally pro and upbeat performance
despite the stunning lethargy from the small
crowd—which was clearly made up of a lot of
kids waiting for the headlining act.
Klein nails blistering arpeggios starting at 0:30,
just before the vocals begin.
Several songs into the same Bottom Lounge set,
Adestria fi nally breaks through to the shy, reserved
kids in attendance. Singer Matt Anderson
beseeches them all to get moving, and Stump
actually reaches out and pushes a couple of kids
in the front row—prompting a bona fi de mosh.
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.
The shredder and son of legendary artist Frank Zappa gives a tour of his up-to-date gear, including a complex stereo switching system, four racks of pedals, and some of his father’s favorite guitars.
Dweezil Zappa was always going to end up being an incredible guitarist. His dad, Frank Zappa, is celebrated as one of the most talented and creative guitarists in history, and by age 12, Dweezil was recording music produced by Eddie Van Halen. (Little surprise that he’s covering Van Halen’s 1981 stunner “Push Comes to Shove” lately.) He’s been a bona fide guitar star ever since, releasing seven original solo records, six tribute records, two LPs with his brother Ahmet Zappa, and guesting on recordings across the music universe.
Ahead of his gig at Memphis’ Minglewood Hall on his 2024 Rox(postroph)y tour, which celebrated the 50th anniversary of Frank Zappa’s Apostrophe (') and Roxy & Elsewhere records, Dweezil gave PG’s John Bohlinger a boot-to-bonnet look at his current road setup. There’s a lot of ground to cover between his and his father’s catalogues, and Dweezil loves the challenge, which he meets with a mix of his own gear and some special vintage assists courtesy of his dad.
Brought to you by D’Addario.Shut Up ’n Play Yer Les Paul
This coveted Gibson Les Paul Custom, featured on the cover of Frank’s 1981 record Shut Up ’n Play Yer Guitar, came out on the road this tour. Dweezil says that around 1986, his dad swapped in Dan Armstrong-made ceramic pickups. At one point, Frank installed a second input to try to use the guitar as a synth controller, but it didn’t track well enough to continue the experiment.
Along with the standard controls, the guitar includes switches to turn on different parts of the onboard preamp, which boosts the signal and adds plenty of gain. A rotary knob controls a wired-in parametric EQ set up to emulate different settings along the sweep of a wah pedal. Dweezil didn’t get much of the lowdown from his father on the complex operations; it was more trial-and-error. “You just have to turn knobs until you find something that you like,” he says. He connects to his rig with ZZYZX SnapJack magnetic cable connectors.
Rockin' with Roxy
Also out on the Rox(postroph)y tour is Frank’s iconic Roxy & Elsewhere-era Gibson SG. Like the Les Paul, it’s got a preamp circuit to boost the signal, a sweepable EQ, and can achieve acoustic, piezo-adjacent sounds. The preamp configuration in this one is red-hot; it dishes out tons of gain.
Signature Shabat
For Strat-style tones, Dweezil calls on his signature Shabat Lynx DZ, which has been used to dial in his cover of “Push Comes to Shove.” Per Shabat, it has a “body-mounted HSS configuration with a push/pull phase shift on the middle pickup, simplified single-knob layout, custom-cut 3-ply parchment/gold pickguard, and … a Vega-Trem VT1 tremolo."
The Lynx DZ is constructed with an alder body and a quartersawn hard maple, medium-C-profile neck with a 25.5" scale length. It’s loaded with Lollar Special S and Lollar El Rayo pickups, and the middle Special S is wired for phase shift. The Lynx, as well as the SG and Les Paul, are strung with Optima Gold-Plated 2028 FZ Frank Zappa strings (.008–.046), and struck with D’Addario .50 mm celluloid picks. (Dweezil likes them for pick slides.)
On the Ground
Zappa keeps a significant board at his feet, which he controls with a Fractal FC-12 controller. He runs his sound in stereo, with different effects going to each side, so he keeps volume pedals for each side in front of him, plus a wah and expression pedal.
The row of pedals perched atop the pedalboard includes a TC Electronic Polytune 3 Noir, a Marshall-style prototype pedal, J. Rockett Audio Designs PXO, Union Tube and Transistor Lab, SoloDallas Orbiter, a Jext Telez White Pedal (to nab a specific tone for playing “Nanook Rubs It”), and a 29 Pedals FLWR.
In the Rack
On our 2013 Rig Rundown, Dweezil was using the Fractal Axe-Fx II, and this time around, he’s upgraded to the Axe-Fx III as the basis of his sound. Given the sonic territory covered in his shows, it simply became too unwieldy and expensive to tour an analog rig.
The brains of his show are held in a rack system. A couple of out-of-sight splitter boxes help with the complex stereo signal paths, as do a pair of Voodoo Lab HEX audio switchers. The Axe-Fx III lives on the top shelf, and just below it are an Eventide H90 and TC Electronic TC 2290 that go to both sides.
The next rack down runs only to the left side, and includes a BK Butler Tube Driver, DigiTech FreqOut, Red Panda Radius and Raster, Krozz Devices Airborn Analog Flanger, and a Paul Trombetta Design Tornita! fuzz.
The level below it runs to the right side, with a “Clown Vomit” fuzz, Chase Bliss Warped Vinyl, Korg FLG-1 Flanger, Chase Bliss Generation Loss, Goochfx Holy Cow, and another Red Panda Raster.
Wrapping up the rig is the bottom rack, which again runs to both sides. It carries most of Zappa’s exquisite dirt sounds, thanks to a Union Tube and Transistor Tsar Bomba, Chase Bliss Automatone Preamp MKII, Goochfx Dirty Hippie, Tru-Fi Two Face, Foxrox Electronics Paradox TZF2, and a Paul Trombetta Design Rotobone that … somewhat reasonably apes a trombone sound. Paul Trombetta, we salute you.
Kepma Guitars introduces the new Fenix Series of Grand Auditorium acoustic guitars, offering premium features at an entry-level price, plus their new travel-sized FC Mini Series.
Designed for both aspiring players and seasoned musicians, the Fenix Series offers premium features typically found in higher-priced instruments, all starting at just $249.99.
“The new Fenix models represent our commitment to making premium-quality guitars accessible to players at every level, without compromising on sound, playability, or innovation,” said Kepma USA president Tony Moscal. “With their torrefied solid tops, thinner neck profiles, and unparalleled playability, these guitars deliver exceptional sound and feel typically reserved for professional instruments—all at an entry-level price.”
The Kepma Fenix Series features a Grand Auditorium body style with a solid torrefied Sitka spruce top, delivering exceptional tonal resonance and stability. The proprietary Kepma Torrefication Process uses a precise combination of heat and humidity to remove moisture, oils, and sap from the wood, resulting in a stronger, more stable top that enhances string vibration and ensures consistent performance in any environment.
Back and sides are crafted from layered African mahogany, providing a warm, balanced sound. The neck, made of durable nato wood, is reinforced with a two-way adjustable truss rod and finished with a smooth satin coating for effortless playability.
The Fenix Series is packed with cutting-edge features to elevate the playing experience:
- New 4-Point Bolt-On Neck Joint: Ensures unparalleled stability that allows for easy adjustments and maintenance - a first at this price point.
- Ultra-Thin Water-Based Finish: Environmentally friendly and just 0.042mm thick, this finish protects the guitar while maximizing tonal projection and preserving the natural beauty of the wood.
- Beveled Binding for Comfort: High-quality ABS beveled binding enhances durability, prevents edge damage, and ensures a comfortable playing experience.
- C-Shaped Fast Neck: A player-friendly design that reduces hand fatigue, enhances playing fluidity, and supports all playing styles.
For players seeking even more versatility, the optional AcoustiFex K-10 Pro Pickup, Preamp & FX System transforms the Fenix into an all-in-one performance and practice powerhouse. This system includes built-in reverb, delay, and chorus effects, Bluetooth audio streaming, and a companion app for rhythm looping, metronome functions, and more. Whether you’re performing on stage or practicing at home, plugged into an amp or mixer, or simply playing unplugged, the AcoustiFex system delivers unmatched sound and convenience.
The Kepma Fenix™ Series offers four configurations to suit every player’s preferences:
- FGA1-130 (Natural Finish): Grand Auditorium, solid torrefied spruce top, layered mahogany back and sides. MAP: $249.99
- FGA1-130A (Natural Finish with AcoustiFex): Grand Auditorium, solid torrefied spruce top, layered mahogany back and sides, AcoustiFex K-10 Pro Pickup System. MAP: $299.99
- FGA1-130SB (Sunburst Finish): Grand Auditorium, solid torrefied spruce top, layered mahogany back and sides, sunburst finish. MAP: $249.99
- FGA1-130ASB (Sunburst Finish with AcoustiFex): Grand Auditorium, solid torrefied spruce top, layered mahogany back and sides, sunburst finish, AcoustiFex K-10 Pro Pickup System. MAP: $299.99
The new Fenix models are designed to inspire beginners and seasoned musicians alike, setting a new benchmark for performance and value in the industry.
Kepma Guitars is thrilled to announce the introduction of its versatile FC Mini Series, packed with cutting-edge technology that redefines expectations for travel-sized guitars.
The new FC Mini models include a variety of configurations to suit every player’s needs. The Spruce/Rosewood and Spruce/Mahogany options feature solid torrefied spruce tops paired with layered rosewood or mahogany back and sides, available in natural and sunburst finishes. The Mahogany/Mahogany model features a solid torrefied mahogany top with layered mahogany back and sides in a natural finish. Each guitar is offered in three versions: no pickup, with the AcoustiFex® K-10 Pro system, or equipped with the Elfin Sound System, and all come with a deluxe gig bag. Prices range from $399.99 to $549.99 MAP.
Big Sound in a Compact Package Traditionally, smaller guitars have been associated with compromised sound and tone. Kepma’s FC Mini Series shatters this notion by integrating advanced innovations and meticulous design to create a guitar that offers the full resonance and projection of a standard acoustic.
Premium Materials and Construction The torrefaction process removes moisture, oils, and sap from the wood, enhancing stability and delivering superior tonal richness. Back and sides crafted from high-quality mahogany or rosewood ensure durability and warmth in every note.
Technological Innovations
- Proprietary Bolt-On Neck Design: Kepma’s neck contour bolt-on neck joint ensures a perfect and stable connection between neck and body, offering ultimate playability and infinite adjustability.
- Rosewood Bracing: Solid rosewood bracing enhances top stability and reduces energy loss, resulting in superior articulation and sustain.
- Arched Back Design: A unique arched back improves resonance and eliminates the need for back bracing, allowing for harmonious vibrations and a fuller sound.
Enhanced Playability The FC Mini Series is engineered with the player in mind. The slightly thicker neck provides added stability, while the ergonomic C-shape design reduces fatigue during extended playing sessions. The sleek cutaway provides access to the higher notes on the fretboard for better playability. Lower string action, beveled binding, and redesigned precision sealed tuners further enhance comfort and ease of use.
Attention to Detail Kepma’s commitment to excellence is evident in every detail of the FC Mini Series:
- D'Addario XS Strings: Coated strings extend playing life and offer superior projection.
- Elegant Aesthetics: Features include a magnolia inlay on the fretboard, upgraded rosette, and a refined rosewood veneer headstock.
- Eco-Friendly Finish: A thin, water-based matte finish minimizes vibration damping for a clear, transparent sound.
Advanced Electronics for Modern Musicians
AcoustiFex K-10 Pro System Each new FC Mini Series model is available with the AcoustiFex K-10 Pro System, offering:
- Built-in reverb, delay, and chorus effects
- Bluetooth audio streaming for playing along with backing tracks
- An on-the-go USB interface for app connectivity, enabling looping, rhythm tracks, and practice tools like a metronome and tuner
- Whether you’re performing on stage or practicing at home, plugged into an amp or mixer, or simply playing unplugged, the AcoustiFex system delivers unmatched sound and convenience.
Elfin Sound System The FC Mini Series are also available with the new Elfin K-13 Sound System, developed collaboratively by Kepma and Double Acoustics. The system offers high sensitivity, accurate sound reproduction, strong output power, and low noise. The under-saddle piezo pickup delivers sweet treble and punchy bass, making it ideal for fingerstyle playing. Additionally, the preamp features a rechargeable battery system that can be conveniently charged using a standard USB-C phone charger cable. The Elfin K-13 Sound System was developed and voiced specifically for the Kepma ¾ size FC Mini Series guitars.
Complete Package Each FC Mini guitar comes with a padded deluxe gig bag and an accessory kit that includes a custom truss rod wrench, microfiber polishing cloth, bridge pins, picks, extra saddle, and string height gauge.
Purchase Options
Spruce/Rosewood, Natural Finish
- Solid Torrefied Spruce Top/Layered Rosewood Back & Sides
- No Pickup: Model FCM-SR, MAP: $449.99
- With AcoustiFex K-10 Pro: Model FCM-SRA, MAP: $549.99
- With Elfin Sound System: Model FCM-SRE, MAP: $549.99
Spruce/Rosewood, Sunburst Finish
- Solid Torrefied Spruce Top/Layered Rosewood Back & Sides, Sunburst Finish
- No Pickup: Model FCM-SR-SB, MAP: $449.99
- AcoustiFex K-10 Pro: Model FCM-SRA-SB, MAP: $549.99
- Elfin Sound System: Model FCM-SRE-SB, MAP: $549.99
Spruce/Mahogany, Natural Finish
- Solid Torrefied Spruce Top / Layered Mahogany Back & Sides, Natural Finish
- No Pickup: Model FCM-SM, MAP: $399.99
- With AcoustiFex K-10 Pro: Model FCM-SMA, MAP: $499.99
- With Elfin Sound System: Model FCM-SME, MAP: $499.99
Spruce/Mahogany, Sunburst Finish
- Solid Torrefied Spruce Top / Layered Mahogany Back & Sides, Sunburst Finish
- No Pickup: Model FCM-SM-SB, MAP: $399.99
- With AcoustiFex K-10 Pro: Model FCM-SMA-SB, MAP: $499.99
- With Elfin Sound System: Model FCM-SME-SB, MAP: $499.99
Mahogany/Mahogany, Natural Finish
- Solid Torrefied Mahogany Top / Layered Mahogany Back & Sides, Natural Finish
- No Pickup: Model FCM-MM, MAP: $399.99
- With AcoustiFex K-10 Pro: Model FCM-MMA, MAP: $499.99
- With Elfin Sound System: Model FCM-MME, MAP: $499.99
The new Kepma FC Mini Series combines portability, premium materials, and advanced technology to offer an unparalleled sound and playing experience. Whether you’re a traveling musician or a beginner seeking comfort and quality, the FC Mini Series is your perfect companion.
For more information, please visit kepmausa.com.
Shure introduces the Nexadyne line of dynamic instrument microphones.
Each Nexadyne super cardioid microphone boasts Shure’s patented Revonic Dual-Engine Transducer Technology. While typical instrument microphones use a single transducer, Nexadyne microphones feature two precisely calibrated transducers working together to achieve optimal performance that delivers natural, authentic clarity while minimizing unwanted noise.
Nexadyne’s combination of acoustic signal processing and exceptional polar pattern linearity, enables the microphoneline to deliver a stronger and clearer output. This output is more authentic to the performer and reduces audio engineers’ need to apply typical EQ corrections.
Featuring compact industrial designs and a discreet, black finish for low-profile visibility, Nexadyne Instrument Microphones provide exceptional sound quality, industry-leading durability, and stage-friendly functionality. Each Nexadyne microphone surpasses real-world reliability requirements show after show and stands as the road-ready choice for modern touring.
Nexadyne 5 Dynamic Guitar Amp Microphone
Capture the full detail and power of your signature amplified guitar tone. The Nexadyne 5 ensures the full range of your guitar tone is captured and ready for the mix every time. The incredibly small dynamic cartridge design enables a side-address form factor for improved placement. It can be positioned by hanging off any amp or used with a standard mic clip and stand.
Nexadyne 2 Dynamic Bass Amp / Kick Drum Microphone
Kick drums will just sound bigger. The Nexadyne 2 delivers true, low-end clarity and fullness on every stage, with contoured EQ, protection from stage rumble, and improved high-frequency extension and attack definition. The microphone is designed with its swivel joint separated from the XLR output source for secure placement without strain on output cables.
Nexadyne Instrument Microphones carry these street prices: The Nexadyne 5 is available for $219. The Nexadyne 2 is available for $249.
Each microphone includes a zippered bag and brass adapter. The Nexadyne 5 includes the A25E mic clip.
For more information please visit shure.com.