Graveyard guitarist Jonatan Ramm discusses how his ’68 SG, Peter Green, and being willing to experiment with slide and saxophone illuminated his band’s classic-metal adventures on Lights Out.
Jonatan Ramm in his backyard in Gothenburg, Sweden, with his favorite SG—a ‘68 Special loaded with the guitar’s original P-90 pickups.
Graveyard would fit into the music scene of, say, 1969 far better than they do 2012’s. Hailing from Gothenburg, Sweden, the classic-metal quartet seamlessly melds late-’60s and early-’70s influences to create a sound so raw, loose, and grooving that, upon first listen, newcomers might wonder if they’ve just discovered some cult band’s long-lost tapes from decades back. Singer Joakim Nilsson’s howling, gritty vocals dance around from a cathartic “White Room”-like Jack Bruce to a hair-raising “Whole Lotta Love”-ish Robert Plant, while bassist Rikard Edlund and drummer Axel Sjöberg’s plodding rhythms anchor guitarist Jonatan Ramm’s heavy blues riffs to create a manic, drug-hazy mélange that’s equal parts Sabbath, Zeppelin, and Cream, with hints of old Fleetwood Mac and the Doors.
“We play music we would want to hear if we were in the crowd watching us,” says Ramm. “It’s not so much a throwback, trying to sound vintage or old school. I just think we’re hitting at the right time when people are tired of overproduced, computerized, formula-based music.”
After their 2007 self-titled debut went practically unnoticed, Graveyard smoothed out their coarse sound and made a thunderous entry with 2011’s critically acclaimed Hisingen Blues—which landed on three Billboard charts and multiple year-end-best-of lists, and earned a Swedish Grammy for Best Hard Rock Album. But even when their star began to rise, Graveyard never lost that garage-band mentality. Ramm and Co. thought about going elsewhere to jam, write, and record this year’s Lights Out, but ultimately they opted to stay in Gothenburg’s snowy gloom.
“A change of scenery is always an option for writing and recording, but we’re inspired and influenced most by everyday life around us,” says Ramm. “The long, gray winters affect our songs and moods. It might not be the perfect place to be all the time, but it’s proven to be an ideal place to write our style of music and songs. We write best when it’s not sunny [laughs].”
From their debut to their sophomore effort, Graveyard evolved to add textural layers like background vocals and atmospherics, and with Lights Out, they’ve found their psychedelic-doom-rock groove.
“We just continue to jam and add new things as they fit and musically make sense—this time we worked in a heavily Stooges-influenced part complete with a saxophonist,” says Ramm. “I even learned to play slide guitar for the first time—even though what I did on the album I wouldn’t call slide guitar [laughs] … I just used a slide for the first time.”
We recently caught up with Ramm to discuses his treasured ’68 Gibson SG Special, why he tries to avoid using pedals, and how Sabbath’s “Wizard” changed his life.
What are your earliest guitar memories?
During my mid-teens and after a few years
of playing by myself, I started a band in
my small hometown for fun. But when I
heard Black Sabbath’s “Wizard” off Black
Sabbath for the first time—[laughs] things
changed after that. That’s the moment that
I knew I was going to play guitar for the
rest of my life.
The guitar riff and its interplay with Ozzy’s harmonica parts made it gel. Tony [Iommi]’s main riff is so heavy, but it’s so catchy, so bluesy. It’s an experience to hear that song—even to this day I get chills to hear how they mixed dark, dirty blues with the beginnings of heavy metal music.
Who are some of the other guitarists
you admire?
I think the tops for me would be Peter Green
and Danny Kirwan of the early Fleetwood
Mac days. If I could pick one player’s tone to
have as my own, I think it’d have to be Peter
Green’s off of “Albatross” or anything from
Peter Green’s Fleetwood Mac. His sound was
iconic, but what really does it for me is his
phrasing—the feeling he conveyed through
his instrument, and how the guitar became
an extension of his mind and soul. But lately
I’ve been really gravitating towards Danny
Kirwan’s incredible vibrato work on Then
Play On, because it is so vivid and comes to
life right off the record.
How has your appreciation for Kirwan’s
vibrato come through in Graveyard?
Wanting to improve my vibrato influenced
me to switch to Ernie Ball Skinny Top
Heavy Bottom .010–.052 strings, because
we tune down to D and I’m able to use my
vibrato more effectively and complementary
with the thinner strings. But I still
prefer the thicker-gauge strings on bottom
for bigger, more powerful chords.
Which elements of the band’s sound
would you say are most indicative of the
Peter Green and Fleetwood Mac influence?
The melancholic vibe in their music
speaks to me a lot. I don’t know if I’ve ever
enjoyed listening to happy music at all,
and if you listen to Graveyard, we don’t
have the sunniest of songs either. The song
“Dragonfly” is a great example of how
they were working with harmonies, vocal
progressions, and that’s definitely something
I try to achieve with Joakim—you
can hear it in certain musical arrangements
and overall compositions like in “20/20
(Tunnel Vision)” off Lights Out.
Prior to Graveyard’s recent video shoot for “Goliath,” Ramm asked his manager to help him acquire a white SG because, he says with a laugh, “White guitars have always had this elegance and I figured it’d be the perfect video guitar.”
You weren’t with the band for the 2007
debut. How did you land this gig?
[Graveyard’s bassist] Rikard was at a show
I was playing and liked how I sounded, so
he asked me to stop down to the studio
to jam. While the band was working on
their debut, Graveyard, they asked me to
add some solos to their songs that were
already worked out. I guess they liked what
they heard, because they not only kept my
guitar parts on the album, but they asked
me to join the band. They only started
Graveyard I think about three months
before they asked me to jam and record
some parts. But I am thankful every day
that they gave me a shot.
Since Joakim also plays guitar, how do
you make sure your parts stand out but
also complement his playing?
One thing I try do whenever possible is
pick the individual strings in an arpeggiated
manner, so you can hear each
string rather than bang out the chords.
It provides a broader feel and shimmer
instead of the cluttered sound of
strumming or rocking through those
same chords. I’m more of a rhythmic
guitarist, even in my soloing—I just
prefer to stay locked in to what Rikard
and Axel are doing to keep the song and
flow intact. Joakim is actually a pretty
gifted guitar player, and he can typically
play the faster stuff a lot better than I
can right off the bat. Our two different
styles and tendencies blend real well and
help us sound unique without stepping
all over each other.
Which pieces of gear are central to
your sound?
I use an old Custom 100 Hiwatt amplifier
with two different Gibson SGs—one
has the standard humbuckers, but my
brown ’68 SG has its original P-90s that
seem to cut through when I play with
the band a bit more. I don’t really use
overdrive pedals too much in my setup. I
generally get most of my distortion from
the amp, but I do have two MXR pedals—
a GT-OD and a Micro Amp—and a
Boss TU-2 tuner. I use the GT-OD for a
bit more bite and growl, because getting
the Hiwatt to naturally overdrive would
blow some windows out at the clubs we
play [laughs]. The Micro Amp works like a
volume boost for soloing and pushing the
front end of the amp harder.
What do you like so much about
Gibson SGs?
I really dig the sound of my ’68 with P-90s
because of their girth and growl, but they
still maintain a distinctive clean tone when
I need that. I couldn’t believe I found a ’68
with P-90s at a decent price point—the neck
was cracked, so that’s why I could afford it.
It has become my favorite guitar and the one
I use the most. I really like a rounder, fuller
neck like a ’58 Les Paul, and my ’68 SG is
really close so it’s ideal. I had a few ’61 SG
Reissues and the necks were broader and flatter—
those were a struggle for me to use.
How is your Hiwatt typically dialed-in?
I generally use the high or low inputs of the
bright channel and dial the volume and master
volume all the way up. I use my SG’s volume
knobs for cleaner or softer tones. For the
EQ, I just have the bass, middle, and treble set
at about 2 o’clock and presence at noon—for
me and what I do in Graveyard, it gives me a
very clear, cutting, classic rock ’n’ roll tone.
Ramm playing his No. 2 Gibson SG, a 2010 Standard model with stock humbuckers.
You guys branched out a bit, stylistically,
on Lights Out. What was the goal this
time around?
Just to make good songs and broaden our
material even more than on Hisingen Blues.
We’ve never really had any plans to go in a
certain direction or create something that
sounds a certain way. We just try to make
songs that we like as if we were the audience.
One thing that I think is big for what we do is that we jam a lot—more than any band I’ve been in before. I know a lot of bands and musicians practice and rehearse for tours and right before studio sessions, but we play and rehearse all the time just to hang out and pass the time. When one of us brings an idea for a song to the practice space, we try and jam on it for a while and take it through the collective grinder. We might end up with something completely different than where the idea started, but that’s why we embrace jamming.
If we just came together to rehearse or to bring ideas to flesh out, we wouldn’t get as diverse or eclectic with our songs—and that’s what I think you’re continuing to hear in Lights Out.
Graveyard albums have a very organic,
vintage-’70s feel—down to the sorts of
crackles we associate with vinyl. How
do you achieve that in a world dominated
by digital recording equipment?
Don [Ahlsterberg, producer] uses all-analog
equipment and records onto
tape—it’s been that way since we
recorded the first Graveyard album in
2007. He actually hates all that digital
stuff, but that’s why we choose to continue
to work with him to this day—he
knows what we like and we appreciate
and understand his approach to recording.
Plus, he pushes us to record live as a
full band as much as we can. Our goal is
to capture and harness the raw emotion
and feeling that’s produced when we’re
all playing music together as a cohesive
unit. We’re not looking to be perfect—
it’s not supposed to be, at least in our
eyes. I mean, that’s what makes music
so beautiful, natural, and special is the
human element. If I completely screw
something up, we’ll redo it, but we don’t
worry about every snare hit or upstroke
on the guitar being precise. That type
of programmable logic makes music feel
forced and stale.
For solos, I generally take my time and redo those after our live take. I like to plan things out and really do a service to the song and make sure it fits and it’s not just me noodling all over the song with no rhyme or reason. However, there were a few solo parts on Lights Out that were live takes, like sections of “Seven Seven” and “Endless Night.”
In the last minute of “An Industry of
Murder,” you play two small solos—
the first is very melodic and locked-in,
and the second is a bit crazier—what
were you going for there?”
In the first part, I was trying for more
of an intro or build-up, with a complementary
rhythm riffing that coincided
with what Rikard and Axel were doing
that led into the actual solo, or the second
part you identified. For that part,
I’m playing the song out alongside the
siren-sounding theremin. I figured I’d try
something new and different, so I used
Don’s wah pedal. I’m no Hendrix with
the wah, but I wanted to add another
tone that meshed with the theremin’s
funkiness. It’s the only spot I use a wah
on the record and it works. With the
wah, I think moderation is key, otherwise
it sounds gimmicky.
“We play music we would want to hear if we were in the crowd watching us,” Ramm says.
You get some pretty amazing feedback
leading into the solo in “Seven Seven.”
I was pushing the headstock into my
amp head while crawling around on my
knees and playing to get enough feedback
because the Hiwatt has a lot of
headroom. I sometimes turn on either
one of MXR pedals to cheat a bit and
boost the volume and push the amp
even harder, but I prefer to just do it
with my guitar and amp only. Feedback
is spontaneous. It’s different every time
you go for it, but what I always try to
do is start small and controlled, because
you’re able to keep things musical and
in check. Incrementally increasing
volume and squeal is easier than trying to
put the lid back on a monster once you’ve
awoken it [laughs].
“The Suits, the Law, & the Uniforms”
sounds like a CCR cover done by
Sabbath. How did that come about?
I just start every song looking to take a
chance. For that one, we all dialed in how the
song was going to be structured and the pace
of Joakim’s vocals, I wanted to go for a very
aggressive, bluesy-meets-punk tone. I recorded
all the main parts with my SG in the neck
position and used one of the MXR pedals to
get that extra oomph and creaminess.
Near the end, it sounds like there are some
horns making a ruckus in the background—
like something you’d hear from the Stooges.
[Laughs.] That’s totally what we were
going for, but no one can do it like the
Stooges. Their song “Fun House” was
our inspiration. We had already recorded
the song and just thought during playback
that all the song was missing was a
saxophone—something you don’t hear
in most rock bands. We had a local saxophonist
come down, because we wanted
to make it a bit more offbeat and different
from our typical Graveyard stuff—and
we’ve all been really getting into the
Stooges, so we went for it.
What prompted you to play slide on
“Endless Nights”?
It was one of the last songs we worked on
and I was worried that my playing was
becoming stale or redundant, so I figured
if I played slide—even if not very
good—it would be different. It worked
out as a good experiment. It was out of
my comfort zone and really pushed me
to focus. I think you have to do that to
grow as a guitarist instead of just learning
scales or playing faster notes. I don’t even
know exactly what open tuning I’m in—
somewhere between C and G—because
I had to tweak each string to get in a key
that Joakim could sing over. I have some
work ahead of me before we decide to play
that song live. I’m just glad the guys were
patient with me.
Jonatan Ramm's Gear
Guitars
1968 Gibson SG Special, 2010
Gibson SG Standard
Amps
Hiwatt Custom 100, Orange
Rockerverb 50 MK II, Vox AC50
head, Hiwatt 4x12 loaded with
Celestion Vintage 30s
Effects
MXR GT-OD, MXR Micro Amp
Strings, Picks, and Accessories
Jim Dunlop Tortex 1.0 mm picks,
Ernie Ball Skinny Top/Heavy
Bottom .010–.052 strings, Boss
TU-2 Tuner
In Lights Out’s slower songs—like “Slow
Motion Countdown” and “Hard Time
Lovin’”—it’s impressive how your playing
patiently stays out of Joakim’s way
as he builds up the increasingly aggressive
vocals.
I really enjoy listening to slower, more
soulful songs, and that’s how I like to
write, too. I like to have plenty of time to
hit sustaining, edge-of-feedback notes and
bend them all over.
Just like how I feel about gear—less is more. You have to pick your spots as a guitarist. I know a lot of players that want the loudest, most distorted tone, and they scramble to fill every open space with as many notes as possible so they can be heard and be No. 1. We’re guitarists, we have egos [laughs], but if you really want to work within a band and make a piece of music the best it can be sometimes you need to throttle back and wait.
YouTube It
Similar to “Stairway to Heaven,” “Uncomfortably
Numb” (from Hisingen Blues) begins as a brooding
number that speeds up when Jonatan Ramm hits
the gas and leads the song into full-on rock mode.
With a backline of Orange amps, Ramm and
Graveyard play a rumbling tribute to their
homeland, complete with dual guitar solos from
Joakim Nilsson and Ramm.
This Bonnaroo 2011 finale starts calmly, but the
song accelerates to ramming speed thanks to
Nilsson’s lamb-to-lion vocals and the jousting
guitar solos.
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.
Black Sabbath to Reunite for First Time in 20 Years—Ozzy Osbourne’s Final Performance
The original Sabbath lineup will reunite on July 5 in Birmingham, England, and be joined by Metallica, Pantera, Slayer, and more.
The concert will feature founding members Tony Iommi on guitar, bassist Geezer Butler, drummer Bill Ward, and singer Ozzy Osbourne. Profits from the show, called "Back to the Beginning," will be donated to charities including Cure Parkinson's.
On future Black Sabbath plans, Ozzy's wife, music manager, and TV personality Sharon Osbourne had this to say (via Reuters) about Ozzy: “While other bandmembers might continue to make records and perform, Black Sabbath's gig at the birthplace of the band will certainly be the 76-year-old's final performance.
"For Ozzy right now, it's definitely: 'I love you and good night'," she said.
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.