Robot Killers: Screaming Females’ Marissa Paternoster and “King” Mike Abbate

The Jersey punks demonstrate the destructive capabilities of a well-placed fuzz, a spasmodic riff, and vocal lines perennially set to “stun.”
“People always want to talk about the red knobs,” says Screaming Females’ frontwoman Marissa Paternoster of her favorite 1970s Sunn Concert Lead head. “It has a really cool cabinet with recessed speakers, and it makes every sound person who looks at it freak out because they don’t know what to do—but all you really have to do is put a microphone in front of it. It’s rad. It’s super loud, and it sounds great.”
Despite preferring to broadcast her cranium-rattling riffs, frazzle-fuzzed licks, and incisively clean chord work via the notoriously loud Sunn and a couple of go-to G&L S-500 solidbodies, Paternoster is no picky gear junkie. Likewise, though she boasts formidable chops born of countless hours of gigging (and jamming to Nirvana, Pixies, and Bikini Kill records as a teen), Paternoster’s also no fan of shredding—at least not in the context most guitarists view the term in. “I kind of hate that stuff,” she says of run-of-the-mill guitar gymnastics. “It sounds like a robot is playing the guitar.”
What does do it for Paternoster and Screaming Females bassist “King” Mike Abbate is anything that dovetails with the New Jersey natives’ punk roots, DIY work ethic, and Paternoster’s distinctive vocals—which can be sweetly demure but are usually delivered with a frenetic, full-throated sneer.
The Females came together in 2005 in New Brunswick, New Jersey, when Paternoster, Abbate, and drummer Jarrett Dougherty were students at Rutgers University—although Abbate admits, “I only went to Rutgers because Marissa and Jarrett were already going there and I wanted to keep playing in the band.” After honing their sound playing together in basements and punk houses, the trio self-produced their first album, Baby Teeth, in 2006.
the guitar.” —Marissa Paternoster
Since then they’ve released five more LPs and an EP, and toured extensively, opening for iconic bands like Dinosaur Jr. and Garbage. Along the way they’ve collaborated with such studio legends as Steve Albini (Shellac, the Pixies, PJ Harvey), Butch Vig (Nirvana, Sonic Youth), and Matt Bayles (Mastodon). Their 2015 release, Rose Mountain, was included on many year-end best-of lists.
We recently spoke with Paternoster about her musical heroes, her one experience with formal music training—a university course she describes as being more like math—and the transformative powers of punk.
When did you start playing guitar?
I started playing when I was 14-ish. I’m 29 now, so I’ve been playing for a while. My dad had a guitar. I started listening to rock ’n’ roll and he suggested that he might be able to teach me some of the Nirvana songs that I’d been listening to—“They’re really easy.” He did, and I just took it from there.
Who else were you listening to?
When I first started listening to rock music, it was Nirvana and Pearl Jam. I really liked the Pixies all throughout high school. Once I got into the Pixies, I started listening to pretty much everything Kill Rock Stars [indie label that first signed Bikini Kill] had ever put out. That led me to K Records [Beck, Modest Mouse], 5RC [5 Rue Christine, a dormant subsidiary of Kill Rock Stars], a lot of riot grrrl music, early contemporary feminist music like queercore, and all kinds of twee stuff. I got into weirder music as I grew older, but at first I was listening to mainstream radio rock, like Smashing Pumpkins and stuff.
“Mike and I are loud as fuck,” says Screaming Females frontwoman Marissa Paternoster. “We are a very loud band.” She credits part of the noise to her favored 1970s Sunn Concert Lead head shown behind her to the left. Photo by Lindsey Best
You have formidable chops. Did you take lessons?
No, I’ve never taken a lesson. I took Intro to Music Theory at Rutgers. They had two different classes: One was Intro to Music Theory for people who are practicing musicians, and one was more like a math class for people who aren’t practicing musicians. I took the one that was like a math class. I was also a totally lazy, piece-of-crap student, because all I cared about was playing rock music. So I don’t remember any of it. That’s the only [theory] class I’ve ever taken.
Did you spend time learning solos or songs off records?
Before I had people to play with, I would usually just put on CDs that I liked and play around with them while I listened to the song. I went to a Catholic school that didn’t have any kind of arts or music program, but there was a math teacher who had an extracurricular music club. We would meet in the afternoons once a week and jam. He was really into music that I absolutely hated, like Phish and Medeski Martin & Wood, but he was a really good person and cared a lot about the kids who came to music club. That’s how I learned to play my instrument with other people, especially people who had disparate influences, weren’t judgmental, and just wanted to play music with other people because it’s fun. He taught me a lot in that regard.
Did you listen to shredders at all?
No. I kind of hate that stuff—it sounds like a robot is playing the guitar. What really got me into solos was probably the Smashing Pumpkins’ early stuff. Most of the music I grew up on was really just punk music and didn’t have very many solos at all. My favorite band was Bikini Kill, and I can’t even think of a song of theirs that has a guitar solo in it. I really love Neil Young and Crazy Horse. I suppose the first Pearl Jam record has a lot of lengthy solos in it. I wanted to play like that, but it seemed unattainable. Once I started listening to punk, I began to understand that I could be in a band. Up until I started listening to riot grrrl I was like, “This music is for grown men. I can’t do this stuff. Not for me.”
So punk made it accessible?
Yeah. It made it seem like it was something that belonged to me … or could belong to me—or I could be a part of that community. That’s the music that made me really want to play guitar, which is weird, I guess, from a shredding standpoint.
The Screaming Females power trio formed in 2005 at Rutgers University. Its members are, from left to right, bassist “King” Mike Abbate on bass, guitarist/frontwoman Marissa Paternoster, and drummer Jarrett Dougherty. Photo by Lance Bangs
What are the pros and cons of being in a trio and being the only guitarist?
I’ve never known anything else. I’ve only been in one other band—we had a keyboard player, and I was a kid. I hated having to play with a keyboard player. I felt I had no control and I guess, especially back then, I wanted to have a lot of control. Now I’m so used to the setup that we have: Not to sound cheesy, but Mike and I have an unspoken chemistry. I am so comfortable playing along with him. I really can’t imagine what it would be like to have somebody else playing a keyboard or another guitar. I’d probably freak out.
How do you keep the bottom from falling out when you switch from rhythm to lead?
Mike and I are loud as fuck. We are a very loud band. He also sometimes will play bass chords live instead of just playing root notes. If you listen back on albums there’ll be root notes and a rhythm guitar, but live he’ll play some octaves or some chords so that it doesn’t sound like the world fell out from under us when I solo.
composition united.” —Marissa Paternoster
Do you record with the same gear you use live?
We recorded our first album ourselves, so there weren’t many options. I just had my amp and my stuff. Later, I was interning at a studio in New Jersey—it was a barn on the side of the highway—and they had a lot of weird old amps and pedals from the ’80s that flew under the radar. I tried a lot of different fuzz pedals, delay pedals, and amps on that record [Castle Talk].
For our latest record, Rose Mountain, we flew to Seattle to record, so I didn’t have my amplifier. But Matt got me a smaller Sunn combo and a Fender Twin that I could use. There weren’t a ton of options. I think it’s better to know what you like, find a really good-sounding version of it, and have it available to you. That way, you’re not endlessly scrolling through this vast sea of options. You have what you know, you depend on it, and you can pick and choose from that little pool.
Meaning you have a handful of go-to sounds you choose from, depending on the song?
Yeah. I like trying new things and experimenting with sounds, but I’m very trepidatious about adding too much or indulging too much. I try to do what the song might demand instead of doing what I want all the time. I would love to put a million guitars on every song, but it just doesn’t make sense. It’s a little too self-indulgent, I think.
Marissa Paternoster’s Gear
GuitarsG&L S-500 w/ Seymour Duncan Hot Rails bridge pickup
G&L S-500 (stock)
Fender Telecaster
Amps
’70s Sunn Concert Lead head
Sunn 212LH cab
Effects
TSVG Hard Stuff Boost
Earthbound Audio Supercollider
Boss DD-6 Digital Delay
MXR Phase 90
Strings and Picks
GHS Boomers strings (.009–.042)
Dunlop Tortex picks (.88 mm)
Do you like to vary your tones from track to track?
We think of albums as paintings: You want them to have exciting moments or embellishments that really catch your eye, but you also want to be able to step away from it and see the whole composition united. We try to have this sense of continuity so that everything holds together well—like, “We made this album, these songs belong together, and you should listen to it in this order.” But all the while there are going to be little embellishments, much as a painter might add a splash of color in a certain part of a painting. I wouldn’t want to fatigue our listeners by having the same thing happen over and over again, but there has to be sonic continuity or else they’re going to be like, “What the fuck’s going on with this album? Every song is totally different.” There is a place for that, too, but I’m not sure if that’s something I’m interested in doing—right now, at least.
Do you ever experiment with guitars other than your G&Ls?
I have a Fender Telecaster I like using for heavier stuff. The neck pickup sounds super cool in dropped D. But for the most part I just use my G&L S-500s—I don’t think I’ve ever used anything else except for a Tele and the G&Ls.
We’ve been on tour consistently for quite a while now, and playing every night certainly is a great way to push yourself—I definitely feel like I’m getting better at playing guitar. I’m going to spend most of this month working on demos and trying out new pedals to see if I want to keep them in my rig. Other than that, I try to play every day and either record something or write a song. My concern lies a lot more with songwriting than shredding. Even though I do play guitar a lot, it’s not my goal to play fast or do something technically impressive. I like to write songs or write sonic passages that resonate with people emotionally.
YouTube It
Marissa Paternoster’s impeccable vocals and ferocious riffing are the crowning glory in the Screaming Females’ 2013 Record Store Day collaboration with Garbage on the Patti Smith song “Because the Night.”
Females bassist Mike Abbate says Rickenbackers were hard for him to play at first without a thumb rest, but he loved the sound enough to start using a pick. He’s shown here with his 4003 bass. Photo by Farrah Skeiky
Rumbling Male—Screaming Females' "King" Mike Abbate
Screaming Females low-ender “King” Mike Abbate discusses the challenges of keeping up with frontwoman Marissa Paternoster’s riffing, as well as the 28-year-old bassist’s unlikely hero from the 1980s new wave scene.“King” Mike Abbate has known Marissa Paternoster since high school. At the time, he was actually a guitarist, but she inspired him to switch to bass. “I watched Marissa play and thought, ‘If I want to play with this person—who’s just incredible at the guitar—I might as well not play the guitar.’ So I got a cheap bass and started plunking along, trying to learn something different.” Since then Abbate has forged a style that’s powerful, yet melodic and tasteful—and a great fit for a power trio.
Who are some of your bass influences?
Starting out, it was definitely Paul Simonon from the Clash. His stuff was always really fun to play—there was a lot of movement, but at the same time it was also pretty simple. A lot of the patterns he uses are regular ol’ rock ’n’ roll patterns. But Graham Maby, who played bass with Joe Jackson for a bunch of years, is probably my all-time favorite bass player. His playing is absolutely incredible—I can’t imagine ever being as good as he is.
What do you like about his playing?
It is super melodic and super intricate while still staying tasteful. He’s never doing too much but at the same time he totally shreds. I see a lot of bass players who are totally amazing and could play circles around anybody else, but you put them in a band setting and it feels like too much. I feel like Graham could outplay anybody, but he always finds a way to suit the song really nicely. Every once in a while he’ll go nuts—especially if you listen to the live stuff. It’s not often that anyone really likes to hear a bass solo, but he can do it tastefully.
Do you play with a pick, your fingers, or both?
Every once in a while I'll play with my fingers if I want a little bit less attack, but I mostly play with a pick. I started out playing with my fingers, but when we started the band we had this five-hour practice and by the end of it I had a massive blister. I switched to a pick and never stopped using it. My playing and my sound has evolved since then to the point where using a pick just makes the most sense. Plus, when I got a Rickenbacker I found that it was harder for me to play with my fingers, because there was nowhere to rest my thumb. But I liked the sound enough that I didn’t really care—I was down to just use a pick. Plus, a pick looks cooler, man! [Laughs.]
In the studio do you mike your amps or go direct?
We’ve done a little of both. On [2012’s] Ugly, I went through my amp and stuck a mic on it. For Rose Mountain, I didn’t have my setup but I had something close. But I also switched it up—I played through an Ampeg SVT. I also played through a Verellen Meatsmoke, a vintage Acoustic similar to mine, and a Fender Bassman. I also went direct on a couple of things. We tried out a lot of different sounds for the bass, and that’s the first time we ever did anything like that.
What is your sonic role in the band, especially when Marissa takes a solo?
Going back to Graham Maby, I’ve always really liked melodic bass playing. A lot of times I’m still doing my melodic thing and it ends up chaotic with so much stuff going on at once, but I think at certain points it’s what makes our band special. I try not to stray too far away from that. Other times, when I feel it’s getting too cacophonous, I’ll lay back and plunk along on the roots.
“King” Mike Abbate’s Gear
BassesRickenbacker 4003
Peavey T-40 w/ Rickenbacker electronics
Amps
’70s Acoustic 220 head
Acoustic 2x15 cab w/ Peavey Black Widow speakers
Effects
TSVG Hard Stuff Bass Boost
Strings and Picks
GHS Bass Boomers (.045–.105)
Dunlop Tortex picks (.73 mm)
I started playing chords a bunch of years ago, but I’ve recently started trying to get away from that because it tends to sound really muddy. Also, right around when I discovered that I could play chords to fatten up the sound and fill it out, the Dinosaur Jr. comparisons came in. I was like, “I guess I should check out Dinosaur Jr.” But it depends on the song: Sometimes I’ll play a melodic bass line over a guitar solo if it seems like it fits. Other times I’ll play the chords. I recently got an overdrive pedal, and it’s the first time I’ve had a pedal in my setup. On songs where I would normally play chords, lately I’ve been kicking on that pedal and playing the root instead of playing three strings at a time and making it sound muddy.
When you play chords, what chord voicings do you play?
Sometimes power chords, sometimes octaves, and other times the root, third, and seventh. I don’t know much about theory, but sometimes I play other things.
Speaking of Dinosaur Jr., you toured with them a few years ago, right?
Yeah, we’ve done a couple of shows with them. Once we were compared to that band, they became one of my favorite bands for quite a while. I was listening to their stuff all the time, so it was really cool getting to play with them. At the same time, it made me hyperaware that these comparisons were being made, so I tried to stray away from that sound a little bit.
Did you try out Lou [Barlow’s] rig? He uses a ton of amps, just like J [Mascis].
No—I have no desire to play through a rig like that! [Laughs.] That’s just gratuitous. I’m fine with what I play through.
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Just like guitarists, audiophiles are chasing sound. It may be a never-ending quest.
“What you got back home, little sister, to play your fuzzy warbles on? I bet you got, say, pitiful, portable picnic players. Come with uncle and hear all proper. Hear angel trumpets and devil trombones.”—Alexander DeLarge (Malcolm McDowell) in the film A Clockwork Orange.
We listen to recorded music for enjoyment and inspiration, but few of us expect recordings to rival the experience of live music. Most guitarists know that the average home sound system, let alone Bluetooth boomboxes, cannot reproduce the weight and depth equal to standing in a room with a full-blown concert guitar rig. Also, classical music lovers recognize that a home system won’t reproduce the visceral envelope of a live orchestra. Still, much like guitarists, audiophiles spend huge amounts of time and money chasing the ultimate “realistic” audio experience. I wonder if sometimes that’s misguided.
My exposure to the audio hobby came early, from my father’s influence. My dad grew up in the revolution of home electronics, and being an amateur musician, he wanted good reproduction of the recordings he cherished. This led him to stock our home with tube components and DIY electrostatic hybrid speakers that rivaled the size and output of vintage Fender 2x12s. I thought this was normal.
Later, I discovered a small shop in my hometown that specialized in “high end” audiophile gear. They had a policy: No sale is final until you are completely satisfied. I became an almost weekly visitor (and paying customer) and was allowed to take equipment home to audition, which was dangerous for a young man on a low budget. It was through this program I started to understand the ins and outs of building a cohesive system that met my taste. I began to pay much more attention to the nuances of audio reproduction. Some gear revealed a whole new level of accuracy when it came to acoustic or vocal performance, while lacking the kick-ass punch I desired of my rock albums. I was seeking reproduction that would gently caress the sounds on folk, classical, and jazz recordings, but could also slay when the going got heavy. This made me a bit of an odd bird to the guys at the audio shop, but they wanted to please. With their guidance I assembled some decent systems over time, but through the decades, I lost interest in the chase.
Recently, I’ve begun perusing online audiophile boards and they seem oddly familiar, with tube versus solid-state discussions that might feel at home to guitarists—except the prices are now beyond what I’d imagined. For the most part, they mirror the exchanges we see on guitar boards minus the potty-mouth language. Enthusiasts exchange information and opinions (mostly) on what gear presents the widest soundstage or most detailed high-frequency delivery, all in flowery language usually reserved for fine wines.
Speaking of whining, you’ll rethink your idea of expensive cables when you hear folks comparing 18", $1,700 interconnects for their DACs. Some of the systems I’ve seen are more costly than an entire guitar, amplifier, and studio gear collection by a serious margin. Mostly, the banter is cordial and avoids the humble-bragging that might go along with the purchase of a $10,000 set of PAF humbuckers. Still, I have a lack of insight into what exactly most are trying to accomplish.
If you’ve ever worked in a big-time studio, you know that the soundscape blasting out of huge monitors is not what most of us have in our homes. My experience rewiring pro-studio patchbays is that less emphasis is placed on oxygen-free, silver-plated, directional cables than the room treatment. I’ve found myself wondering if the people on those audio boards—who have spent many tens or even hundreds of thousands of dollars on their home systems—have ever been in a studio control room listening to music as loud as a 28,000 horsepower traffic jam of NASCAR racers. That might be an eye-opener.
One of my takeaways is that even though music recording began as an attempt to reproduce what actually happens in a room, it hasn’t been just that for a long time. With all our effects and sonic wizardry on display, recording is like playing an instrument itself, and much more complex. This is not a new revelation to Beatles fans.
What amazes me is that both audiophiles and guitar fanatics pursue the sounds we hear on recordings for differing reasons and with subjective results. It’s a feedback-loop game, where we chase sounds mostly exclusive to the studio. So, how do we determine if our playback is accurate? Will we ever be satisfied enough to call the sale final?
I’m not convinced, but just the same, I’ll continue my own search for the holy grail of affordable, kick-ass sound that still loves a folk guitar
Kirk Hammett has partnered with Gibson Publishing to release The Collection: Kirk Hammett, a premium hardcover coffee-table photo book where Kirk tells the stories behind his rare and collectible instruments.
“I am thrilled to announce the launch of The Collection: Kirk Hammett. I’ve worked diligently on this curated collection of vintage and modern guitars for the book. I feel the book captures the rich history and artistry behind each of these unique and rare instruments. Every picture tells a story and thanks to Ross Halfin and his exceptional photography, every picture in this book is worth a million words! This book could not be possible without the help of Gibson, so I’d like to thank them for making my passion for Greeny, and guitars a reality. I hope all of you enjoy this journey as much as I did.”
“It’s exciting the time has come to release The Collection: Kirk Hammett by Gibson,” adds Cesar Gueikian, President and CEO of Gibson. “We have been working on this project with Kirk for years now, and I had the opportunity to work closely with Kirk on the composition of the collection for the book. It was a thrill to put this together and it took a village to get it done! I hope everyone appreciates the work that went into this book and enjoys every story behind the guitars.”
The Collection: Kirk Hammett, Custom Edition is limited to just 300 numbered copies signed by KIRK HAMMETT and comes in a huge 19 x 14.5” (490 x 370mm) presentation box featuring custom artwork and an outstanding case candy package. In addition to the large-format 17 x 12” (432 x 310mm) hardcover version of the book with a stunning lenticular cover, the boxset includes a frameable 16 x 11.6” (407 x 295mm) art print of a Ross Halfin portrait of KIRK HAMMETT signed by both Halfin and the Metallica guitarist. Other case candy includes an Axe Heaven miniature replica of Hammett’s 1979 Gibson Flying V with case and stand, an exclusive pick tin complete with six Dunlop® Kirk Hammett signature Jazz III guitar picks, and a Gibson Publishing Certificate of Authenticity.
Explore The Collection: Kirk Hammett book HERE.
The collection includes Cobalt strings with a Paradigm Core, Tim Henson Signature Classical Strings, and the Tim Henson Signature FretWrap by Gruv Gear.
Engineered for maximum output, clarity, and durability, these strings feature:
- Cobalt with a Paradigm Core (not RPS) for added durability
- Nano-treated for maximum lifespan and corrosion resistance
- Gauges 9.5, 12, 16, 26, 36, 46 (Turbo Slinky set)
- Available individually or as part of the Tim Henson Signature Bundle
Tim Henson Signature Classical Strings
Crafted for dynamic, percussive tonality, these strings pair fluorocarbon trebles with silver-plated copper basses to deliver exceptional response and clarity.
- Gauges: 24, 27, 33, 30, 36, 42
- Available individually or as part of the Tim Henson Signature Bundle
Tim Henson Signature FretWrap by Gruv Gear
An essential string-dampening tool, the Tim Henson Signature FretWrap is designed for cleaner playing by eliminating unwanted overtones and sympathetic vibrations.
- Features Tim Henson’s custom ‘Cherub Logo’ design
- Size Small, fits 4-string basses, 6-string electric/acoustic guitars, and ukuleles
- Ideal for live performance and studio recording
- Ernie Ball collaboration with Gruv Gear
- Available individually or as part of the Tim Henson Signature Bundle
The Ernie Ball Tim Henson Accessory Bundle Kit
For players who want the complete Tim Henson experience, the Ernie Ball Tim HensonSignature Bundle Kit includes:
- Tim Henson Signature Electric Strings (9.5-46)
- Tim Henson Signature Classical Strings (Medium Tension)
- Tim Henson Signature FretWrap by Gruv Gear (Small)
- Tim Henson Signature Cable (Exclusive 10ft white dual-conductor cable, only available in the bundle)
The Tim Henson Signature String & Accessory Collection is available starting today, March 19, 2025, at authorized Ernie Ball dealers worldwide.
For more information, please visit ernieball.com.
Ernie Ball: Tim Henson Signature Electric Guitar Strings - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.Teamwork makes the dream work for the Charleston, South Carolina, twosome, who trade off multi-instrumental duties throughout their sets.
Michael Trent and Cary Ann Hearst have been making music as Shovels & Rope since 2008. The husband-and-wife duo from South Carolina specialize in rootsy, bluesy rock, Americana, and alt-country, but they don’t confine themselves to traditional two-piece arrangements. They switch off on vocal, guitar, percussion, and synth duty throughout their shows, orchestrating a full-band ruckus with all available limbs.
Their seventh full-length, Something Is Working Up Above My Head, released in September last year, and while touring in support of it, they stopped at Nashville’s Brooklyn Bowl in late February. PG’s John Bohlinger caught up with Trent before the gig to see what tools he and Hearst use to maintain their musical juggling act.
Brought to you by D’Addario.Black Bird
Trent’s not a guitar snob: Generally speaking, he plays whatever he can get his hands on. While playing Eddie Vedder’s Ohana Fest, someone loaned him this Gretsch Black Falcon, and he fell in love with it. He likes its size compared to the broader White Falcon. It’s also the band’s only electric, so if it goes down, it’s back to acoustic. Hearst takes turns on it, too.
Trent loads the heaviest strings he can onto it, which is a set of .013s. It lives in standard tuning.
Ol' Faithful
As Trent explains, he and Hearst have done some DIY decorating on this beautiful Gibson J-45—it’s adorned with sweat droplets, stains, and fingernail dust. It runs direct to the venue’s front-of-house system with an LR Baggs pickup. This one is strung with Martin heavy or medium gauge strings; lighter ones are too prone to snapping under Trent’s heavy picking hand (which holds a Dunlop Max-Grip .88 mm pick). And it rolls around in an Enki tour case.
On Call
These second-stringers—a Loar archtop and an LR Baggs-equipped Recording King—are on hand in case of broken strings or other malfunctions.
Need for Tweed
Trent doesn’t trust amps with too many knobs, so this tweed Fender Blues Junior does the trick. It can get fairly loud, so there’s a Universal Audio OX Amp Top Box on hand to tame it for some stages.
Shovels & Rope's Pedalboard
Because Trent and Hearst trade off bass, guitar, keys, and percussion duties, all four of their limbs are active through the set. Whoever is on guitars works this board, with an MXR Blue Box, Electro-Harmonix Nano Big Muff, EarthQuaker Devices Hummingbird, and Boss OC-5, plus a pair of Walrus Canvas Tuners for the electric and acoustic. Utility boxes on the board include a Walrus Canvas Passive Re-Amp, Radial J48, Livewire ABY1, and a Mesa Stowaway input buffer.
A Roland PK-5 MIDI controller, operated by foot, sits on the lower edge of the board. It controls the board for “Thing 2,” one of two MicroKORG synths onstage.
Thing 1 and Thing 2
There’s no one backstage helping Hearst and Trent cook up all their racket; they handle every sound themselves, manually. During the first few sets of a tour, you’re liable to see some headaches, like forgetting to switch synth patches during a song, but eventually they hit a rhythm.
Affectionately given Seuss-ian nicknames, this pair of microKORGs handles bass notes through the set, among other things, via the foot-controlled PK5. “Thing 1” is set up at the drum station, and runs through a board with an EHX Nano Big Muff, EHX Bass9, EHX Nano Holy Grail, and a Radial Pro DI. A Walrus Aetos keeps them all powered up.
The board for “Thing 2,” beside the guitar amps, includes an EHX Mel9 and Bass9 powered by a Truetone 1 SPOT Pro, plus a Radial ProD2.