When talking with Nashville luthier Paul McGill, you get the impression that he’s perfectly content to talk about his inspirations, the people he looks up to and who he
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Well to be honest, it came about because I became aware, through some friends, of people who had gone to a guitar making school somewhere. And for me, at that young age, that was quite a revelation. I loved to play music, but I didn’t really feel like I was good enough or had the right temperament to be an artist.
So you headed to the Earthworks School of Luthiery in Vermont at age 18. What was the general atmosphere like at that point?
That was back in a heady period when people decided that you could build guitars. If you go back before about 1970, the idea of building a guitar in this country, as an individual, was not really something that you could even think about. Back then if you told someone you made a guitar their jaws dropped – now they tell you about two others they know who do that.
Why was that such a jaw-dropper back then?
Because there wasn’t a lot of knowledge available, and also because there weren’t many outlets where you could buy the necessities – the tools, the equipment and so on. Nowadays, guitar makers use electric routers for building at home; before 1960, if you didn’t have a shaper table and a lot of expensive equipment to do the operations, you weren’t gonna get it done. The stuff we have today didn’t even exist back then. So when people talk about building guitars by hand, I think it’s relative to the period of time they were working in and the economic realities of that time. Many builders today could not build guitars using nothing but hand tools, like the old European builders did.
Describe what the experience in Vermont was like, being surrounded by like-minded people and finally getting to build guitars.
I worked for six weeks with Charles Fox. Charles had been a schoolteacher in Chicago, and he moved to Vermont with this dream of setting up a guitar business. He worked there as a schoolteacher for a short amount of time and built this incredible, octagon-shapped log house and a couple of buildings called yurts. They were supported by a cable that ran around the top of the wall, all the way around the building, but the walls all leaned out. The roof was covered in some green foam material, but originally the covering for the corrugated roof was dirt.
It was kind of an interesting time – this was 1976, and we were coming right out of the counterculture generation. There were eight of us, and we all lived in those yurts. We got up early every morning and went up to the shop and listened to Charles lecture for an hour, and then we sort of worked through the guitars together each day, one process at a time.
Charles was a very good teacher, and he knew how to use hand tools and such. Thinking back on that experience, that was the most valuable thing I got out of it. He really did teach us how to work, and he taught what was possible and what was not. Of course, a lot of the building methods we were using have long since been abandoned, and a lot of the approaches we used then, I don’t use today. But whenever I pick up a hand plane and start planing a top, I use those basics he taught us. It was a good foundation.
After your six weeks in Vermont, did you go back to Georgia and make it a point to go into the guitar business?
I don’t know if you could call it a conscious effort to go into a business endeavor – I just wanted to build guitars. I had spent several of my teenage years in Georgia, and lived with some friends when I returned. I actually worked as a dishwasher at a restaurant, and as a cabinetmaker in a lumber mill while trying to figure out how to build guitars when I had time. Nonetheless, by the time I left Athens, I had already made something like eight guitars.
Classicals?
Actually I was building both classicals and steel strings at that time. I figured out early on that trying to make a living building classicals was pretty much impossible. I really didn’t get serious again about trying to build classicals until 1984, and then I built quite a few classicals. When I moved to Nashville in ‘85 that was really all I was focused on.
What was the motivation to move to Nashville?
Starvation [laughs]. I got a job offer down here at Gruhn Guitars, and it was kind of a lark. I called up and talked to George one day, and when he found out I knew Robert Ruck, he was very interested in me coming down. I shipped them a guitar I had built and then was invited to come work for a week. At the end of the week I was asked to sign on and I moved to Nashville.
When you started at Gruhn’s, you did a lot of repair work. What was the biggest adjustment you had to make there?
You get exposed to everything in a place like that. My biggest struggle was trying to figure out what was appropriate to do on each job – how much time you would spend on this instrument, as opposed to another one. You could go way overboard and waste a lot of time on something that didn’t have a lot of return. Gruhn’s was a commission environment, and so it was critical to not waste your time.
You’ve mentioned in previous interviews that Gruhn’s was a professionally competitive environment. Did that push you to improve your work?
It was the only time in my life where everyday I was around other people with abilities that were parallel to my own. The foreman of the shop was Kim Walker, and the person who I came in to replace was Matthew Kline – Matthew now does most of the CNC operations here at the Gibson factory in Nashville. Kim and I became good friends during those years, but it was kind of brutal because we did try to outdo each other, no question about it. Years of experience were passed on in that shop and it was a special thing to have been a part of.
What was the most over-the-top operation you performed there?
Well, George had a 1927 00-28 that had herringbone around the top and in the rosette and there was just a big, gaping hole right where the bridge sat. There was no area to glue a bridge on. And George said, “Fix it. Make it go away.” Well, that guitar sat around and sat around and no one would touch it.
So one day, I pulled it out and was laughing at what George wanted us to do, which was patch something right in the middle of the top – to keep it original. So I went and visited him, and said, “This is ridiculous, we’re not going to fix this top. It is beyond reason; why don’t we just replace the entire top?” He never wanted anyone to replace a soundboard, because he wanted all of the binding and rosette to stay original. So I said, “Look, I’ll put the rosette in the new top, and I’ll drop the top inside the original bindings, and I’ll make it look like it never happened.”
He finally relented, and I developed a technique for routing in a top to fit inside the binding channels. You basically just attach a top to the soundboard – you can use carpet tape – center it up, and then use a routing tool where you calibrate the width of the bindings. You route the top outline out so that when you put in the new top it is as close as you can fit it to the original herringbone. Next, you take a routing tool, go around and ever so carefully trim the wood away from the black line. Then you brace the top and it just slides right back into the guitar. You might have to do a little fitting, but at the end of the day, that guitar had its original binding work and rosette in it. I used a 35 year old German top, did a shellac finish over it and then slightly distressed it, so it looked original.
Not really very much, I would say. The thing I would take away from it all, which is most relevant to building my own guitars, is to look at the longevity of the instrument and to see just what long-term stress will do to a guitar. The impact of the various designs is very telling and it was a good yardstick for understanding the history of American guitar making.
Your guitars have been in some famous hands – Earl Klugh used one of your guitars on Solo Guitar, a seminal guitar album. I’m sure a lot of luthiers would jump at a chance like that. How did that come about?
In my experience, the best way to work with well-known guitar players is to not try to work with well-known guitar players. I did not know Earl Klugh when he bought that guitar or made that record. Likewise, I didn’t know who Muriel Anderson was when she bought one of my guitars – she bought it from someone else in 1986, and it was a guitar I had made in 1983.
You know, the guitars really just go out and if they’re good, they’ll find their way. If they’re not good, they won’t. It’s just that simple.
I feel a little humbled when someone who is as skilled as one of these great players would choose what I make to work with. And that’s something that’s important to distinguish – I’ve never been a guitar maker who goes out there just trying to get ahead by giving away guitars. The few occasions that I’ve attempted to do something like that, I’ve regretted. It never really works out.
The only way it ever works out is if there is a true artistic connection between a player and a guitar. You’re not going to take Willie Nelson’s old Martin away from him. And when that guitar was made, whenever it was made, it wasn’t made for Willie Nelson. Nobody was thinking, “This guitar is going to be one of the most famous Martins ever made.” And I think some of that happened with me, in a fortunate way, early in my career. But it was somewhat frustrating because you didn’t see the benefits of it right away; there wasn’t success just because so-and-so played your guitar.
Which is another thing to be aware of – a lot of people’s approach to the business today is to chase the players. I don’t know if that’s a good thing for anybody, to be entering into those kinds of relationships. I think it’s much better if it comes about in a natural way and if people develop a true affinity for their instrument.
And at that point, the artist’s expression will be truer.
Absolutely – at that point, it becomes real. You can build something really good but it’s not necessarily going to be good for everybody. You can say, “Okay, I’m going to take the bold step and make a deal with some artist, and I’m going to give them a guitar in exchange for their endorsement.” But I’ve seen that happen a lot of times where that process yields an unhappy artist and an over-extended guitar maker. So the artist feels obligated, and the guitar maker doesn’t quite understand why what he built isn’t good enough. I just wouldn’t want to be promoting myself in that way, because to me, it’s not a real honest interaction.
It mostly happened because we both lived in Nashville, and because there wasn’t a lot creatively that went on around here that Chet didn’t know about. Around the time I arrived here in ‘85, a mutal friend introduced me to him and it was a very cursory introduction. I doubt he would have even remembered it.
But one day I was working at Gruhn’s, and I got a call to come down to the showroom. So, I went downstairs and Chet was there with a later model Martin D-41 Tony Rice had given him. He pulled it out of the case and said, “I was wondering if you could pull a little bit more sound out of this for me.” I looked it over – and I was a little bit intimidated, obviously – and I said, “Well, sure, we can loosen it up a bit for you.” I was kind of shocked and amazed that the guitar was setup with nickel-wound strings and the action was real low – so low I couldn’t have played it. So I opened it up some, and sent it back to him.
Later on, in 1990, I wanted to shoot a video, and I asked Muriel to perform on it, a few months after she won Winfield [the National Fingerpicking Championship]. She and John Knowles did this video for me, and after the shoot she was going to go over to Chet’s office, and invited me along. So I went over and when I was introduced to him I was standing across the room from him; when he heard my name he came at me like some sort of very happy pet, like he was very enthusiastic. It was surreal. He just talked my ear off for 15 minutes, wanting to know everything I knew about guitar making.
I learned later in life from John Knowles that Chet tried to overcome people’s reactions to him by putting them on a pedestal and treating them like that.
Did you work with Chet after that?
Well, I became very friendly with Chet as years went by. When I started building resonator guitars for Earl Klugh in 1992, I called down to Chet’s office, told him what I was doing and asked if he could loan me a Del Vecchio to look at. And he said, “Sure, stop by the office tomorrow and I’ll have one here for you.” So I went down and picked up one of his Del Vecchios, and took it to my shop to examine it. I told Earl what I had, and he said, “Wait, that’s not the guitar that I want you to build for me. He’s got a little one with a short scale length. I’ve got one here that’s not very good but I’ll send it to you.” And he sent me this modernera Del Vecchio, and I sort of started building resonators from that.
After I made it, Earl asked me to build a bunch of them and he gave one of them to Chet. From that point I made Chet two more, and sometimes he would come by the shop while I was working and just hang around, tell stories and jokes. He was very amusing.
Our relationship was so unassuming, really. One day he was hanging around the shop and somehow the subject of Hank Williams came up. And I, in a very nonchalant way, because I thought he might know the answer to the question, said something like, “Chet, who played guitar for Hank Williams?” And he whipped around and said, “Well, I did!” And I honestly didn’t know that! It had gotten to the point where it was like hanging out with your friend, and that was a bit of a reality check.
The thing about Chet was that he never forgot what it was like to be struggling. He had an uncanny way of extending his hand at a moment when he knew people where having a hard time. Doyle Dikes told a story once where Chet called him over and gave him a guitar when his musical career was down. Tommy Emanuel talks about getting letters from Chet when he was a child in Australia, with tapes going back and forth.
He was a very special guy, and the experience of being in the Ryman Auditorium when his casket was walked out of there – it was a feeling of energy collapsing on the isle as if the whole room just wanted to go out that door with him.
You make a wide range of guitars – it seems like a lot of luthiers try to pick one design and hone it. Your versatility is impressive, and I’m wondering where it comes from.
Well, one of the blessings and curses of my career is that I started building guitars in a time when there wasn’t the big handmade marketplace that’s developed in the last 15 years. The result of that was I couldn’t rely on just one thing; as much as I wanted to build classical guitars, I was never going to compete with Robert Ruck or José Uribe, because the market was so small and those guys were so well established by the end of the ‘70s. Classical players would look at their guitars before they’d look anywhere else, so if I wanted to build classicals I’d have to sacrifice in order to be good at it.
Earl Klugh gave me a real gift – he helped me quite a bit 15 to 20 years ago. There were a lot of tough times when he would buy a guitar from me just to keep me going. He told me one day, “I want you to build one of those Del Vecchio guitars,” and I was very negative about it, because I was the artiste building classical guitars, right? The guy with the big flaming ego.
But he kept after me for months about doing it and I couldn’t tell him no. So in August of 1992 I decided to take the whole month and build this Del Vecchio-style guitar. There are pictures of me stringing it up and somehow I felt that my career was over, because I had built this thing that would ruin my respectability amongst the snobs that buy classical guitars. I probably actually even gave a damn about that back then, which was a big mistake.
After I finished it, I was surprised by how many players of all different types wanted to see it. I had three or four people waiting outside my shop for me to string it up that day. And Earl immediately asked me to build more of them. I was so frustrated trying to make a living from something that was traditional, and then I saw all this enthusiasm for something that was non-traditional, and I said to myself, “What am I seeing in this picture here?” All of these people that I’ve known for a long time, that have such conservative tastes in instruments, were actually responding to this thing in a positive way. And that’s when I realized that I don’t have to be like everybody else to be successful. I kind of changed gears, into a different way of thinking about things after that.
You know, it’s always been up and down. I think if you’re established and doing what’s popular, it’s easier in some ways. But if you’re building instruments that have their own aesthetic, then you have to get people to understand what it is, and that takes a little more time – you have to be patient. I built my first Super Ace guitar in 1998, and by the spring of ‘99 Peter White [award-winning jazz artist] was touring on it. In fact, he spent the first few years touring on one of the first three that I ever made – one that I just called a “prototype.” Once he had it and saw what it did, he didn’t want to play anything else.
So, I knew that I had something that really appealed to the people who needed it, because someone like Peter could play anything, but this one seemed to fill the bill the best. I feel like it takes three or four years before the buying public catches up with a reality like that.
Could you explain the modern structural system you developed and use in all of your guitars?
I am very taken with what is going on in Australian luthiery. I really don’t feel like building guitars with tops that are paperthin and with all this graphite and balsa wood in them is for me. They are some of the loudest guitars ever made, but I would never want to place a warranty on one. I started looking at how to take some of that conceptual knowledge in what they do and translate it into my own instruments. What it’s really all about, in my mind, is how to release more of the string’s energy into the soundboard, and part of that is to fully reinforce the structure to eliminate ambient modulus, which may mute or deaden frequencies you need. I started from that concept and built something that was more original to me.
I can tell you this: before I started doing it, it was a lot harder to sell instruments. It just adds a different motor to the sound of a guitar. It evens out things that might be dead or too powerful and it provides solidity in the low-end. I feel like the string energy factor just adds a certain amount of output.
And it’s not like this is the loudest guitar in the world – that’s what they are doing in Australia, trying to build the loudest guitars the world’s ever heard. If you want to push the parameters that far, well, okay – push your strength to weight ratio as far as you can get it. But I think if we can add some power to a traditional sound, a majority of players would be happy to have an instrument that’s responsive and has more of a musical tradition to it than some of these newer designs. Mind you, I’m not putting those guitars down, because I think they’re conceptually brilliant, but I wanted to approach it a different way.
Do you have thoughts about your legacy in the industry?
I started building guitars in the mid ‘70s, and it was right at the downward slope of the guitar making renaissance in this country coming out of the late ‘60s. The reason that I was even aware of it was because I used to go to Colorado in the summertime – I was in Boulder – and there were two guitar makers around that area. There was someone that my sister knew who had a guitar made by Max Krimmel, and they were very nice guitars. There was another builder out there whose name was Monty Novotny, who worked in Longmont, Colorado. And the reason why I bring this stuff up is because after 30 years – do you know who these people are?
Exactly. If you were to read their resumes – Monty Novotny built guitars for John Denver and a host of other really big name artists in those years. Max Krimmel built guitars for Stephen Stills and Jerry Jeff Walker, among others. It’s kind of like… history is fleeting. Some things seem important at one point of time or another. And after 30 years of doing this I just wonder, have I done enough to leave something behind that people will recognize, that will be memorable? To me, it’s not just about whether you’ve made guitars for somebody that everyone knows. If you look back at the early 20th century, at what we had for instruments, you had the whole Gibson mandolin family thing, which was really created so you could have a new musical aesthetic. In the ‘20s you had an expansion – the L5 and the Lloyd Loar period – which is favored by so many traditional musicians today. In the late ‘20s, you have Martin’s introduction of larger-bodied steel string acoustic guitars and in the early ‘30s they took over with that concept. Everybody remembers these names and these people – they did something that was relevant, like Dobro, National, Martin and Fender. Every period of time we have these milestones, and people remember what they are. I guess I hope some of what I do may someday be viewed as credible in that way.
Do you view this as your art? Your expression?
You know, I do, and I struggle with the whole concept of how do you make more of them, because I’m so rooted in the artistic aspect of it. It’s hard for me to think, “Well, I’m just going to trash this approach because I can do something else more efficiently.” I’m currently trying to get some stuff that I’m doing oriented for CNC parts manufacturing, because [the Super Ace] is a fairly complex guitar to make otherwise.
So you struggle at the crossroads of commerce and artistic expression?
Yeah, I do, because I think I’m a lot more content when I’m just doing something new and winging it. It’s like you do something once and then you’ve got to reproduce it. Sometimes, the reproduction part isn’t as fun as the anything-goes side in the beginning; that feeling of creating something, using your senses and knowledge, that will appeal to somebody.
So looking back, how’s the ride been for you?
You know, I’ve had a lot of opportunities to interact with a lot people that I never thought I’d have known in my life. PBS was having a fundraiser recently and they were replaying the Glen Campbell Good Time Hour from the late ‘60s, early ‘70s, and there was Glen Campbell and John Hartford singing “Gentle on my Mind.” When I was that age, I would never have thought that I would know John Hartford, that he would come over to my house for a party and that we would sit around sharing stories about mutual acquaintances. I never thought I would have known Chet or Earl, or so many remarkable people.
What’s left to do?
Really, I think… how do you really know what’s going to happen? I guess make as much money as I can [laughs]. I figure if I build an extra guitar every other month for the rest of my working life, I can go on selling guitars until I die.
McGill Guitars
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Here’s how 21 killer players from the past year of Rig Rundowns—including Justin Chancellor, Zakk Wylde, MonoNeon, Carmen Vandenberg, Sturgill Simpson, Jason Isbell, and Grace Bowers—use stomps to take their sounds outside the box.
TOOL'S JUSTIN CHANCELLOR
Justin Chancellor’s Pedalboard
If you ever catch yourself playing air guitar to Tool, you’re probably mimicking Justin Chancellor’s parts. “Schism,” “The Pot,” “Forty Six & 2,” “H.,” “Fear Inoculum,” “Descending,” “The Grudge,” and plenty of others feature his buoyant bass riffs.
What stomps does he run his Wal, StingRay, and Fender basses through? Glad you asked. His setup is either a bass player’s dream or nightmare, but for someone as adventurous as Chancellor, this is where the party starts.
You’ll notice many of his pedals are available at your favorite guitar store, including six Boss boxes, an Ernie Ball Volume Pedal, and MXR Micro Amp. Crucial foot-operated pedals are in blue: the Dunlop JCT95 Justin Chancellor Cry Baby Wah with a Tone Bender-style fuzz circuit (far left) and DigiTech Bass Whammy (middle). He really likes using the Tech 21 SansAmp GT2 for distortion and feedback when the Whammy is engaged or he’s playing up the neck. Covering delays are three pedals—he has the pink Providence DLY-4 Chrono Delay programmed to match drummer Danny Carey’s BPMs in “Pneuma,” which slightly increase during the song from 113 ms to 115 ms. The Boss DD-3s are set for different speeds with the one labeled “Faster” handling “The Grudge” and the other one doing more steady repeats. There’s a pair of vintage Guyatone pedals—the Guyatone VT-X Vintage Tremolo Pedal (Flip Series) and Guyatone BR2 Bottom Wah Rocker (a gift from guitarist Adam Jones). The Gamechanger Audio Plus pedal is used to freeze moments and allow Justin to grab onto feedback or play over something. The Boss GEB-7 Bass Equalizer and Pro Co Turbo RAT help reinforce his resounding, beefy backbone of bass tone, while the MXR Micro Amp helps goose his grimy rumbles. The Boss LS-2 Line Selector is a one-kick escape hatch out of the complicated signal chain for parts of “Schism.” The Wal and Music Man stay in check with the TU-3S tuner, a pair of Voodoo Lab Pedal Power 2 Pluses help bring things to life, and everything is wired up with EBS patch cables.
STURGILL SIMPSON AND LAUR JOAMETS
Sturgill Simpson’s Pedalboard
Alt-country veteran Sturgill Simpson packed light for his latest run. His board bears just a Peterson Stomp Classic tuner running into a Fulltone True-Path ABY-ST, which splits his signal to his two Magnatone Panoramic Stereo amps. “I wouldn’t use a tuner if I didn’t have to,” he chuckles. The LILY P4D beside the splitter lets him control his mic signal to cut interference from onstage noise.
Laur Joamets’ Pedalboard
For his main board, Laur Joamets packs a little heavier than his boss. The platform, made by West Coast Pedal Board, carries a Peterson StroboStomp, Greer Amps Arbuckle Trem, sRossFX fuzz/overdrive, MXR Booster, T-Rex Replica, sRossFX germanium octave pedal, TC Electronic Viscous Vibe, Dunlop EP103 Echoplex, and Source Audio True Spring Reverb. An MXR Tap lets him tap in delay tempos. He has a second pedalboard, as well, for his Stage One steel guitar. It goes into a Peterson StroboStomp HD, then on to a Greer Black Tiger and Goodrich Sound Company volume pedal, before hitting his Magnatone Varsity Reverb and a custom-built Fender brown-panel Deluxe clone he calls “the Charmer.”
PANTERA’S ZAKK WYLDE AND REX BROWN
Zakk Wylde’s Pedalboard
When Pantera’s bassist Rex Brown and singer Phil Anselmo decided to fire the band up again, the choice of fellow road dog Zakk Wylde on guitar seemed perfect. Here’s what Wylde had on the floor and in the racks for the band’s February date at Nashville’s Bridgestone Arena.
His signature arsenal of effects seen here includes a MXR Wylde Audio Overdrive, MXR Wylde Audio Phase, Wylde Audio Cry Baby wah, and a Dunlop ZW357 Zakk Wylde Signature Rotovibe. The lone box that isn’t branded Wylde is a standard fare MXR Carbon Copy. Offstage, his rack is home to a MXR Smart Gate and MXR Wylde Audio Chorus that’s always on. Both are powered by a Voodoo Lab Pedal Power 3 Plus. Another drawer holds a Radial BigShot I/O True-bypass Instrument Selector, Lehle Little Dual II Amp Switcher, and a Radial BigShot EFX Effects Loop Switcher.
Rex Brown’s Pedalboard
This tour was the first time Rex Brown used a switching system. His stage board sported a Dunlop JCT95 Justin Chancellor Cry Baby Wah, a 2000s Morley Pro Series II Bass Wah, Origin Effects DCX Bass Tone Shaper & Drive, a MXR M287 Sub Octave Bass Fuzz, and a Peterson StroboStomp HD. The brain of everything in the rack and onstage is the RJM Mastermind GT. And to help “move mountains,” Rex has a Moog Taurus III.
MSSV’S MIKE BAGGETTA AND MIKE WATT
Mike Baggetta’s Pedalboard
Mike Baggetta has some core pedals in MSSV, his indie supergroup with legendary bassist Mike Watt and drummer Stephen Hodges. His arsenal includes a Creepy Fingers Hold Tight fuzz, an Electro-Harmonix Ring Thing, a Wilson Effects Freaker Wah V2, an EHX Deluxe Memory Man, and a Red Panda Tensor. The signal flows from his Benson amp into the Tensor, which he uses for glitch sounds, harmonizing, and overdub mode, among other feats. His Memory Man adds space—the final frontier.
Mike Watt’s Pedalboard
Mike Watt puts his signature Reverend Wattplower bass into a Broughton Audio high-pass filter, an EarthQuaker Devices The Warden optical compressor, and a Sushi Box Effects Finally tube DI that functions as a preamp. There’s also a TC Electronic PolyTune.
MONONEON
MonoNeon’s Pedalboard
The Memphis-born avant-funk bassist keeps it simple on the road with a signature 5-string, a tried-and-true Ampeg stack, and just four stomps. Almost all of his stomps have been zhuzhed up in his eye-popping palette. He’d used a pitch shifting DigiTech Whammy for a while, but after working with Paisley Park royalty, the pedal became a bigger part of his playing. “When I started playing with Prince, he put the Whammy on my pedalboard,” Thomas explains. “After he passed, I realized how special that moment was.” MonoNeon also uses a Fairfield Circuitry Randy’s Revenge, a Fart Pedal (in case the Fairfield ring mod isn’t weird enough, we guess), and a JAM Pedals Red Muck covers fuzz and dirt needs. A CIOKS SOL powers the whole affair.
GRACE BOWERS
Grace Bowers’ Pedalboard
Grace Bowers is one of the freshest new guitar stars to emerge in the past year. She has the essential fixin’s for her classic rock tones: a Dunlop Crybaby Wah, Grindstone Audio Solutions Night Shade Drive, EarthQuaker Devices Tone Job, MXR Phase 90, MXR Phase 95, and Boss DD-2. Bowers powers them with a Voodoo Labs Pedal Power ISO-5.
GREEN DAY’S JASON WHITE
Photo by Raph Pour-Hashemi
Jason White’s Pedalboard
Long-time touring member Jason White’s stable is dominated by his Gibson Les Pauls and ES-335s. A Shure wireless system sends his signal to a rack set-up with an ISP noise gate, just in case White’s P-90s are picking up a lot of noise. From there, it hits a Dunlop Cry Baby and DVP1XL, then a MIDI-controllable RJM Effect Gizmo, which handles White’s effects: an MXR Reverb and Poly Blue Octave, Strymon TimeLine and Mobius, API Select TranZformer GTR, and a Custom Audio Electronics 3+SE Guitar Preamp, which gets engaged for clean tones and small combo sounds. A Lehle Dual SGoS Switcher and Fishman Aura DI Preamp handle changes with the piezo-equipped guitars. A Strymon Zuma provides the juice.
BONES UK’S CARMEN VANDENBERG
Carmen Vandenberg’s Pedalboard
Carmen Vandenberg covers a lot of ground with her Bones UK guitar sounds, and she’s got a carefully curated collection of stomps to span the territory. Her guitar first hits an Ernie Ball Cry Baby before running through the rest of the pedals: a Boss TU-3, Fulltone OCD, Supro Drive, Pigtronix Octava, EHX Micro POG, Supro Chorus, Blackstar Dept. 10 Boost, EarthQuaker Devices Dispatch Master, MXR Carbon Copy Deluxe, Catalinbread Belle Epoch, and Boss NS-2. A Live Wire Solutions ABY manages the signals on their way to her signature Blackstar CV30s.
BLACK PUMAS’ ADRIAN QUESADA, BRENDAN BOND, AND ERIC BURTON
Adrian Quesada’s Pedalboards
Adrian Quesada loves tremolo and reverb, and uses a Strymon Flint for both. His other main stomp is the Electro-Harmonix Holy Grail that provides a healthy dose of spring reverb. Also along for the tour: a Line 6 Echo Park, a Catalinbread Echorec, a Boss GE-7 Equalizer, a Catalinbread Belle Epoch, and an EarthQuaker Devices. The Fulltone Clyde Wah Deluxe has stepped in for a different filter sweeper. There’s also a JAM Pedals Ripple two-stage phaser, and a TC Electronic PolyTune2 Noir keeps his guitars in check. That’s all on board one.
His second board includes a JHS 3 Series Delay, a JHS Crayon, and an Electro-Harmonix Nano POG. Utility boxes on here—Strymon Ojai, JHS Mini A/B, and TC Electronic PolyTune—handle switching, tuning, and power.Brendan Bond’s Pedalboard
Three pedals get the job done for Mr. Bond: an Acme Audio Motown D.I. WB-3 passive D.I., a JHS Colour Box, and a Boss TU-3 Chromatic Tuner.
Eric Burton’s Pedalboard
Frontman and guitarist Eric Burton is the band’s lone wireless member. To accommodate his onstage prowling, tech Bryan Wilkinson uses a Radial JDI passive direct box that takes in the XLR from the audio subsnake wireless rackmount and routes it into the first pedal: a Boss TU-3 Chromatic Tuner. From there, Burton only has a couple pedals—a DigiTech Mosaic to mimic a 12-string for “OCT 33” and a JHS Colour Box for any required heat. A Strymon Ojai turns everything on.
JASON ISBELL AND SADLER VADEN
Jason Isbell’s Pedalboards
Jason Isbell could open a huge gear shop just by clearing off his boards and racks. First off, he has a complex wet/dry/wet setup that is parsed out via a RJM Mastermind, with two Magnatone Twilight Stereo combos carrying the all-wet effects. There’s also a Radial JX44v2, which serves as the core signal manager. Above it, on the rack, is an Echo Fix Chorus Echo EF-X3R. Moving up the rack, one drawer includes an Ibanez DML10 Modulation Delay II, EarthQuaker Devices Tentacle, and a trio of stereo-field-only effects: a Boss MD-500, Strymon Volante, and Hologram Electronics Microcosm. Another level up, you’ll find a Chase Bliss Preamp Mk II, Chase Bliss Tonal Recall Delay, Chase Bliss Dark World Reverb, Chase Bliss Condor EQ/Filter, Chase Bliss Gravitas Tremolo, Chase Bliss CXM-1978 Reverb (stereo-field only), Keeley 30ms Automatic Double Tracker, gold Klon Centaur, Analog Man Sun Lion Fuzz/Treble Booster, Analog Man King of Tone with 4-jack mod, Keeley 4-knob CompROSSor, Pete Cornish OC-1 Optical Compressor, EHX Micro POG, Analog Man ARDX20 Delay, and a trio of Fishman Aura Spectrum DIs.
Sadler Vaden’s Pedalboard
Isbell’s 6-string sparring partner Sadler Vaden’s pedalboard chain starts with a Dunlop Clyde McCoy Wah, then a Lehle volume pedal, which feeds the Gig Rig. He uses a Line 6 M5 with a Dunlop expression pedal for a lot of modulation effects. Other pedals include a Crowther Prunes & Custard, Nordvang No.1, an Analog Man Dual Analog Delay, Comp, and King of Tone, a Strymon BlueSky, and a Greer Lightspeed. Every effect is isolated into the Gig Rig. The board has four outputs, two for each side of his 3rd Power British Dream, one for a Marshall plexi, and one that goes to an aux line and splits to a Vox Pacemaker. The auxiliary line is as a backup in case Sadler’s amps go down. It consists of a Strymon Iridium into a Seymour Duncan Power Stage that goes to FOH. And finally, his acoustic pedalboard sports a Shure wireless running into an ART Tube MP/C preamp into a L.R. Baggs Venue DI, with a Radial Engineering Bigshot selector.
MICHAEL LEMMO
Michael Lemmo’s Pedalboard
Rising star player Michael Lemmo relies on his stomps for tone sculpting, but he doesn’t need much to get the job done. His signal hits a Korg tuner, followed by an Xotic EP Booster, Bearfoot FX Honey Bee OD, Red Panda Context, Boss DD-7, and TC Electronic Ditto. They’re all juiced by a Truetone 1 Spot Pro CS7.
HELMET’S PAGE HAMILTON
Page Hamilton’s Pedalboard
Page Hamilton used to travel with a full Bradshaw rig with rack gear, but he’s reduced things to a pair of Eventide H9 units and a handful of Boss boxes—a PS-5 Super Shifter, a MT-2W Metal Zone Waza Craft, a TS-2 Turbo Distortion, a NS-2 Noise Suppressor, and a FB-2 Feedbacker/Booster. A couple of Peterson Stomp Classic tuners keep his ESP Horizons ready, and a Boss ES-5 Effects Switching System organizes all his sounds and settings.
BARONESS’ JOHN BAIZLEY, GINA GLEASON, AND NICK JOST
John Baizley’s Pedalboard
The Baroness frontman’s board is packed with staged dirt boxes and tasteful mod stomps, all held in check with a GigRig G2, Peterson StroboStomp, and Ernie Ball Volume Pedal. The crown drive jewels are a heavily modded EHX Big Muff and Crowther Double Hot Cake, but a Beetronics FX Overhive and Pro Co RAT add sizzle, too. A Boss DD-3, DM-2W, and TR-2, EarthQuaker Devices Dispatch Master and Tentacle, MXR Phase 90 and Dyna Comp, and EHX Deluxe Memory Man handle the rest, while a DigiTech Whammy lurks for its moment to blast off.
Gina Gleason’s Pedalboard
Gleason’s favorite drive these days is the EQD Zoar. Piling on top of that are a MXR Super Badass Distortion, MXR Timmy, modded EHX Big Muff, and a touchy Philly Fuzz Infidel prototype; an Xotic SP Compressor and UAFX 1176 Studio Compressor tighten things up when needed. Three time machines—the Strymon TimeLine, EQD Space Spiral, and Boss DD-3—handle delay, and a Walrus Slo dishes out reverb. The MXR EVH Phase 90 adds some color along with another DigiTech Whammy. The Ernie Ball Volume Pedal, Peterson StroboStomp, and GigRig G2 finish the line-up.
Nick Jost’s Pedalboard
The bassist’s board is powered by an MXR Iso-Brick, with an Ernie Ball Volume Pedal and Boss TU-3 pulling utility duties before an Xotic Bass BB Preamp, Boss ODB-3, DOD FX69B Grunge, MXR Stereo Chorus, and Tech 21 SansAmp Bass Driver DI.
WOLFMOTHER’S ANDREW STOCKDALE
Andrew Stockdale’s Pedalboard
When we walked into Nashville’s Eastside Bowl for this Rig Rundown with Wolfmother’s alpha canine, Andrew Stockdale, it sounded like he was playing his SG through a Marshall stack at head-ripping volume. Nope! Stockdale was blasting skulls apart with a Line 6 HX Stomp doing the heavy tonal lifting. The rest of his board’s layout is a Snark floor tuner, an EHX Micro Synth (a Wolfmother staple), an Xotic AC Booster, an EHX Micro POG, a Dunlop Cry Baby 535Q Multi-Wah, a Boss TR-2 tremolo, a CIOKS DC5 power supply, and Shure GLXDC+ wireless.
FEARLESS FLYERS' CORY WONG AND MARK LETTIERI
Cory Wong’s Pedalboard
Through a Shure GLXD16 wireless system, Cory Wong flows his guitar into his Neural DSP Quad Cortex, which runs a beta version of his Archetype: Cory Wong plugin, based off of a melding of a Dumble and a Fender Twin. The signal hits an onboard envelope filter and rarely used pitch shifter, then exits out the effects loop into a Wampler Cory Wong Compressor, Jackson Audio The Optimist, and a Hotone Wong Press. The signal goes back into the Quad Cortex, where there’s a preset phaser, stereo tape delay, and modulated reverb, plus a freeze effect. Two XLR outs run to front of house, while two run to Wong’s Mission Engineering Gemini 2 stereo cabinet.
Mark Lettieri’s Pedalboard
Mark Lettieri’s signal first hits a Keeley Monterey Custom Shop Edition, followed by an MXR Deep Phase, J. Rockett HRM, J. Rockett Melody OD (Lettieri’s signature), Pigtronix Octava, and a Dunlop DVP4, all powered by a Strymon Ojai. A TC Electronic TonePrint Plethora X5 pedalboard handles coordination and switching between the devices.
SLASH’S BLUES BALL BAND
Slash’s Pedalboard
“I haven’t had a pedalboard in front of my feet since the ’80s,” Slash told us. But with the Blues Ball tour, he kept it simple, stomping his own boxes. His chain includes a Peterson StroboStomp, Dunlop Cry Baby, MXR CAE Boost/Line Driver, Ibanez TS9 Tube Screamer, MXR EVH90, BBE Soul Vibe Rotary Simulator, Boss DD-3 Digital Delay, and MXR Uni-Vibe, with everything powered by a Voodoo Lab Pedal Power 2 Plus. All pedals are taped down with their settings dialed in. When his signal leaves the board, it hits a Whirlwind Selector A/B box, where it splits off between his amps and his Talk Box rig.
Tash Neal’s Pedalboard
Tash Neal keeps a modest pedalboard at his feet: a D’Addario Chromatic Pedal Tuner, Dunlop Cry Baby, XTS Custom Pedals Precision Multi-Drive, EHX Green Russian Big Muff, and a Fender Waylon Jennings Phaser, powered by a T-Rex Fuel Tank.
RANCID’S MATT FREEMAN
Matt Freeman’s Pedalboard
Bassist Matt Freeman’s signal goes wireless into one of his Avalon U5 Class A Active Instrument DI and Preamps, and then through a Way Huge Pork Loin Overdrive, set to give his Bassman a good push.
CHRISTONE “KINGFISH” INGRAM
Kingfish’s Pedalboard
Kingfish’s signal starts with a Shure Wireless BLX4, which hits a Boss TU-3w Chromatic Tuner. From there, the route is a Dunlop Cry Baby Mini Wah, a Marshall ShredMaster, and a Boss DD-3 Delay. The pedals live on a Pedaltrain Nano board and were assembled by Barry O’Neal at XAct Tone Solutions.
DIXIE DREGS’ STEVE MORSE
Steve Morse’s Pedalboard
Steve plays through a pair of 3-channel Engl Steve Morse signature 100-watt amps—one wet, one dry—but his pedal chain is relatively simple: a Keeley Compressor, two Ernie Ball volume pedals, two TC Flashbacks, a TC Electronic Polytune, and a foot controller for his Engls.
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.