Down Under’s number one country guitar export—and November 2024 Premier Guitar cover model—Keith Urban rolled into Cincinnati’s Riverbend Music Center last month, so John Bohlinger and the Rig Rundown team drove up to meet him. Urban travels with a friendly crew of vintage guitars, so there was much to see and play. In fact, so much that they ran out of time after getting through the axes! Later, Bohli and Co. met up with Urban tech Chris Miller to wrap their heads around the rest of the straightforward pedal-free rig he’s rockin’ this summer.
Last year, Urban released High, his 12th studio record, so you’ll be sure to catch those tunes and more in his extensive jam-friendly sets. Here’s a look at what Keith is bringing with him to stages across the U.S., including a prototype signature PRS to vintage Gibsons and a pair of heavy-lifting Marshalls.
Keith shows off his latest go-to, which is the prototype for his PRS signature axe. “It started from me wanting to see if I could get a guitar that I could lean on most of the night,” Urban says of the ongoing design project. He tells Bohlinger he was looking for a better tonal response than his preferred Tele, “Clarence”—a 1989 Fender Custom 40th Anniversary model—and blended in some measurements from some of his Gibsons.
The humbucker-loaded PRS has a sunburst finish and a unique f-hole inspired by Urban’s left-forearm tattoo. This one has a Fender scale, but they’re still refining the neck details for the signature model.
Here’s Clarence
And lest we forget. Here’s a look at Clarence, Urban’s workhorse guitar until this tour.
Spirit of ’52
Here‘s what an original-year-of-issue GibsonLes Paul that’s still running the miles looks like, complete with trapeze tailpiece. This ’52 goldtop and its kin established the template.
Single-coil Joy
Apparently there was some magic in 1964, and it made its way into that year’s Stratocasters. Strats like Urban’s ’64 are considered among the best in the breed, known for their balanced tone, comfy neck profile, original black-bottom pickups, transitional logos, and the dot fretboards on models made early that year.
Bass Break
There’s one song in the set where Urban tackles bass duties, and he turns to this 1972 Fender Mustang bass, which he loves for its punchy tone. The electrical tape on the lower bout is there to ensure that the pickguard stays put!
An SG You Just Have to Play
This 1964 Gibson SG Junior is one Urban insists Bohlinger plays to understand. “I love the simplicity of it,” Urban says. The cherry red axe was a gift from session legend Dann Huff. He also rocks a ’52 Les Paul during the course of the set.
Urban turns to D’Addario NYXL strings—.010s in most cases—and he goes back and forth between his D’Addario signature Ultem pick with raised edges and D’Addario Casein picks.
All Amp
This pair of 100-watt Marshall Super Lead JMPs does most of the heavy lifting to bring Urban’s tone to life—he’s rolling sans pedalboard for this tour! The bottom head is the main one and the top one is there just in case. Since these monsters have to deliver overdriven tones, they stay cranked—the gain sits around 7—and they push a vintage checkerboard Marshall 4x12 loaded with Celestion G12H-150 Redbacks.
Post Amp Effects
Delays and modulation are all added to Urban’s tones after three mics capture the sound of the Marshall cab. That signal hits this Fractal Axe-Fx II XL+, which Chris Miller controls offstage. A Mission Engineering expression is the only pedal Urban utilizes, which controls a model of a Cry Baby in the Fractal.
A sub-$1K SE version of PRS’ imaginative T-style evolution delivers insane value via deep-dish Narrowfield pickups, an ash body, and comfort few T-Styles can match.
PG contributor Tom Butwin tries the Lutefish Stream, a desktop device that lets musicians rehearse, record, and collaborate online with ultra-low latency. Tom tours the hardware, explores the browser-based mixer, and enlists a musical collaborator to test a real-time rehearsal for an upcoming performance.
PG contributor Tom Butwin features the all-new Hotone Verbera. The dual-engine reverb pedal blends IR realism with algorithmic creativity and adds the ability to clone your favorite reverb effects.
Ever imagined your sound echoing through a sold-out stadium? Or reverberating off the metallic walls of a NASA spacecraft hangar? What if your guitar fell into a cosmic white hole… or drifted through the vaulted ceilings of a centuries-old cathedral?
Welcome to Verbera — where imagination meets reality. This is not your typical software convolution plugin. Verbera is a standalone, hardware-based convolution reverb pedal — with Instant IR loading, stunning tweakability, and boundless sonic range. Whether you’re recreating iconic spaces, vintage hardware, or crafting otherworldly reverbs never heard before, Verbera gives musicians and engineers a powerful new tool for both live and studio setups.
PG contributor Tom Butwin details four pedalboard options that can help your acoustic sound its best onstage or in the studio. From subtle enhancements to total tone control, these preamps and effects from Grace Design, LR Baggs, and Radial cover the needs of any serious acoustic player.
Grace Design’s Moxi is a powerful dual-channel preamp and blender that offers studio-level control in a surprisingly compact footprint. With independent EQ and high-pass filtering on both channels, it’s perfect for managing multiple instruments or pickups—especially in live scenarios where switching between guitars can be a headache. What sets it apart is the ability to blend two sources (like mic + pickup) or quickly toggle between instruments with different EQ profiles. Whether you’re solo or managing your own sound, the Moxy keeps your setup flexible without sacrificing tone.
The Session from LR Baggs is a smart, stage-ready pedal designed to give your acoustic guitar signal that final polish. Even if your pickup already sounds great, this pedal adds subtle compression and harmonic richness that really elevate your tone. With controls for volume, gain, saturation, and a simplified “comp EQ,” it's incredibly intuitive—especially for those of us who don't want to get lost in compressor settings. The goal here is to retain the natural sound of your acoustic while giving it a warm, studio-finished edge.
The Align Chorus by LR Baggs gives acoustic players a lush, musical modulation option without compromising their guitar’s natural tone. Instead of overwhelming your sound, the pedal preserves your guitar’s character while adding subtle to rich chorus textures. The tone knob only affects the chorus effect itself, not your dry signal, which is key if you love the core tone of your instrument. With intuitive controls for depth and size, it’s easy to dial in anything from a gentle shimmer to a more expansive chorus that still feels organic and usable.
Radial’s PZ Pre is a tone-shaping Swiss Army knife for acoustic players. With two inputs, full EQ, a notch filter, effects loop, and multiple output options (pre- and post-EQ), this pedal is all about adaptability. It excels in complex stage setups where you might need different EQ profiles for monitors and front of house, or if you’re switching between instruments. The A/B toggle makes instrument changes seamless, and the boost function is perfect for stepping out during a solo. Whether you play acoustic guitar, upright bass, or even switch between them, the PZ Pre handles it all with pro-level control.
