It didn’t take too long for Welsh guitarist Chris Buck to go from making YouTube videos to playing the legendary Royal Albert Hall. Earlier this year, he brought his band Cardinal Black to the U.S. for a short tour that included a stop at Nashville’s Basement East. That’s where PG’s John Bohlinger caught up with Buck before the gig for a look at what’s powering his blues-rock sound these days.
Buck’s trademark goldtop Yamaha Revstar is out for the rip, and he spared little space on his double-tiered pedalboard, but a special loaner Gibson and a modded Fender amp added some extra flair to the Nashville show.
Brought to you by D’AddarioRev the Engine
Built by Yamaha’s custom shop in Calabasas, California, this goldtop Revstar came to Buck during NAMM 2020. He likes that the newer style doesn’t have the “baggage” attached to it that a Strat or Les Paul does. This one was built mostly to typical RS502 specs, with two P-90 pickups, a 3-way selector switch, wraparound bridge, and a chambered body. Buck fits this one with Ernie Ball Mega Slinky strings (.0105-.048) and strikes it with Jim Dunlop Tortex 1.14mm picks—a choice he copped from his guitar hero Slash.
Black Bird
Buck was inspired by Rival Sons’ guitarist Scott Holiday to snag this Firebird-style Firehawk by French builder Springer, complete with a Vibrola system. It’s fitted with Sunday Handwound pickups.
Loaner Les Paul
On his way into Nashville, Buck worried that he didn’t have a Revstar-style backup should his main axe go down, so he hit up Gibson’s Mark Agnesi for a suitable option. Agnesi came through with this 1958 Les Paul Junior Double Cut Reissue, a no-frills rock machine equipped with a single P-90 pickup.
Sweet Victory
Victory has helped Buck out on his American run by hooking him up with V40 Deluxe combos where they can. In Nashville, Buck ran the V40 in a dual-mono setup with a Fender Deluxe Reverb, which had been modded and loaned by Mythos Pedals’ Zach Broyles. The first channel emulates a Bassman sound, while channel two is classic Deluxe Reverb.
Two-Tier Tone Temple
Buck might’ve left his amps back home, but he made up for the absence with a shop’s worth of tone-sculpting tools. This stomp station houses two levels of pedals, with first in the chain being a classic Dunlop Cry Baby. Next is a ThorpyFX Electric Lightning, Buck’s signature drive pedal, then a 29 Pedals EUNA, Mythos Golden Fleece, Mythos Mjolnir, Mythos Air Lane Drive, Snouse BlackBox Overdrive 2, Great Eastern FX Co. Small SPeaker Overdrive, Analog Man King of Tone, Origin Effects Cali76, Universal Audio Golden Reverberator, and Keeley Katana.
Then comes Buck’s modulation section, starting with a Mooer Trelicopter and a Catalinbread Echorec. A Line 6 HX Stomp XL handles some more delay and reverb sounds, plus some chorus. A Universal Audio Starlight Echo Station and Boss RE-202 Space Echo finish off the chain. A GigRig G3 helps Buck switch things up without breaking a sweat.
Shop Chris Buck's Rig
Gibson 1958 Les Paul Junior Double Cut Reissue
Ernie Ball Mega Slinky Strings
Fender Deluxe Reverb
Dunlop Cry Baby
Origin Effects Cali76
Universal Audio Golden Reverberator
Keeley Katana
Catalinbread Echorec
Line 6 HX Stomp XL
Universal Audio Starlight Echo Station
Boss RE-202 Space Echo
Marcus King plays his Gibson Hummingbird at his Nashville Guitar Center in-store last week.
King plays his song “Hero,” on his 1961 Gibson Les Paul SG.
After performing his song “Hero” on his vintage SG, King told the SRO crowd that both his guitar playing and singing were born out of ways to overcome shyness and interact with the world. “I was too bashful to say anything. I didn't have much interest in speaking to others. I just like hanging out with my dog. I don't know if I'm too dissimilar from that now, but the guitar kind of spoke where I couldn't. So when I started singing, it was kind of the same emotion. I'd rather sing than speak. With the best abilities, you can just be a vessel allow something extraordinary to flow through you. Not saying anything I do is extraordinary per se, but I just have a real respect and reverence for music, for just being able to create and get your emotions out that way instead of harboring them.”
King’s primary instrument is his grandfather’s ES-345, named Big Red, which served as a model for the Gibson Marcus King Signature ES- 345 Custom, which was unveiled in early 2021.
Recalling his early years, King attested, “Gibson was always the go-to. It was the Cadillac of guitars in my household. My grandfather played Big Red, which was his ES-345 that I have now. And my dad played an SG. My uncle played a Les Paul Deluxe, and a Marauder.” Over the course of the session, King performed with an SG, a Les Paul Junior, a Hummingbird acoustic, and his cherished family heirloom, the “Big Red” ES-345, which was refurbished by the Gibson Custom Shop in Nashville.
King’s pedalboard for the in-store was a variation on his latest Rig Rundown setup, including a Dunlop Cry Baby wah, an MXR Booster, an Ibanez TS9 Tube Screamer, a Tru-Fi Two Face fuzz, MXR Micro Chorus, Dunlop Rotovibe chorus/vibrato, MXR Phase 100, Tru-Fi Ultra Tremolo, Dunlop Echoplex Delay, MXR reverb, and a Voodoo Lab Pedal Power 3 plus.
Electro-Harmonix Lizard King Review by premierguitar
A big part of that flexibility starts with the sun/shadow switch. Sun mode features a mid-boosted fuzz bookended by enhanced treble and bass in the clean side of the blend. The shadow mode features flat bass and treble response and a much tighter fuzz. Each mode can be radically reshaped by the octave, blend, and tone controls, which, in various configurations, span warm overdrive with a little fuzz and fizz, glowing at the edges and thuggish realms. Many of the tones in the latter range are predictably chaotic, belching strange, colliding overtones that can sound quite tattered at more aggressive blend, tone, and octave settings—especially when you play down low on the neck. The same tones can be tightened up by playing in higher positions and especially at the 12th fret and above. The most cohesive of these tones can sound devastating while doubling, say, an SG and a Big Muff. But using subtler, hazier, and more modest octave fuzz textures can provide hip juxtaposition to mellower sounds from acoustic guitar to electric piano and synth string ensembles.
Electro-Harmonix Lizard King Octave Fuzz Pedal
