Here are 16 of our favorite stomp stations from the past year, including Chris Shiflett, Joe Bonamassa, Gary Holt, J Mascis, the Aristocrats’ Bryan Beller, Wolf Van Halen, Shinedown, and more.
The Aristocrats’ Bryan Beller
Photo by Manuela HäuBler
Starting at top right, Bryan Beller’s board has a pair of Xotic EP Boosters to bring up the output of his two passive instruments to match his Lull bass. Next comes a Demeter COMP-1 Opto Compulator that’s always on, followed by a TC Electronic Hall of Fame Reverb, Boss CE-2B Bass Chorus, Boss DD-3 Digital Delay, and a TC Electronic Flashback Delay/Looper. Moving to the bottom left, there’s a Boss OC-2 Octave and an Xotic Bass BB Preamp (Beller’s main overdrive). The Darkglass Electronics Vintage Microtubes and MXR M109S Six Band EQ are used for a beefier, RAT-like sound. Then there’s an EHX Micro POG set to an octave up and an old DigiTech X-Series Bass Driver that pushes the BB Preamp and runs into the Dunlop 105Q Cry Baby Bass Wah pedal (white), giving vocal-like sweeps more definition. Beller also has a Dunlop DVP3 Volume (X) Volume and Expression pedal and a Boss TU-2 Chromatic Tuner. Beller has incorporated the Behringer FCB1010 MIDI controller into his rig so he can provide some “low-rent Geddy Lee” moments in the set via a Roland JV-1010 64-Voice Synth Module.
Beller has incorporated the Behringer FCB1010 MIDI controller into his rig so he can provide some “low-rent Geddy Lee” moments in the set via a Roland JV-1010 64-Voice Synth Module.
Using the Raven Labs MDB-1 Mixer/Direct Box/Buffer for his pedals and running the Roland JV-1010 into his amps allows Beller to employ both his bass and the synth module at the same time.
Rig Rundown: The Aristocrats' Guthrie Govan & Bryan Beller [2022]
Nitty Gritty Dirt Band’s Jeff and Jaime Hanna
Jeff Hanna
Jeff Hanna, who co-founded the Nitty Gritty Dirt Band in 1966, runs his acoustic guitars through a Fishman Aura Spectrum DI and a Boss TU-3 Chromatic Tuner. The electric side of his board includes another Boss TU-3, a Paul Cochrane Tim V3 Overdrive, a Keeley Katana Clean Boost, a J. Rockett GTO, a Keeley-modded Boss TR-2 Tremolo, and a Keeley Mag Echo.
Jaime Hanna
His son Jaime combines acoustic and electric pedals on one board. The acoustic side features a Fishman Aura Spectrum DI, Boss TU-3 Chromatic Tuner, and a Radial JDI direct box as a back-up. For electric, there’s an Ernie Ball volume pedal that feeds a TC Electronic tuner. The main out hits a Mesa/Boogie Stowaway Class-A Input Buffer, a Keeley Compressor, a Paul Cochrane Tim Overdrive, a J. Rockett Archer, an MXR Super Badass Distortion, a Boss GE-7 Equalizer modded by Nashville’s XTS, and a Line 6 M9 Stompbox Modeler Multi-Effects pedal. A Truetone 1 SPOT PRO CS12 provides the juice.
Rig Rundown: The Nitty Gritty Dirt Band’s Jeff and Jaime Hanna
Tetrarch’s Diamond Rowe
Photo by Amy Harris
Shredder Diamond Rowe keeps things succinct. Her stage setup features an always-on Ibanez TS9 Tube Screamer and a DigiTech Whammy for pure fun and note obliterating. A pair of utilitarian Boss stomps—an NS-2 Noise Suppressor and TU-3 Chromatic Tuner—keep her strings clean and accurate. There’s also a Voodoo Lab Pedal Power ISO-5 and Ground Control Pro MIDI Foot Controller.
In a separate rack, Rowe hides her “freak tone” patch. There lurks a Boss RV-6 Reverb, Boss DD-7 Digital Delay, Boss CE-5 Chorus Ensemble, and a MXR Uni-Vibe Chorus/Vibrato, plus a pair of tucked-away MXR Carbon Copy Analog Delays. The rack toys are fired by a Voodoo Lab Pedal Power 2 Plus.
Rig Rundown: Tetrarch's Diamond Rowe & Josh Fore
Marcus King
Roots powerhouse MarcusKing runs his guitar’s cable into a Dunlop Volume (X) 8. Then his signal hits 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 Radial Shotgun signal splitter and buffer. Juice? That’s via a Voodoo Lab Pedal Power 3 Plus.
Marcus King's Pedalboard
Foo Fighters’ Chris Shiflett
The mega-rockers’ Chris Shiflett starts his pedalboard with an EHX Micro POG, followed by a JHS Muffuletta, an MXR Flanger and EVH Phase 90, an EHX Holy Grail reverb, a Strymon Deco, and a Klon KTR. The next row sports a Boss CE-2W Waza Craft Chorus, a couple of Strymon TimeLines (one for each amp), and down below is a trio of Xotics—an EP Booster, SP Compressor, and an XW-1 Wah. Utilitarian boxes include a Lehle Little Dual II Amp Switcher, a Palmer PLI-05 Line Isolation Box, a Boss FS-5L Foot Switch (to toggle between clean and dirty on his Friedman Brown Eye), and a TC Electronic PolyTune.
Chris Shiflett's Pedalboard
Mammoth WVH's Wolf Van Halen
Wolf Van Halen brought every EVH pedal (aside from the 5150 Overdrive) for his band’s 2022 tour. The Dunlop EVH95 Cry Baby Wah gets a workout for the solo of “You’ll Be the One.” The MXR EVH 5150 Chorus and the MXR EVH Phase 90 have become interchangeable for him. The MXR EVH117 Flanger gets sprinkled in, and for the solo on “Distance,” he always uses the Boss DD-3 Digital Delay and the EarthQuaker Devices Afterneath. An acoustic DI and tuner consume the rest of the real estate.
Wolf Van Halen's Pedalboard
Full Rig Rundown: https://bit.ly/MammothWVHRRSubscribe to PG's Channel: https://bit.ly/SubscribePGYouTubeMammoth WVH's leader details and demos the series of ...Mammoth WVH’s Ronnie Ficarro
Ronnie Ficarro
Ronnie Ficarro’s bass stomp station hosts a trio of EVH-inspired pedals: an MXR EVH 5150 Chorus, a MXR EVH 5150 Overdrive, and the MXR EVH Phase 90—plus an EHX Pitch Fork for approximating the low B roar that Wolf recorded on the song “Epiphany.” The nondescript silver box is a channel switcher for his Fender Super Bassman, and a Peterson StroboStomp HD does the tuning.
Rig Rundown: Mammoth WVH
El Ten Eleven’s Kristian Dunn
As half of this bass and drums duo, Kristian Dunn used to use three pedalboards, crouching down and manipulating settings all night. Today, he depends primarily on a Line 6 M9 Stompbox Modeler, although it’s two Boomerang III Phrase Samplers that make an El Ten Eleven show happen. In line, they’re separated by the DigiTech Bass Whammy. Dunn routes his signal this way so he can use the Whammy to shift octaves or keys on entire loops in Phrase Sampler one. The second Phrase Sampler, after the Whammy, allows him to pitch-shift specific loops without impacting the whole song or other loops. The Strymon TimeLine conjures precise repeats and specific delay settings not in the M9. The EHX Superego Synth Engine is a secret weapon, for reverse-sound passages. When he holds down the freeze function and plays the next note, it’s not audible until he releases the switch, and then the ongoing audible note blends into the second note. Cool, right? The remaining two pedals are a Nu-X NFB-2 Lacerate FET Boost and a Marshall GV-2 Guv’nor Plus. His tuner: a Boss TU-3 Chromatic. A Custom Audio Electronics RS-T MIDI Foot Controller makes Dunn’s scene changes easier, talking with the M9 and Strymon to alleviate some tap dancing.
Rig Rundown: El Ten Eleven's Kristian Dunn
Shinedown’s Zach Myers
For the Shinedown guitarist, everything starts at the Fractal Audio Axe-Fx IIIs—a main and a backup. There are four channels of Shure UR4D+ wireless units (three for electric and one for acoustic). An AES digital out runs to an Antelope Audio Trinity Master Clock and Antelope Audio 10MX Rubidium Atomic Clock. This helps fatten the fully stereo, digital rig by converting it to analog. After that, IRs off the Axe-Fx (left and right) channel into a pair of Neve DIs that then feed a Fryette G-2502-S Two/Fifty/Two Stereo Power Amplifier. (There’s another for backup.) And finally, parallel signals go to two ISO cabs and two Universal Audio OX Amp Top Box reactive load boxes. Altogether, there are eight channels of guitar.
While tech Drew Foppe handles the racks, Zach still has some control at his toes via a Dunlop MC404 CAE Wah, DigiTech Whammy 5, Ernie Ball 40th Anniversary Volume Pedal, and the Fractal Audio FC-6 Foot Controller. A Voodoo Lab Pedal Power 2 Plus gives life to these pedals.
Rig Rundown: Shinedown's Zach Myers & Eric Bass [2022]
Shinedown's Eric Bass
Eric Bass’ Prestige basses hit the Shure UR4D+ wireless units (similar to Myers, he has three channels for electric and a channel for acoustic), then a Neve DI, and then a Radial JX44 signal manager that feeds into an Ampeg SVT-7 Pro for clean tone (with an extra for backup).
His onstage pedalboard includes a Dunlop 105Q Cry Baby Bass Wah, a DigiTech Bass Whammy, and an MXR M299 Carbon Copy Mini Analog Delay. The ‘Gas’ switch engages a Mojotone Deacon, and a Radial SGI-44 1-channel Studio Guitar Interface connects with his rackmount JX44, while a Boss TU-3W Waza Craft Chromatic Tuner and Voodoo Lab Pedal Power 2 Plus complete the lineup.
Hannah Wicklund
Photo by John VandeMergel
Blueser Hannah Wicklund’s pedalboard is stacked for bruising. Once the signal gets past her MXR Talk Box and Dunlop JC95 Jerry Cantrell Signature Cry Baby, it hits the channel switch for her Orange head. That stays in overdrive mode for about 75 percent of her set, which she says gives her sound its grizzly-bear lows. Next up is a classic—a Boss BD-2 Blues Driver. But this one has a Keeley mod that opens up the low end and keeps mids and highs better defined. The BD-2 gets some atmospheric help via a Dunlop EP103 Echoplex Delay, and the J. Rockett Archer also pairs with the BD-2. There’s an MXR Micro Flanger and an EHX Nano POG, a T. Rex Room-Mate Tube Reverb (on a hall setting), and a Peterson StroboStomp HD, plus an MXR Carbon Copy and a Keeley Rotten Apple OpAmp Fuzz.
Rig Rundown: Hannah Wicklund
Code Orange’s Reba Meyers
Reba Meyers’ tone starts with her signature ESP LTD RM-600 guitar and her 5150 head, but from there her sound is processed via a Fractal Audio Axe-Fx III run through the effects loop of her amp and used to coordinate channel switching. Meyers notes that for some songs she uses it only as a gate, while for others she adds in precise modulation, delay, reverbs, and “noise.” The rest of the rack features a Two-Notes Torpedo Captor X that she uses for cab sims and sending a pure, direct signal to FOH so they can mix that with the SM57 mic on the 4x12s. A Shure GLXD4 Wireless unit keeps her untethered and a RJM Mini Amp Gizmo uses MIDI to switch the amp via the Axe-Fx III.
Her actual board has two always-on pedals: the ISP Decimator II Noise Reduction and the Ibanez TS9 Tube Screamer. They’re joined by a Moog MF Ring Mod, a Boss PS-6 Harmonist, an AMT Electronics WH-1 Japanese Girl Optical Wah, and an Universal Audio Astra Modulation Machine. Everything is controlled by the RJM Mastermind PBC/10.
Reba Meyers' Pedalboard [Code Orange]
Joe Bonamassa
For his 2022 tour, Joe Bonamassa kept his pedalboard stocked with a Way Huge Smalls Overrated Special Overdrive, a Tone Mechanics/Racksystems Loop Box, a Tone Mechanics/Racksystems Splitter, a Fulltone Supa-Trem, a Hughes & Kettner Rotosphere, a Boss DD-2 Digital Delay, an MXR Micro Flanger, an Ibanez TS808 Tube Screamer, an EHX Micro POG, a Dunlop Joe Bonamassa Fuzz Face, a Lehle A/B/C Switcher, a Dunlop Joe Bonamassa Signature Cry Baby Wah in Pelham blue, and an on/off/fast/slow dual switch for his Mesa/Boogie Revolver rotating speaker cabinet. Juice came from a Voodoo Lab Pedal Power 2 Plus.
Joe Bonamassa's "Boomer" Pedalboard
Exodus’ Gary Holt
Thrash-metallurgist Gary Holt trusts most of his switching to his tech, Steve Brogdon, who triggers everything with a rack-mounted Voodoo Lab GCX Guitar Audio Switcher that coordinates with a Voodoo Lab Ground Control Pro MIDI Foot Controller. The pedals in Brogdon’s care include a Boss SD-1 Super Overdrive, Pro Tone Pedals Gary Holt Signature Mid Boost, Maxon OD-9, MXR Bass Octave Deluxe, Maxon FL-9 Flanger, TC Electronic Corona Chorus, Boss NS-2 Noise Suppressor, and a Darta Effects Bonded by Delay. A BBE Supa-Charger provides juice.
Holt still stomps these boxes himself: a Does It Doom Doomsaw, Mooer Tender Octaver, Mooer Green Mile, and a Dunlop JC95SE Jerry Cantrell Special Edition Crybaby Wah. A Shure GLXD16 Digital Wireless Guitar Pedal System lets him rock untethered.
Rig Rundown: Exodus' Gary Holt [2022]
Dinosaur Jr.’s J Mascis
For at least 10-plus years, J Mascis has used a Bob Bradshaw-built Custom Audio Electronics switcher as his mission control. His longtime stomps include a Tone Bender MkI/Rangemaster-clone combo pedal made by Built to Spill’s Jim Roth (bottom right corner), Mascis’ first EHX Ram’s Head Big Muff Pi (top right), a vintage EHX Deluxe Electric Mistress, an MC-FX clone of a Univox Super Fuzz (lower right, blue box), a pair of ZVEX pedals—a Double Rock (two Box of Rock stomps in one) and a Lo-Fi Loop Junky (both bottom left), a Tube Works Real Tube Overdrive, a Moog Minifooger MF Delay, and a Boss TU-3S Tuner. His recently added pedals are a Homebrew Electronics Germania 44 Treble Booster (lower right), a JAM Pedals RetroVibe MkII, an Xotic SL Drive, a Suhr Jack Rabbit Tremolo, a Dr. Scientist Frazz Dazzler fuzz, an EHX Oceans 11, and a Dunlop Jimi Hendrix ’69 Psych Series Uni-Vibe Chorus/Vibrato. Everything receives juice from an MXR MC403 Power System or an MXR M237 DC Brick.
J Mascis' Dinosaur Jr. Pedalboard
Milkman’s Jerry Garcia-style JG-40 combo.
Entire books about the Grateful Dead’s gear have been written, so we can’t cover it all here. Garcia tinkered with all facets of his sound from about 1971 until 1978, when his signal path reached stability. By then, his On-Board Effects Loop—an innovation he developed to control how much signal reached his effects—was dialed in, his backline firm, and his choice of effects pedals solidified. Even then, adjustments were made, especially when MIDI arrived or when technology like in-ear monitoring was used. Here are some basics.
Scarlet Fire’s recreation of Garcia’s Wolf, originally built by Doug Irwin.
It starts with guitars. For players wanting to get their Jerry on, there’s a wide range of Garcia-esque instruments—with just as wide a range of prices—out there. Recreations of the Doug Irwin guitars and the Fender Alligator Strat abound. China-built models from companies likePhred Instruments can go for as little as $700 or so. Luthier Thomas Lieber apprenticed with Irwin long ago, and his Lieber Guitars will deliver a copy of a variety of Garcia models. Leo Elliott’sScarlet Fire Guitars out of Dallas, Texas, takes things in another direction. Elliott builds Doug Irwin replicas that start at $20,000 and go up from there, with a current wait time of about 18 months for an instrument. He’s outfitted many of the top Garcia guitarists today, including Tom Hamilton Jr. and Jeff Mattson. Elliott says, “I’m a self-taught luthier; I didn’t really build my first guitar until 2010. I understood a little bit about woodworking before I got started, but I learned by reading books and through trial and error. I started building replicas of Doug Irwin’s Wolf guitar right away, which is sort of like building a car and starting with a Ferrari. I didn’t know any better. Then, eventually I got to know Doug Irwin and collaborated with him. So, I got to hold Garcia’s Tiger guitar and get to know it really well, and by 2015, I had built replicas of that guitar. There’s one guy who helps me around the shop, but otherwise, I am building these guitars on my own. I’m collaborating with Doug Irwin on a new series of Tiger guitars, which will retail for 50 grand each.” That’s one way to get your Jerry going.
The JBL-inspired Milkman K-140.
Garcia’s choice of amplifiers is another matter. He preferred Fender Twin Reverbs loaded with JBL Alnico speakers, which were popular amongst many rock bands in the 1970s. The details get complicated; Garcia’s amps were heavily modified, and the Fender Twin served as a preamp that ran to a McIntosh MC-3500 power amp.
It’s hard to find vintage JBL speakers today—at least ones in good shape. San Francisco’s Milkman Sound, founded by Tim Marcus, has created a faithful reproduction of those classic JBLsthey call the K-140. They’re coupling those speakers with a Garcia-style recreation of his Fender Twin that Marcus named the JG-40. “I think 75 percent of Jerry’s tone is in the JBL speakers,” Milkman’s founder says. “But when you start to analyze the other 25 percent, you kind of have to start withDon Rich. [Editor’s Note: Rich was the guitar player in Buck Owens’ band, pioneers of the Bakersfield Sound.] That’s Jerry’s tone, too, but the difference is Garcia’s midrange was a bit throatier. It sounds clean, but really, it’s not clean at the same time. Especially his tone in the late ’70s. There is something about running that Fender Twin Reverb through the McIntosh that would just completely blow out the tone in a really interesting way.”
Garcia colored his tone with off-the-shelf effects. This was, after all, long before the days of boutique pedals. By 1978 and beyond, you’d hear him playing through an MXR Distortion+, an MXR Analog Delay, and an MXR Phase 100. He often used auto wahs, preferring the Musitronics Mu-Tron envelope filter as well as a Mu-Tron Octave Divider and a Mu-Tron combination volume and wah pedal.
When I asked Jeff Mattson, Bella Rayne, and Tom Hamilton Jr. exactly how orthodox they are about using the kind of gear that Garcia did, I got three different answers.
Mattson tells me that because Dark Star Orchestra is doing something very specific, he really has to tailor his sound as carefully to Garcia’s as he can. “Some folks get too hung up on small things, like what kind of cable to use and things like that, and I don’t go that far. But it’s important for Dark Star Orchestra to get Jerry’s sound right because we are covering different eras and different shows. In 2022, for example, we went to Europe and recreated shows from the Dead’s famous Europe ’72 tour, so you have to pay close attention to what kind of gear they were using to do that right.”
Hamilton works differently. He’s always preferred a higher-gain signal than Garcia ever did, landing in more of a British or heavy metal tone. (Randy Rhoads was a big influence.) “I’ve always approached it like, ‘What’s the new information we can put into this thing?’” he says. “Not just recreate but pushing in a forward direction. And anytime I’ve played with the guys who played with Garcia back in the day, they always said to me, ‘You’re here because you’re here. Don’t try and do what we did back in 1978 or do it because Garcia did it that way.’ They’ve always encouraged me to be myself.”
Bella Rayne is just wrapping her head around what it really means to try to sound like Garcia. “Besides Jerry, I’m influenced by guitarists like Dickey Betts and Derek Trucks, so my tone tends to be a bit heavier and bluesy,” she explains. “I’m generally running a Stratocaster through a Fender Twin Reverb. But recently, I was doing a show, and a buddy of mine set up a Jerry rig for me, and that was so cool: JBL speakers, McIntosh head, the whole setup. I had never played through one. I didn’t know what the hype was all about. I plugged in, and it was just amazing; there was such a snap, and I was really commanding the band. I can see myself keeping my current rig but adding a Dead-rig to experiment. But honestly, anything is fine; I am not picky. I just want to play the best that I can.”
“The distinctive pickup configurations of these five guitars deliver a versatile tonal platform, whether you’re exploring subtle textures or pushing the envelope. The deep dive into our Narrowfield technology is obvious with this launch. With both the S2 models made in our Maryland factory and the SE models made in Indonesia, our goal has been to create guitars that will inspire you and spark creativity, all at an exceptional value,” said PRS Guitars COO, Jack Higginbotham.
S2 Special Semi-Hollow
The PRS S2 Special Semi-Hollow features a pair of 58/15 LT humbuckers in the bass and treble positions and a PRS Narrowfield in the middle. A 5-way blade switch and two mini-toggles allow players to tap the humbuckers, creating twelve distinct pickup combinations for sonic exploration. The carved maple top and mahogany back encompass a semi-hollow body that adds a natural airiness and depth to the guitar’s tone while enhancing sustain.
S2 Studio
The PRS S2 Studio delivers a wide range of sonic possibilities through its distinctive single-single-hum configuration. Featuring two proprietary PRS Narrowfield pickups in the bass and middle positions and a 58/15 LT humbucker in the treble position, the S2 Studio offers a palette of sounds from single-coil clarity to vocal humbucker tones. This model also has a 5-way blade switch and push/pull tone control.
SE Special Semi-Hollow
The PRS SE Special Semi-Hollow is designed with the versatility of a hum/“single”/hum setup, bringing PRS’s Narrowfield DD pickup design to the SE Series in a classic maple-top guitar. The semi-hollow construction also enhances sustain and resonance, while the f-hole adds a classic aesthetic. The coil-tap switching system unlocks a wide range of tones through a pair of 58/15 LT “S” pickups in the bass and treble positions and a PRS Narrowfield DD “S” in the middle.
SE Studio
The PRS SE Studio’s “single”/”single”/hum pickup configuration provides a wide range of tonal options. This combination of PRS Narrowfield DD “S” bass and middle pickups with a PRS 58/15 LT “S” treble humbucker offers humbucking warmth, single-coil sparkle, and everything in between. The 5-way blade switch and push/pull tone control further enhance its versatility.
SE Studio Standard
The only bolt-on neck in this release group, the PRS SE Studio Standard brings the tone, playability, and versatility of the Studio model to the SE Series and into an all-mahogany design with a vintage-style pickguard aesthetic. At the heart of the SE Studio Standard is its versatile trio of pickups: an 58/15 LT “S” humbucker in the treble position with two Narrowfield DD “S” pickups in the middle and bass positions. The 5-way blade switch and push/pull tone control allow for an array of pickup configurations.
PRS Guitars continues its schedule of launching new products each month in 2025. Stay tuned to see new gear and 40th Anniversary limited-edition guitars throughout the year.
