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
Onstage, Tommy Emmanuel executes a move that is not from the playbook of his hero, Chet Atkins.
“My biggest decision every day on tour is, ‘What do I want to start with? How do I want to come out of the gate?’” Emmanuel explains to me over a video call. “A good opener has to have everything. It has to be full of surprise, it has to have lots of good ideas, lots of light and shade, and then, hit it again,” he says, illustrating each phrase with his hands and ending with a punch.“You lift off straightaway with the first song, you get airborne, you start reaching, and then it’s time to level out and take people on a journey.”
In May 2023, Emmanuel played two shows at the Sydney Opera House, the best performances from which have been combined on his new release, Live at the Sydney Opera House. The venue’s Concert Hall, which has a capacity of 2,679, is a familiar room for Emmanuel, but I think at this point in his career he wouldn’t bring a setlist if he was playing Wembley Stadium. On the recording, Emmanuel’s mind-blowingly dexterous chops, distinctive attack and flair, and knack for culturally resonant compositions are on full display. His opening song for the shows? An original, “Countrywide,” with a segue into Chet Atkins’ “El Vaquero.”
“When I was going to high school in the ’60s, I heard ‘El Vaquero’ on Chet Atkins’ record, [1964’s My Favorite Guitars],” Emmanuel shares. “And when I wrote ‘Countrywide’ in around ’76 or ’77, I suddenly realized, ‘Ah! It’s a bit like “El Vaquero!”’ So I then worked out ‘El Vaquero’ as a solo piece, because it wasn’t recorded like that [by Atkins originally].
“The co-writer of ‘El Vaquero’ is Wayne Moss, who’s a famous Nashville session guy who played ‘da da da’ [sings the guitar riff from Roy Orbison’s ‘Pretty Woman’]. And he played on a lot of Chet’s records as a rhythm guy. So once when I played ‘El Vaquero’ live, Wayne Moss came up to me and said, ‘You know, you did my part and Chet’s at the same time. That’s not fair!’” Emmanuel says, laughing.
Atkins is the reason Emmanuel got into performing. His mother had been teaching him rhythm guitar for a couple years when he heard Atkins on the radio and, at 6, was able to immediately mimic his fingerpicking technique. His father recognized Emmanuel’s prodigious talent and got him on the road that year, which kicked off his professional career. He says, “By the time I was 6, I was already sleep-deprived, working too hard, and being forced to be educated. Because all I was interested in was playing music.”
Emmanuel talks about Atkins as if the way he viewed him as a boy hasn’t changed. The title Atkins bestowed upon him, C.G.P. (Certified Guitar Player), appears on Emmanuel’s album covers, in his record label (C.G.P. Sounds), and is inlaid at the 12th fret on his Maton Custom Shop TE Personal signature acoustic. (Atkins named only five guitarists C.G.P.s. The others are John Knowles, Steve Wariner, Jerry Reed, and Atkins himself.) For Emmanuel, even today most roads lead to Atkins.
When I ask Emmanuel about his approach to arranging for solo acoustic guitar, he says, “It was really hit home for me by my hero, Chet Atkins, when I read an interview with him a long time ago and he said, ‘Make your arrangement interesting.’ And I thought, ‘Wow!’ Because I was so keen to be true to the composer and play the song as everyone knows it. But then again, I’m recreating it like everyone else has, and I might as well get in line with the rest of them and jump off the cliff into nowhere. So it struck me: ‘How can I make my arrangements interesting?’ Well, make them full of surprises.”
When Emmanuel was invited to contribute to 2015’s Burt Bacharach: This Guitar’s in Love with You, featuring acoustic-guitar tributes to Bacharach’s classic compositions by various artists, Emmanuel expresses that nobody wanted to take “(They Long to Be) Close to You,” due to its “syrupy” nature. But for Emmanuel, this presented an entertaining challenge.
He explains, “I thought, ‘Okay, how can I reboot “Close to You?’ So even the most jaded listener will say, ‘Holy fuck—I didn’t expect that! Wow, I really like that; that is a good melody!’ So I found a good key to play the song in, which allowed me to get some open notes that sustain while I move the chords. Then what I did is, in every phrase, I made the chord unresolve, then resolve.
Tommy Emmanuel's Gear
“I’m writing music for the film that’s in my head,” Emmanuel says. “So, I don’t think, ‘I’m just the guitar,’ ever.”
Photo by Simone Cecchetti
Guitars
- Three Maton Custom Shop TE Personals, each with an AP5 PRO pickup system
Amps
- Udo Roesner Da Capo 75
Effects
- AER Pocket Tools preamp
Strings & Picks
- Martin TE Signature Phosphor Bronze (.012–.054)
- Martin SP strings
- Ernie Ball Paradigm strings
- D’Andrea Pro Plec 1.5 mm
- Dunlop medium thumbpicks
“And then to really put the nail in the coffin, at the end, ‘Close to you’ [sings melody]. I finished on a major 9 chord which had that note in it, but it wasn’t the key the song was in, which is a typical Stevie Wonder trick. All the tricks I know, the wonderful ideas that I’ve stolen, are from Michael Jackson, Stevie Wonder, Lionel Richie, James Taylor, Carole King, Neil Diamond. All of the people who wrote really incredibly great pop songs and R&B music—I stole every idea I could, and I tried to make my little two-and-a -half minutes as interesting and entertaining as possible. Because entertainment equals: Surprise me.”
I share with Emmanuel that the performances on Live at the Sydney Opera House, which include his popular “Beatles Medley,” reminded me of another possible arrangement trick. In Harpo Marx’s autobiography, Harpo Speaks, I preface, Marx writes of a lesson he learned as a performer—to “answer the audience’s questions.” (Emmanuel says he’s a big fan of the book and read it in the early ’70s.) That happened for me while listening to the medley, when, after sampling melodies from “She’s a Woman” and “Please Please Me,” Emmanuel suddenly lands on “While My Guitar Gently Weeps.”
I say, “I’m waiting for something that hits more recognizably to me, and when ‘While My Guitar’ comes in, that’s like answering my question.”
“It’s also Paul and John, Paul and John, George,” Emmanuel replies. “You think, ‘That’s great, that’s great pop music,’ then, ‘Wow! Look at the depth of this.’”
Often Emmanuel’s flights on his acoustic guitar are seemingly superhuman—as well as supremely entertaining.
Photo by Ekaterina Gorbacheva
A trick I like to employ as a writer, I say to Emmanuel, is that when I’m describing something, I’ll provide the reader with just enough context so that they can complete the thought on their own.
“You can do that musically as well,” says Emmanuel. He explains how, in his arrangement of “What a Wonderful World,” he’ll play only the vocal melody. “When people are asking me at a workshop, ‘How come you don’t put chords behind that part?’ I say, ‘I’m drawing the melody and you’re putting in all the background in your head. I don’t need to tell you what the chords are. You already know what the chords are.’”
“Wayne Moss came up to me and said, ‘You know, you did my part and Chet’s at the same time. That’s not fair!’”
Another track featured on Live at the Sydney Opera House is a cover of Paul Simon’s “American Tune” (which Emmanuel then jumps into an adaptation of the Australian bush ballad, “Waltzing Matilda”). It’s been a while since I really spent time with There GoesRhymin’ Simon (on which “American Tune” was first released), and yet it sounded so familiar to me. A little digging revealed that its melody is based on the 17th-century Christian hymn, “O Sacred Head, Now Wounded,” which was arranged and repurposed by Bach in a few of the composer’s works. The cross-chronological and genre-lackadaisical intersections that come up in popular music sometimes is fascinating.
“I think the principle right there,” Emmanuel muses, “is people like Bach and Beethoven and Mozart found the right language to touch the heart of a human being through their ears and through their senses ... that really did something to them deep in their soul. They found a way with the right chords and the right notes, somehow. It could be as primitive as that.
Tommy Emmanuel has been on the road as a performing guitarist for 64 years. Eat your heart out, Bob Dylan.
Photo by Jan Anderson
“It’s like when you’re a young composer and someone tells you, ‘Have a listen to Elton John’s “Candle in the Wind,”’ he continues. “‘Listen to how those notes work with those chords.’ And every time you hear it, you go, ‘Why does it touch me like that? Why do I feel this way when I hear those chords—those notes against those chords?’ I say, it’s just human nature. Then you wanna go, ‘How can I do that!’” he concludes with a grin.
“You draw from such a variety of genres in your arrangements,” I posit. “Do you try to lean into the side of converting those songs to solo acoustic guitar, or the side of bridging the genre’s culture to that of your audience?”
“I stole every idea I could, and I tried to make my little two-and-a-half minutes as interesting and entertaining as possible. Because entertainment equals: Surprise me.”
“If I was a method actor,” Emmanuel explains, “what I’m doing is—I’m writing music for the film that’s in my head. So, I don’t think, ‘I’m just the guitar,’ ever. I always think it has to have that kind of orchestral, not grandeur, but … palette to it. Because of the influence of Stevie Wonder, Billy Joel, and Elton John, especially—the piano guys—I try to use piano ideas, like putting the third in the low bass a lot, because guitar players don’t necessarily do that. And I try to always do something that makes what I do different.
“I want to be different and recognizable,” he continues. “I remember when people talked about how some players—you just hear one note and you go, ‘Oh, that’s Chet Atkins.’ And it hit me like a train, the reason why a guy like Hank Marvin, the lead guitar player from the Shadows.... I can tell you: He had a tone that I hear in other players now. Everyone copied him—they just don’t know it—including Mark Knopfler, Eric Clapton, Jimmy Page, all those people. I got him up to play with me a few times when he moved to Australia, and even playing acoustic, he still had that sound. I don’t know how he did it, but it was him. He invented himself.”
YouTube It
Emmanuel performs his arrangement of “What a Wonderful World,” illustrating how omitting a harmonic backdrop can have a more powerful effect, especially when playing such a well-known melody.
Initially released in 1977, the Gibson RD model has been a cult classic for years. It is famous for its unique appearance, which takes inspiration from both the Gibson Explorer and Firebird designs, as well as its functionality and use by several popular guitarists across multiple genres.
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The Gibson RD Custom is designed to help players stand out from the crowd with its longer scale length, curvaceously elegant body, and classic design. Now is your opportunity to experience the unique and comfortable playing experience of the cult-favorite Gibson RD Custom for yourself. A Custom Shop hardshell case is also included.
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