From Kings of Leon to Spoon, Arctic Monkeys, Interpol, and even a reunited Outkast, Premier Guitar brings you a look at Lollapalooza 2014.
Interpol’s Daniel Kessler
The lead guitarist had his hands on both Gibson and Epiphone hollowbodies during Interpol’s Lollapalooza set as he used a Gibson ES-330 (shown here) and an Epiphone Casino throughout the show. He used the ES-330 on “Evil” and “C’mere” to open their performance.
This year marks Lollapalooza’s 10th year as a destination festival—its 18th overall—in Chicago’s beautiful Grant Park alongside Lake Michigan. Since its inception, Lolla has tried to serve all music fans with a healthy dose of rock, metal, punk, pop, dance, comedy, and hip hop acts. This year was no different with sets from Outkast, Eminem, Kings of Leon, Arctic Monkeys, Interpol, AFI, Cage the Elephant, and hundreds more. Premier Guitar was onsite for all three days and here are just some of the guitar-centric highlights from the event.
The MXR Rockman X100 Analog Tone Processor is designed to revive the signature sonic character of that headphone amp in stompbox form.
In 1982, Tom Scholz—visionary guitarist and founder of pioneering hard rock band Boston—designed and released the Rockman X100 headphone amp through his electronics company Scholz Research & Development. But it was more than just a headphone amp—with recording console connectivity and several tone tweaking features and built-in effects, the X100 became the secret weapon in the studio that would go on to define the polished, chorus-laden sound of 1980s arena rock.
Aided by veteran MXR engineer and SR&D alum Bob Cedro, the MXR design team captured the same crystalline cleans, crunchy harmonics, and shimmering modulation as the original. With the same four tonal presets, carefully calibrated compression, and bucket-brigade chorusing, this all-analog recreation also features both mono and stereo modes and optional external mode switching for an enhanced user experience.
RE-COMPRESSED
A key component of the original X100’s sound was a complex compression circuit for keeping the signal clear whether clean or dirty. The MXR Rockman X100 Analog Tone Processor comes equipped with the same circuit, tuned for a slow release on clean modes and a fast release on dirty modes. The overall amount of compression is tied to the Input Gain level—more input gain means more compression.
MODED OUT
Like the original, the Rockman X100 Analog Tone Processor features four different presets, selectable via the MODE button: two differently equalized clean modes with high-power sustain and two distinctively gritty dirty modes. The default setting, CLN2 mode, provides a clean, crystal clear tone, while CLN1 mode offers a mid-focused EQ curve for a tight, punchy sound. On the dirty side, Edge mode boasts moderate clipping that’s highly sensitive to Input Gain adjustments and cleans up nicely at low guitar volume levels. Distortion mode delivers high-energy overdrive and sustain that’s perfect for easy, fluid lead tones.
ON THE LEVEL
Tailoring your levels is simple with dedicated Input Gain and Volume sliders. Input Gain adjustments affect how your incoming signal interacts with the X100 Analog Tone Processor’s four modes—especially the Edge setting—while Volume sets the level going to your amplifier.
THE BUCKET BRIGADE
Equipped with the same classic MN3007 bucket brigade chip found in the original headphone amp, the Rockman X100 Analog Tone Processor will infuse every riff and lick with bucketfuls of expansive, shimmering chorus with a simple push of the Chorus button.
DIG DEEPER
Like a more advanced setup? You can connect an off-board switch such as the MXR TRS Split + Tap for foot control of the Mode switch. And if you’re into stereo, this pedal stereo allows you to send the signal of your selected mode to L/R channels while varying the chorus between the two sides for a more spacious and dynamic effect.
ARENA ROCK IN A BOX
The MXR Rockman X100 Analog Tone Processor brings the same rig-in-a-box tones that the original did—but this time, it’ll fit right onto your pedalboard. There’s never been a better way to capture the big tones and texture of the arena rock era. Get yours now.
- The defining sound of arena rock in pedal form
- Crystalline cleans, crunchy harmonics, and shimmering modulation
- Same four tone presets—two clean, two dirty—as the original headphone amp
- Complex compression circuit tuned for a slow release on clean modes and a fast release on dirty modes
- Original bucket-brigade chip for lush, expansive chorusing
- Advanced features include off-board switching, stereo mode, and more
- AVAILABLE NOW
- $229.99 street
Mayones is a dealer devilishly dashing instruments and they did not disapoint with the introduction of their Duvell DT6 & DT7 models that strip back away some of their high-end appointments to briing the guitar into a more-obtainable price point. That being said, don't be fooled, these shredders still rip and are handmade in Poland at the same small shop. These two feature a swamp ash body, a 5-ply maple-wenge neck, blackheart fretboard, TUSQ nut, Hipshot Grip-Lock tuners, and a single Velvetrone Ironside & Solium 7 pickups. (Each model has pickups made to their spec based on 6- or 7-string configuration.)
The PG Editors pick their favorite gear from the first day of NAMM.
Ted Drozdowski - Editorial Director
Huss & Dalton Trey Hensley Acoustic
Jason Shadrick - Managing Editor
Ernie Ball Stingray II
Celebrating their 30th anniversary, Huss & Dalton brought a knockout OM that was decked out from head to tail with beautiful tonewoods, intricate inlays, and a snappy sound that'll make you forget about it's dread-dead looks. The adventurous bluegrass burner Trey Hensley & acoustic stalwarts Huss & Dalton combined to release a delightful dread that a thermo-cured Adirondack red spruce, wavy east Indian Rosewood for back, sides & peghead, Honduran mahogany with diamond volute, herringbone purfling, and Gotoh SXB510V open-back nickel tuners.
