Ten of the most intriguing stomp stations from our last year of Rig Rundowns, including Warpaint, Mr. Big, J Mascis, the Fall of Troy, Eric Gales, Silversun Pickups' Nikki Monninger, and Primus' Larry LaLonde.
Dinosaur Jr.'s J Mascis
Dinosaur Jr. frontman J Mascis sported a hefty board way back in our 2012 Rig Rundown shoot, and in our more recent visit with him we found that he continues to rely on a bevy of pedals controlled by a Bob Bradshaw-built Custom Audio Electronics (CAE) switcher. Standout stomps include a combo pedal (bottom right corner-in a new enclosure since our 2012 video) made by Built to Spill's Jim Roth. One side is a clone of a ToneBender MkI, and the other apes a Rangemaster. Mascis also brought along his first Electro-Harmonix "Ram's Head" Big Muff (top right), an EHX Electric Mistress, an MC-FX clone of a Univox Super-Fuzz, a CAE Twin Tremolo (upper left), and a ZVEX Double Rock (two Box of Rocks in one, bottom left). Other differences between our latest and the previous Rig Rundown include a newer Tube Works Real Tube Overdrive, a Moog MF Delay, an Ibanez Analog Delay Mini, and a Boss TU-3S Tuner. An MXR/CAE MC403 Power System and an MXR M238 Iso-Brick supply the juice.
Handcrafted in the Seymour Duncan Custom Shop, each set includes gray bottom flatwork and a pad-printed signature from Joe. The first 500 sets will be aged, packaged in limited edition boxes, and include a certificate of authenticity.
This set faithfully captures the tone of one of Joe's most cherished instruments. These period-correct pickups feature precisely staggered Alnico 5 magnets and an authentic design that recreates the magic of this special '64 Strat. Handcrafted in the Seymour Duncan Custom Shop, each set includes gray bottom flatwork and a pad-printed signature from Joe. The first 500 sets will be aged, packaged in limited edition boxes, and include a certificate of authenticity signed by Joe Bonamassa and Seymour W. Duncan.
Pre-CBS Fender Stratocasters have long held the mystique and imagination of Fenderās biggest fans. By early 1964, Fender had started to build their StratĀ® pickups with gray flatwork, and these gray bottom pickups were known for a notably punchy sound and higher output. Finding a pre-CBS StratĀ® with these rare pickups can be a challenge.
However, as Joe Bonamassa discovered, sometimes looking beyond a guitarās originality can lead to uncovering a truly exceptional example. Joeās 1964 StratocasterĀ® started its life with a three-tone sunburst finish and stock gray-bottom pickups, but was refinished with a unique āGreenburstā, which instantly captivated Joe. With the powerful sounding pickups, great playability, and striking look, Joe knew it was āan instant starā.
Lucky for guitar players everywhere, Joe Bonamassa has once again collaborated with the Seymour Duncan Custom Shop to offer the magic sound of one of his favorite instruments through a new set of signature gray bottom StratĀ® pickups. The Joe Bonamassa āGreenburstā StratocasterĀ® Set is made with period-correct wiring and staggered alnico 5 magnets. The gray bottom flatwork is pad printed with Joeās signature, and the first 500 sets will be aged, and include limited edition packaging and a certificate of authenticity signed by Joe and Seymour W. Duncan.
Fans of Joe Bonamassa have seen the Greenburst StratĀ® light up the stage on tour with Joe, and now the powerful sound of āthe coolest, most hideous guitarā in Joeās collection can be attained in a StratĀ® of your own.
For more information, please visit customshop.seymourduncan.com.
The Joe Bonamassa āGreenburstā StratocasterĀ® Pickup Set - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.Seymour Duncan Custom Shop Joe Bonamassa Greenburst Stratocaster Set Prewired Pickguard
Set, Bonamassa 64 Greenburst Strat LTDIn honor of Paul Reed Smith's birthday today, PRS launches a limited-edition model of Paul's personal instrument.
Introduced on Smithās birthday, February 18, the Charcoal Phoenix Limited Edition is part of the PRS Guitars 40th Anniversary celebration. Only 150 of these instruments will be available worldwide, with each including a 40th Anniversary certificate hand signed by Paul Reed Smith himself.
"When we released the Private Stock John McLaughlin Limited Edition in 2023, I was inspired by its exceptional sound and playability. For the Charcoal Phoenix, I wanted to create something equally remarkable but with a stoptail bridge," said PRS Guitars Founder & Managing General Partner, Paul Reed Smith. "Using chaltecoco for the neck and ziricote for the fingerboard, I achieved an instrument that sustains beautifully and rings with clarity. The deep crimson back and the charcoal microburst top inspired the name āCharcoal Phoenix,ā evoking the imagery of a phoenix rising from fire and ashes.ā
Over the past year, Smith has road-tested this guitar, refining its design and tone. Most recently, he played this model on stage at the late-January 2025 PRS Guitars 40th Anniversary concert at the House of Blues in Anaheim. A deep crimson back contrasts with the Private Stock-grade figured maple top in a charcoal microburst finish. The ripple abalone āOld Schoolā bird inlays on the ziricote fingerboard add a vintage touch.
The Charcoal Phoenix also features the PRS TCI pickups, newly updated for 2025, and EQ mini-toggle switches. The TCI pickups are crafted with American Alnico magnets and slightly modified winding, wiring and electronics specifications. Based on Smithās experience playing this guitar live and in the studio for more than a year, these pickups offer clear tones from spanky single coils to full soapbars. The EQ mini-toggles act as tuned high-pass filters when engaged, removing shelved low end and allowing the high frequencies through for more clarity and musical highs.
Rounding out the details are the PRS Stoptail bridge and PRS Phase III Non-Locking Tuners. The bridge is engineered with curved string slots, brass inserts and steel studs. It is designed to maximize the transfer of the stringsā vibrations through the guitar. The lightweight tuners promote tone transfer for a louder, more resonant instrument.
PRS Guitars is planning a year full of new product introductions. Stay tuned to see new gear and 40th Anniversary limited-edition guitars throughout the year at www.prsguitars.com/40 and by following @prsguitars on Instagram, Tik Tok, Facebook, X, and YouTube.
The Spirit Fall trio: drummer Brian Blade (right) and saxophonist Chris Potter (center) joined Patitucci (left) for a single day at The Bunker. āThose guys are scary. It almost puts pressure on me, how good they are, because they get it really fast,ā says Patitucci.
Legendary bassist John Patitucci continues to explore the sound of a chord-less trio that balances melodicism with boundless harmonic freedomāand shares lessons he learned from his mentors Chick Corea and Wayne Shorter.
In 1959, Miles Davisā Kind of Blue and John Coltraneās Giant Stepsātwo of the most influential albums in jazz historyāwere recorded. Itās somewhat poetic that four-time Grammy-winning jazz bass icon John Patitucci was born that same year. In addition to a storied career as a bandleader, Patitucci cemented his legacy through his lengthy association with two giants of jazz: keyboardist Chick Corea, with whom Patitucci enjoyed a 10-year tenure as an original member of his Elektric and Akoustic bands, and saxophonist Wayne Shorterās quartet, of which he was a core member for 20 years. Patitucci has also worked with a whoās who of jazz elites like Herbie Hancock, McCoy Tyner, Dizzy Gillespie, and Michael Brecker.
What distinguishes Patitucci is that he is one of the few jazz musicians who simultaneously enjoys a vibrant career as a classical bassist and first-call session bassist. His rĆ©sumĆ©āwhich includes recordings with pop icons like Sting and Bon Jovi, and hundreds of film datesāis virtually unparalleled. Patitucci also composes classical music and is frequently commissioned to write music for string quartets and other chamber ensembles. Among his numerous compositions are a piece for 6-string electric bass and string orchestra that was performed with Suono e Oltre, a chamber orchestra in Italy. In short, Patitucci is the very rare jack of all trades who is also exceptional at all.
Freedom without Chords
Patitucciās latest release, Spirit Fall, is a trio album featuring Patitucci, drummer Brian Blade, and saxophonist Chris Potter. This instrumentation leaves out a traditional chordal instrument, and can be tricky to make sound full, as there is a large harmonic hole in the sonic space. But in the hands of master musicians, this setting offers more room for harmonic exploration and conversational interplay amongst the band members. Patitucci has been exploring this chord-less format since 2009ās Remembrance featuring Blade on drums and Joe Lovano on saxophone.Throughout Spirit Fall the trio employs a variety of textures and colors to make for an engaging listen. āPole Starā has an open feel with the counterpoint between acoustic bass and sax discreetly implying the underlying progression. āLipim,ā which means hope in Cameroonian, has a lively afrobeat groove and a ridiculous sax solo by Chris Potter. Like many of his solos on Spirt Fall, Potterās solo on āLipimā veers through several harmonic detours that would have likely been hampered if a chordal instrument were imposing the harmony. āSpirit Fallā and āThoughts and Dreamsā sees Patitucci using his 6-string electric to explore gorgeously haunting figures. The bass solo on āSpirit Fallā sees Patitucci almost accompanying himself as he alternates between low notes and chords against blistering single-note lines.
Even though Patitucci had the luxury of studio time, Spirit Fall was recorded quickly, with mostly first or second takes, and the occasional third take. The trio was able to record a powerful musical statement in such a short time because they are a working band as opposed to hired guns that might possibly play together for the first time at the session.
John Patitucci's Gear
āIām just a kid from Brooklyn,ā says Patitucci. It was his formative years spent with his older brother (who played guitar) that led him to the bass.
Photo by Dave Stapleton
Guitars
- Yamaha TRBJP2 Signature Model 6-String
- Yamaha Custom Semi-Hollow 6-String
- 1965 Fender P Bass (Used on āLipimā)
- Gagliano Double Bass
Amps
- Aguilar DB 751 for acoustic bass
- Aguilar Tone Hammer for electric bass
- Aguilar 4x10 cabinet
- Aguilar 1x12 cabinet
- Grace Design FELiX Version 2
- Grace Design m303 DI
Effects
- Line 6 HX Stomp
- Line 6 DL4
Strings and Accessories
- DāAddario Nickel Round Strings (.032-.045-.065-.085-.105-.130)
- Gruvgear Signature Straps
- Pirastro Evah Pirazzi Weich gauge
- Pirastro Perpetual
Prior to the recording, Patitucci sent demos out, and by the time they got to the studio they were ready to commit to tape. They finished the whole record in just one day without any rehearsals. āNot with those guys,ā says Patitucci. āThose guys are scary. It almost puts pressure on me, how good they are, because they get it really fast [laughs]. I was hoping that my good takes were theirs too.ā
Interestingly enough, while iconic chord-less trio albums by saxophonists like Sonny Rollins, John Coltrane, and Joe Henderson played a big role in Patitucciās musical upbringing, he came to record with that instrumentation almost by accident. āWe were going to rehearse for that record [Remembrance], and [pianist] Brad Mehldau, who played on some tracks, couldnāt make the rehearsal,ā recalls Patitucci. āSo we rehearsed at Lovanoās house and it sounded so good I was almost like, āWow, maybe we should do the record as a trio.ā But I had all this music written that really was for the piano. So I said, āWell, maybe someday.ā And then finally we got around to it.ā
Spirit Fall was tailored to the sensibilities of Blade and Potter, both of whom Patitucci has played with a lot over the years. āWe have a relationship and we have a sound together already because of the way they play. Brianās sense of dynamics has made it easier for me to get the kind of acoustic bass sound live that I've always wanted to get. Itās not easy to do that if the drummer canāt play those wide dynamics like Brian can,ā explains Patitucci. āAnd Chris has been playing my music for years. Heās just an incredible interpreter of my music, and I love that. I remember using him in the early ā90s. Interestingly enough, around the time I did Imprint, I was using him and I was also using Mark Turner. And itās funny. I started teaching college [Patitucci was Professor of Jazz Studies at City College of New York and is currently teaching at Berklee College of Music] a lot in 2000, and all my students were trying to sound like those guys.āāAs a composer, I wanted to have a chance to have major control over the sound and how we did things, as opposed to a live record.ā
As a precursor to Spirit Fall, in 2022 Patitucci had recorded Live in Italy with the same lineup of Blade and Potter. He could have easily just done Spirit Falllive againwith the trio but this time he specifically chose to bring them into the studio. āAs a composer, I wanted to have a chance to have major control over the sound and how we did things, as opposed to a live record,ā explains Patitucci. āLive records are great, but I wanted to record in the studio with that band so we can get into some new compositions I was writing, and some through-composed things with the 6-string, as well as the acoustic.ā
How Chick Helped Turn Four into Six
Patitucci isnāt fond only of the traditional trio sans chordal instrument format. In fact, heās recorded in just about every context you can imagine. From completely solo bass on Soul of the Bass, to his Electric Guitar Quartet with two guitaristsāAdam Rogers and Steve Cardenas on Brooklyn, to guitar trio plus string quartet plus Chris Potter on Line by Line. Patitucci uses each situation as a way to grow musically.When Patitucci first started playing with Corea it was in the trio format, along with drummer Dave Weckl. Corea was a keyboardist who covered a huge sonic range and Patitucci saw this as an opportunity to push the creative envelope. āChick and I became very close. I had enormous respect and love for him and he taught me a lot. Thatās how I really discovered the 6-string, because I felt like I needed it orchestrationally to play in that band,ā says Patitucci. āI started playing with Chick and at first I played my 4-string, and itās a trio, but I have to blow on every song. And heās got all these synths, and Iām thinking, āMan, I need a low string, because heās playing all these low notes. I want to play the low notes.ā [laughs] I need a 5-string at least. Then I heard Anthony Jackson play the six. He was the pioneer who invented it.ā
Spirit Fall is the documentation of a working band exploring new music in the studio. It features all new compositions and an inventive take on āHouse of Jade,ā written by Patitucciās longtime mentor, Wayne Shorter.
Corea fronted the money for Patitucciās first 6-stringāa Ken Smithāand took some money out of his check every week to pay it off. The transition to the 6-string wasnāt immediate for Patitucci, however. There was actually a big learning curve to the new instrument. To make matters even more daunting, the first big tour was to begin two weeks after Patitucci received the new instrument. Despite all the potential risks, Corea was very encouraging. āChick was really patient. It was ridiculous. It was so hard. I was just a glutton for punishment,ā admits Patitucci. āI just wanted the sound, and I was so naive about what it would be like. When I got the 6-string, it was a couple of weeks before we started going out on major tours and I was clamming. Like I would go down to what I thought was the E string but was now the B string.ā
Once he got a handle on it, the 6-string allowed Patitucci to finally maximize the potential of his fluid soloing style. āI wanted to play the 6-string because when the blowing comes around, the C string helps me get over the top as a band,ā says Patitucci. āChick dug the fact that when I was blowing I wanted to sound more like a tenor player.ā
āWayne [Shorter] made me have the courage to play very little and hang a note up in the air.ā
Shortly after Patitucci joined his band, Corea convinced GRP Records to sign Patitucci, whose 1987 eponymous first solo album reached number 1 on the Billboard Top Jazz Albums chart. Patitucci reflects, āThe two biggest long term influences in terms of mentoring and what they did for my career would have been Chick Corea and then Wayne Shorter.ā
The Spirit of Shorter
Patitucci first met Shorter in 1986, during the Chick, Wayne, and Al (Di Meola) tour. A year later Shorter asked Patitucci to record several tracks on his album, Phantom Navigator. This began his association with Shorter and led to Patitucci ultimately joining Shorterās quartet in 2000.
Itās fitting that the only non-original tune on Spirit Fall is a Shorter tune, āHouse of Jade.ā Shorterās highly individual approachāparticularly the electric stuff he was doing from the Atlantisperiodāshaped a lot of Patitucciās conception of music. āI was playing electric bass and all the tunes were through-composed, except the blowing was like on one chord. And, you know, thatās challenging, actually,ā reveals Patitucci. āAnd he was creating these incredible things, and he could do it with density or almost nothing, almost like one note. His lyricism and melodicism is so powerful that it really changed me. I was like, āWow, I want to play like that. I want to be able to have a sound that I can be confident enough about to leave a ton of space and be able to just let space happen.ā Like, he got that from Miles.ā
Moving to a 6-string bass wasnāt as natural for Patitucci as you might think. āWhen I got the 6-string, it was a couple of weeks before we started going out on major tours [with Chick Corea] and I was clamming.ā
The minimalist approach that Shorter used at times was a stark contrast to some of the over-the-top pyrotechnics Coreaās Elektric Band was known for. āI was always into melodies too, but yes, in Chickās band there were a lot of changes to play over, and sometimes a lot of fast tempos,ā says Patitucci. āIt wasnāt only chops, there were a lot of melodies and we played ballads too. I mean, I wanted to do that, but I didnāt have the courage to. Wayne made me have the courage to play very little and hang a note up in the air. With the 6-string, you can really do that. I started to realize that I was really interested in moving people in that way too.ā
The Journey of the Kid from Brooklyn
Subliminally, the transition from 4- to 6-string bass might harken back to Patitucciās childhood in East Flatbush, Brooklyn. He originally picked up the guitar, influenced by his brother Tom who had already been playing. Tom tried to teach him but ultimately the guitar just didnāt connect, and Tom sensed it. āHe just said, āWhy donāt you try the bass?āā recalls Patitucci. āBecause we can play together then.ā And thatās where it all began.
At 10, Patitucci got his first bass, a short-scale Sears Telstar bass that was hanging on a wall like a decoration down the street at somebodyās house on East 39th Street. āWe bought it for 10 bucks and I thought it was great,ā reflects Patitucci, who enjoyed rock ānā roll and James Jamersonās playing on Motown Records in his formative years.
When he was 13, Patitucciās family moved out to the West Coast. Soon after the move, Patitucci started learning the acoustic bass, and by the early ā80s, Patitucciās career started taking off. In 1996 he moved back to New York, where he continues to break new musical ground.
With a career spanning over four decades and still going strong, Patitucci has achieved the dream that many aspiring musicians long for. What is the secret to his success? āNobody knows the secret and anybody who tells you they know that is lying,ā says Patitucci. āI don't even deserve it. I think that God was really good to me and blessed me. He somehow allowed me to have my dream come true. I look at it now as a 65-year old guy and go, āWow, that was really a long shot.ā [laughs] Itās kind of unbelievable. You know what, I mean? Iām just this kid from Brooklyn, you know?āYouTube It
This trio rendition of the Beatlesā āAnd I Love Herā showcases John Patitucciās ability to add chordal textures on his 6-string bass to create a full sound, even without a conventional chordal instrument like guitar or piano.
Whitman Audio introduces the Decoherence Drive and Wave Collapse Fuzz, two innovative guitar pedals designed to push the boundaries of sound exploration. With unique features like cascading gain stages and vintage silicon transistor fuzz, these pedals offer musicians a new path to sonic creativity.
Whitman Audio, a new audio effects company, has launched with two cutting-edge guitar pedals, the Decoherence drive and Wave Collapse fuzz. Combining science and art to craft audio effects devices, Whitman Audio aims to transcend the ordinary, believing that magic can occur when the right musician meets the right tool.
Delivering a solution for musicians looking to explore a wide range of sounds, each pedal offers a unique path to finding your own voice. The Decoherence drive injects a universe of unique saturation into your music arsenal while the Wave Collapse fuzz takes you to uncharted sonic territories.
Decoherence features include:
- Cascading stages (Gain A > Gain B) each with a unique sound and saturation character
- Gain A - Medium to high gain stage with a mid focus for clear articulation and punch
- Gain B - Low to Medium gain with a neutral EQ that compliments and expands Gain A
- G/S Toggle - Selects the clipping diodes for Gain B (NOS Germanium or NOS Silicon)
- Tone Knobs (H & L) - Tuned active Baxendall style EQs that boost or cut Highs and Lows
- True bypass switching, accepts standard 9V DC power supplies (does not accept battery)
Introducing: Decoherence Drive -Ā YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.Wave Collapse features include:
- Vintage Silicon transistor fuzz that goes from vintage clean to doom metal mean
- Buffered input and pickup simulation ensure it sounds great anywhere in your chain
- Bias Knob - Allows for a huge range of texture and response in the pedals gain structure
- Range and Mass Toggles - Provide easy access to three diverse bass and gain ranges
- Filter Knob - A simple-to-use tilt EQ enhanced by the Center toggle for two mid responses
- True bypass switching, accepts standard 9V DC power supplies (does not accept battery)
The Decoherence drive and Wave Collapse fuzz pedals carry retail prices of $195.00 each.
For more information, please visit whitmanaudio.com.