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.
Eric Gales
Blues-rock guru Eric Gales sends the output from his Magneto and Xotic S-styles to a Boss TU-2 tuner and then to a DigiTech Whammy 5, a Mojo Hand FX Colossus fuzz, a Custom Audio Electronics wah (bling'd-out by Dunlop), an E.W.S. Eric Gales Brute Drive, an MXR Bass Envelope Filter, and a Tech 21 Boost D.L.A. (Gales was quick to clarify that though the MXR EVH Flanger is still on his board, he hasn't used it on his most recent dates.)
The Hi/Low footswitch is designed to provide a gain boost with an EQ shift for tight tones.
Now featuring enhanced functionality, along with a new and improved look, the Dutch Overdrive ‘24 offers versatility in a pedalboard-friendly package.
The Dutch Overdrive retains its ability to cover a broad range of musical styles, from transparent clean tones and edgy breakup to medium-gain blues, hard rock rhythms, and searing leads. Delivering a perfect blend of classic American and British sounds, its smooth, balanced voice ensures compatibility with a wide variety of instruments and amplifiers.
In addition to a familiar four-knob control set – controlling drive, treble, bass and output level – the new Dutch ’24 offers a potent Hi/Low mode selector controlled by an independent footswitch. By engaging the Hi gain mode, you can add a preset, carefully tailored EQ/gain boost to provide just the right amount of punch, clarity, and output level to your solos.
Key features and upgrades to the Dutch Overdrive include:
- Hi/Low footswitch provides a gain boost with an EQ shift, enhancing added gain and focusing the midrange for tight tones
- A refreshed design for a modern aesthetic, with top-mounted input/output jacks
- Upgraded soft touch switching with last state memory – powers up with the same settings you were using when you previously powered down
- 9-18 volt operation using standard external supply (no battery compartment)
- US-made in Mesa, AZ
The re-release of the Dutch Overdrive brings back a classic with modern improvements. The street price for the upgraded Dutch Overdrive is $225 and is now available for purchase at lpdpedals.com.
The country music guitar slinger dishes on building chops in bluegrass, his mandolin and guitar heroes, and how he finds his tones.
Get 10% off your order at stewmac.com/dippedintone
Rhett and Zach are joined on this Dipped In Tone by country and bluegrass aficionado Andy Wood. Wood grew up in Knoxville with Appalachian bluegrass musics shaping his view of the world, and even though he’s celebrated for his guitar playing, he reveals that he didn’t pick up an electric until he was 17.
Mandolin was his home turf, where lightning-quick alternate picking was the norm rather than a shredding strategy—there’s no “nuclear arms race of chops” in bluegrass, Wood reveals. The real key to playing fast? Simply learning songs. Because of the different approaches, Wood shares how to spot an electric guitar player who started on bluegrass. Wondering where to start with American roots music? Wood has you covered there, too.
When he finally got around to guitar, Wood studied the playing of Nashville session weapons like Brent Mason alongside players like John Petrucci. Now, Wood throws an annual four-day retreat for guitar players called the Woodshed Guitar Experience, where you can learn from some of music’s greatest modern players.
Plus, learn about how Andy catches great electric tones in the studio, and stayed tuned for his new solo record, Charisma, which launches on August 9.
Big guitar-building workshops keep it clean, and so can you!
Developing good, clean workshop practices will help you save time and money.
Who doesn’t like a sweet, sustaining, saturated guitar sound? I know I do, but I also love a clear and full clean tone maybe even more. Dirty or clean, to me a guitar sounds like a million bucks when the tubes are glowing and the playing flows. But most of the time I’m in the workshop making lots of dirt, and I don’t mean the overdriven amplifier kind. Making guitars can be a dirty business. Carving wood, plastic, and steel into a majestic instrument creates a lot of mess, and eventually you have to sweep your way clear.
Half a century ago, a mentor passed on this advice: The best way to clean up a mess is to not make one in the first place. Maybe this sounds quaint, but I assure you that it is good for business—any business. It doesn’t matter if you make pedals, guitars, amps, or even music, mess is money down the drain. Not only that, it’s a psychological strain on you that saps your energy and makes you careless.
When I worked at Fender, I was part of a team that was charged with revamping departments for efficiency, safety, and worker well-being. I can’t say that we made a huge difference, but I learned a lot that I could apply to my own shop and a host of other businesses. One thing there we didn’t have to fix was cleanliness. Despite the gargantuan scale of the enterprise, all of the factories are incredibly clean, especially considering the amount of materials that get processed. It reminded me of the race cars and shops of Roger Penske, who understood that a clean, organized workplace sets the tone for excellence. It’s also difficult to pinpoint problems when areas are cluttered, and you can’t see what’s going on clearly.
Beyond the obvious advantages of keeping things organized, there is another benefit created by keeping things clean, one that I’m surprised that more shops I visit (and see in videos) don’t understand. Sooner or later, you’re going to have to stop making your product and clean up. When you’re buried in debris, straightening up is time-consuming, and time is money. When you determine your cost per unit, whether it’s guitars, amps, or even rehearsal time, do you factor in the hours you spend cleaning up? It may not seem like much, but it can really add up. Regardless of if you own a shop or are in a band, if you create a tangle every time you work, the time you spend undoing it is time you could have been with your friends, family, or doing anything else.
A well-designed work area that reduces clutter will save your health and save you money. You don’t have to be a big organization to justify some basic cleanliness improvements like a good dust-collection system, either. It doesn’t have to be a huge investment. There are a slew of affordable mobile dust-collectors/vacuums with adjustable arms that can be rolled from task to task.
"When you determine your cost per unit, whether it’s guitars, amps, or even rehearsal time, do you factor in the hours you spend cleaning up?"
Stop blowing dust off your workbench or machinery onto the floor—picking it up later is like throwing profit away. Everybody benefits because cleanliness improves efficiency that reduces passing unneeded costs on to your customers. Over the course of a year, cleaning up 60 minutes a week adds up to almost seven days’ worth of time you could be using for something better, and who doesn’t want an extra week?
I’ve found that if you build cleanup time into your daily routine, it reduces stress as well. It’s important to create procedures that promote a constant state of improvement and order. After a gig, pro techs have a mandated way of breaking down and stowing gear that avoids confusion when the next setup happens. Daily routines of maintenance and cleanup catch problems before they stop the show or cripple production. If you habitually clean the spilled beer off your cables and amplifier, you’re making it easier for yourself in the long run. I know this all seems pretty obvious to some of you, but I’ve learned from master Kaizen practitioners that there’s always a higher level to reach for. If you are a one-person shop or a weekend warrior musician, those steps can really make a difference.
I suppose the reverse is true for me. If I apply this multi-tiered improvement regime to my guitar playing, I’d probably be a lot happier with my proficiency. An old dog can learn new tricks, and that’s exactly what I mean to do. So when I step on that distortion pedal, it will be the only dirt I deal with.The Jason Richardson signature includes HT humbucker pickups, 24 stainless steel frets, and custom tremolo.
Inspired by over a decade of guitar string research, HT pickups deliver an ultra-high-output, powerful low-end response while retaining a distinctively clean, clear tone and definition at lower volume levels. The HT pickups in the latest Jason Richardson model have been voiced specifically for Jason with unparalleled clarity, power, and output. Additional features include 24 stainless steel frets, a custom Music Man tremolo, and innovative electronics, including a push/push volume knob for a 20+ dB gain boost and coil splitting via the push/push tone knob. The Jason Richardson Artist Series Cutlass HT is available now in two new finishes:
- Kokiri Forest—a mesmerizing translucent green finish. Crafted with an alder body, a buckeye burl top, and a roasted, figured maple neck with an ebony fretboard.
- Venetian Red —a striking translucent finish. Crafted with an alder body, a maple burl top, and a white maple neck with a striped ebony fretboard.
“These new pickups are a level up! More body and fullness, effortless pinch harmonics. I’m stoked to have more variations for everyone to choose from with my models now!” “The KokiriForest might be my new favorite color! Absolutely stunning to see in person! The Venetian Red also adds a more diverse option between the woods we haven’t done with my line before, incredibly stoked on both these guitars!” -Jason Richardson
The Jason Richardson Artist Series Cutlass HT in Venetian Red is available exclusively in the Ernie Ball Music Man Vault and is limited-to-25 units in a 6-string and limited-to-25 units in a 7-string. The Kokiri Forest colorway is available at your local Ernie Ball Music Man dealer.
For more information, please visit music-man.com