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.

Mr. Big's Billy Sheehan

Bass legend Billy Sheehan sends the outputs of his Yamaha Attitude basses to an EBS Billy Sheehan Signature Drive Deluxe. In fact, Sheehan likes them so much that he runs two (one is an original version) at different settings. Both EBS pedals run into one channel of an Ashly CLX-52 Peak Compressor/Limiter (in his rack). The other channel is used on the insert of the Hartke LH1000 for the neck pickup. After each EBS pedal sits a Japan-made E.W.S. BMC (Bass Mid Control). Sheehan also uses an ISP Decimator Noise Reduction stomp, an EBS OctaBass, and an Electro-Harmonix POG. Last in line is a Rolls SX21 Tiny Two-Way Crossover to give his tone more overall clarity and punch. A Voodoo Lab Pedal Power 2 Plus powers the whole board, which rests on top of his amps and is rarely touched.

Linda Manzer and Pat Metheny’s collaboration on the Pikasso guitar proves that a good creative chemistry between luthier and client can lead to extreme innovation!

Photo by Brian Pickell

The construction of your dream guitar can be a fun journey, but learning the language is essential.

You’ve visited countless websites, played as many guitars as you could lay your hands on, and zeroed in on the luthier that resonates most with you. You’re ready to take the plunge and your next step is to have a conversation with the builder. You’ll both have lots of questions. Be sure to listen and let them guide you through the process. This is when the fun begins.

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Megadeth founder teams up with Gibson for his first acoustic guitar in the Dave Mustaine Collection.

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Gibson 1960 Les Paul 0 8145 is from the final year of the model’s original-production era, and likely from one of the later runs.

The story of 1960 Gibson Les Paul 0 8145—a ’burst with a nameplate and, now, a reputation.

These days it’s difficult to imagine any vintage Gibson Les Paul being a tough sell, but there was a time when 1960 ’bursts were considered less desirable than the ’58s and ’59s of legend—even though Clapton played a ’60 cherry sunburst in his Bluesbreakers days. Such was the case in the mid 1990s, when the family of a local musician who was the original owner of one of these guitars walked into Rumble Seat Music’s original Ithaca, New York, store with this column’s featured instrument.

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