John Bohlinger is a Nashville-based multi-instrumentalist best known for leading the band on NBC's Nashville Star, serving as music director for the CMT Awards and specials on PBS and GAC, and of course for his appearances in PG Rig Rundown, Review Demo, Axes & Artifacts, and What Bohlinger Plays videos.
Like most of you, I would guess, I’ve never had the pleasure of playing aDumble amp. I have a fair idea of what they are supposed to sound like thanks toStevie Ray Vaughan and, presumably, David Lindley and Henry Kaiser (I’m never sure what amp I’m hearing on records from those two mad geniuses). But I definitely don’t know how a Dumble feels, or how it sounds up close in a room. So, I have to take NUX’s word for it that they deliver on the Steel Singer—an overdrive inspired by the Dumble Steel String Singer.
Fat and Snappy
While I can’t comment on the Steel Singer’s ability to perfectly ape a Dumble, there is a lot of reason to recommend the NUX Steel Singer as an overdrive. As a light drive or near-clean boost it can be a great thickening agent (at bassier filter settings), or a better-than-serviceable treble booster at toppier filter settings. At its trebliest extremes it can be a bit crispy, so you should take care. Additionally, the NUX tends to move beyond light drive pretty quickly—requiring only a slight bump in pedal to filthy up a Deluxe Reverb and Stratocaster.
To many ears, single coils and clean Fender-style amps might be the most natural and well-suited companions to the Steel Singer. In these setups, the pedal adds discernible edge in the midrange, while retaining the scooped essence of those formulas. Humbucker users can get in on the fun, too, and a PAF can coax many Plexi-like drive tones from a Deluxe Reverb. British-style amps, however, are less accommodating to the NUX’s charms. AC15-style and 18-watt Marshall-style settings on a Carr Bel-Ray, for instance, clashed with the NUX at times, a setup where klones and TRS-style pedals got along reasonably well.
The Verdict
To many ears, single coils and clean Fender-style amps might be the most natural and well-suited companions to the Steel Singer.
There are two keys to success using the NUX Steel Singer. One is to keep the gain and tone at relatively modest settings and out of the range where merely excited tones become fried. The second is to expect the best results with single coil pickups and clean Fender-style amps. This makes sense. Dumble’s Steel String Singer is, in many respects, an evolution of black-panel Fender designs. And if the goal is to create smooth overdrive and boost tones, a pedal that dovetails more precisely with that Fender-style profile is a smart move. That isn’t to say there aren’t joys to be found in a Steel Singer/humbucker combo, or even with an AC30. But such tones will be better suited for more adventurous players less aligned with classic amp-drive results.
The long-running punk quartet pick prototypes, P basses, and Pauls for their latest live shows.
On tour supporting their 12th full-length record, Silver Bleeds the Black Sun…, California rockers AFI rolled through Nashville’s Marathon Music Works in October. After first running down their rigs in 2017, PG’s Chris Kies linked up again with guitarist Jade Puget and bassist Hunter Burgan to see how their gear has evolved in the past eight years.
Puget found this Les Paul Standard hanging at Guitar Center 15 years ago, and it’s still his go-to live guitar. A surprisingly light specimen, it’s had a Seymour Duncan pickup swapped in, and it’s strung with Ernie Balls—usually .010s.
Throughout AFI’s set, Puget switches between tunings: D sharp, drop C sharp, D standard, and E standard.
Silver Surfer
This new Schecter, a prototype made for Puget, is his first ever silverburst, which saw service in the music video for “Holy Visions.” It’s loaded with a Sustainiac system in the neck position.
Willing and Ableton
Puget has experimented a lot to get his rig to this point. His signal runs through a pair of rack-mounted Line 6 Helix units in a stereo configuration, and also through a computer running Ableton that triggers the exact sound designs he created while recording. The RJM Mastermind and Effect Gizmo are programmed to control all pedals, the Helix, and Ableton.
Jade Puget’s Pedalboard
Most of Puget’s effects come from the Helix, but he also runs a few pedals in his rack, including an MXR EVH 5150 Overdrive and Carbon Copy, Boss DC-2W, RV-2, and BF-2, and a Keeley Compressor.
Another board carries a Boss TU-3, TC Electronic Mimiq, EHX The Clone Theory, TC Electronic Arena, MXR Echoplex, and L.R. Baggs Venue DI.
Blackout
In live contexts, Burgan uses Fender P basses exclusively. This is his No. 1, which he’s had since 2012.
Pinky
This dazzling Fender P was made custom for Burgan before this tour.
Triples is Best
Burgan runs this trio of Ampeg SVT Classics.
Hunter Burgan’s Rack Setup
Burgan uses a RJM Mastermind GT to control his in-show switching. In his backstage rack, there’s an EHX Bass Big Muff, Micro Synth, Satisfaction, Nano POG, Bass Clone, and Graphic Fuzz, and on a second shelf, there’s the rest of the collection: a Bass Soul Food, Battalion, Lizard King, Neo Mistress, and Memory Toy.
Thanks to some key years working at a celebrated music store, this band of brothers has the goods.
The Band Royale, the Chicago-based brotherly “yacht metal” outfit, know a thing or two about gear—guitarists Joel and Zach Bauman, plus bassist Marc Najjar, all worked at Chicago Music Exchange, one of the premier music shops in North America. PG’s Chris Kies traveled deep into the band’s bunker in Chicago for this Rig Rundown with Najjar and the Bauman brothers.
This 1972 GibsonLes Paul Custom was Joel’s first “real” guitar, which he bought from CME. It’s all original except for the tailpiece, and weighs in at a whopping 11 pounds. Joel keeps it in open D6 tuning.
Mock Mockingbird
Someone brought this fake Mockingbird into CME one day, and Joel decided he had to have it. It boasts neckthrough construction with maple and mahogany, a Bill Lawrence dual blade pickup, brass nut, and heftier .012-gauge strings. The original builder must’ve liked the sticker he added to the body; it’s underneath the lacquer.
Warming Up
While Brian Carsten was still an amp tech at CME, Joel bought this Carstens Amplification Warm Machine off of him—the first he ever made. It’s designed around a master-volume, 50-watt Marshall head circuit, with a bit more warmth. Joel has had this one for over two decades now, and runs it through a Fender Bassman 2x12 cab with Celestion Creamback speakers.
He’s also been experimenting with a Quilter Overdrive 200 for a lighter solution, which he runs through a Bergantino 2x12 cabinet—Joel calls the cab and Quilter combo a “game-changer.”
Joel Bauman’s Pedalboard
The jewel of Joel’s board is a 1981 Ibanez Tube Screamer, gifted to him by Josh Klinghoffer. There’s also a Durham Electronics Sex Drive, EHX Micro POG, Xotic EP Booster, Friedman BE-OD, Boss CE-2W, Strymon El Capistan, and Strymon Flint, plus a Korg Pitchblack Advance tuner.
Holesome
Zach Bauman isn’t bothered by the gaping hole in his 1990 Gibson SG; it gives the guitar a whole lot of character. This guitar has a Gibson T-Top Burstbucker in the bridge, and has been modded to have just two pots for master tone and volume. Zach strings it with .011–.052s.
Painted Paul
Zach snagged this 1979 Les Paul while working at CME, and scraped off a nasty previous paintjob with a card before getting to work making it his own. A friend painted the headstock, and another made him this custom pickguard. It’s also got T-Tops in the neck and bridge.
Mig Buff
Zach loves his Sovtek Mig 60 head, which he plays through a cab he built himself at a pipe-organ shop in Denver. Every glue joint is lined with thin leather for maximum air tightness, and it’s stocked with Celestion G12M Greenback speakers.
Zach Bauman’s Pedalboard
On Zach’s board, we find a Klon clone, Ibanez Tube Screamer, Boss VB-2W, Ibanez Mini Chorus, Strymon Flint, and Strymon El Capistan, along with a Dunlop Volume (X) pedal and a TC Electronic PolyTune.
Bergantino’s Best
Najjar has deep love for Holly and Jim Bergantino and their Bergantino Audio Systems products. He plays with both a Forte and Forte HP Ultra—a 2000-watt prototype—through a Bergantino HDN112 cab and special 3x10 cab.
Bass for Babies
Najjar’s Sandberg Forty Eight finished in shoreline gold, nicknamed the “golden baby,” was the first of its kind.
Going to California
This Sandberg California TT4 has ’70s-style J-bass pickups and a 34” scale. Najjar gets a “Geddy Lee-style” vibe from it.
Marc Najjar’s Pedalboard
Najjar’s tone temple is topped off with a Bergantino Super Pre brass preamp into his Neural Quad Cortex.
Khruangbin is a band that moves freely in negative space. They don’t deal in negative vibes, mind you, but the spaces in between objects—or in music, between notes and tones. In Khruangbin’s case, negative space isn’t quite as empty as it seems. In fact, a lot of it is colored with reverberated overtones, which is an aesthetic well suited to Mark Speer’s instrument of choice. Because if you want to color negative space without being a space hog, there are few better means than a Stratocaster.
Speer’s signature Stratocaster, is not, in the strictest sense, a classically Strat-like specimen. Its bridge and neck pickups, after all, are DiMarzio Pro Track humbuckers, with a design informed more by PAFs than Fender single coils. Nor is it modeled after a priceless rarity. Speer’s main guitar is a humble ’72 Stratocaster reissue from the early 2000’s. But the Speer signature Stratocaster is a thought-provoking twist on classic “Stratocaster-ness,” and one well-suited to the atmospherics that mark Khruangbin’s music, but also soul, reggae, jazz, and any other expression where clarity and substance are critical.
Mr. Natural Takes It In Stride
I have to admit—and no doubt some of you will disagree—for most of my life, as an early- to mid-1960s-oriented aesthete, an all-natural-finished Strat with an oversized headstock looked flat-out wrong. My opinion on the matter has softened a bit since. And I think the Speer Stratocaster is beautiful, elegant, and does much the flatter the Strat profile. The pronounced grain in the ash body is lovely, and it certainly doesn’t reflect the drop in ash quality that many feared when ash-boring beetles started to decimate swamp ash supplies. It also looks great against the milk-white single-ply white pickguard and all-white knobs (another nice study in negative space).
Elsewhere, many features are authentically 1972. The 1-piece, 3-bolt maple neck with a 7.25" fretboard radius boasts a micro-neck-adjust feature as well as the practical and cool-looking bullet truss rod. The tuners also feature early ’70s-styled machine covers. The neck itself feels great—slightly less chunky, perhaps, than early ’70s Strats I’ve played, and, oddly, not worlds apart from the neck on my Mexico-made ’72 Telecaster Deluxe, which has a much flatter 12" radius. Some of the similarities in feel may have to do with the jumbo frets, which here give the gloss urethane fretboard a slinky, easy touch. Less delicate players (like me) who tend to squeeze when chording should check out the Speer before purchasing to make sure they don’t pull everything sharp. The frets do make string bends feel breezy, though. Other details, apart from the jumbo frets, that deviate a bit from 1972 Fender spec include a bone nut and Graphtec saddles and string trees.
Warmth of the Sun
The DiMarzio Pro Tracks dwell in an interesting tone space. They’re built with ceramic magnets (vintage Strat and Gibson PAFS were made with alnico magnets) with a resistance of about 7.7 k ohms, which is in the range of a vintage PAF humbucker but hotter than most vintage Stratocaster pickups. In terms of tone signature, they sound and respond a little more like PAFs than Stratocaster pickups, too, which aligns with DiMarzio’s design objectives. But in the neck pickup in particular, the Strat-iness is very present. And when I switched back and forth between a Stratocaster and PAF-equipped SG as baselines for comparison, I marveled at how well the DiMarzios retained qualities of both. It’s hard to know how much Fender’s 25 1/2" scale factors into lending the extra bit of Fender color. But the sound is distinctly, authentically, Speer-like. (For the record, I replicated much of Speer’s circa 2018 signal chain for this test, including a Fender Deluxe Reverb, Dunlop Cry Baby, Boss PH-3 and DS-1, MXR DynaComp, and a Echoplex-style pedal).
The PAF qualities of the DiMarzios are most pronounced in the bridge pickup, which is much burlier and thicker than a Stratocaster single coil. The one single coil on the guitar meanwhile, the middle pickup, will sound and feel familiar to any old-school Stratocaster player. It’s also perfect for chasing Jerry Garcia tones if you’re selecting the Speer for its likeness to Jer’s “Alligator.” The real treat among the Speer’s many sounds, though, is the number 4 position, which combines the neck pickup and middle pickup out of phase. It’s snarky, super-focused, and just a little bit nasty, especially with overdrive and treble bump from either a wah, OD, or boost pedal.
The Verdict
For those players who fall in love with the comfort, feel, and looks of a Stratocaster, only to find it a bit thin-sounding for their purposes, the Mark Speer Stratocaster is an intriguing option. The humbuckers deftly thread the needle between Stratocaster and PAF tonalities, with a distinct lean toward the latter, and the out-of-phase number 4 position is a cool sound that lends the Speer Strat expansive smooth-to-nasty range. Like so many Mexico-made Fenders, the quality is superb. And while the $1,499 price tag represents a Signature Series bump compared to the similar $1,209 Vintera II ’70s Stratocaster, the Speer’s extra tone range and ash body do a lot to soften any sticker shock. If the options here fit your style, it could be well worth the extra dollars.
The in-demand gunslinger brings a load of silverware to arenas across the world.
Devon Eisenbarger, session ace and touring shredder for stars including Chappell Roan and One Direction’s Zayn Malik, met up with PG’s Chris Kies at Nashville’s Bridgestone Arena before hitting the stage with Katy Perry to show off the sleek 6-string rig she’s using on Perry’s Lifetimes tour.
Eisenbarger cut her teeth on a Stratocaster, and its sonic character still feels like home. She filmed a demo for Fender using this American Professional II Strat with a coil-splitting humbucker in the bridge—the best she’s heard so far. This one and all other electrics run D’Addario strings (.010–.046).
Fiery Fiore
Eisenbarger just scored this PRS Fiore before this tour. It has a beefier, slightly more midrange-y sound than the Strat.
Silver Surfer
This Ernie Ball Music Man StingRay II, designed in collaboration with Cory Wong, was made for Eisenbarger just before this run of shows.
Saintly Signature
Eisenbarger uses this Ernie Ball Music Man St. Vincent Signature for “I Kissed a Girl.”
Taped-Up Taylor
This Taylor 814ce, wrapped in silver tape, comes out for a mid-show acoustic set.
Devon Eisenbarger’s Rack Setup
Eisenbarger runs an all-digital rig, contained in this rack backstage. The key pieces are a Radial JX42, two Shure AD4Ds, a Kemper Profiling Amplifier, and a Fractal Axe-Fx. The Kemper runs a SELAH SOUNDS pack of profiles and impulse responses.
With no onstage monitors, Eisenbarger’s signal runs only to in-ear monitors and front of house.