The East Coast shredders talk about their favorite Jackson and Charvel axes, how they fell in love with the EVH 5150III heads, and what are there go-to boxes.

John Bohlinger hung out with All That Remains' Oli Herbert and Mike Martin and got the scoop on their shredding live rigs before their show at The War Memorial in Nashville on October 29, 2013.


Herbert and Martin run virtually identical rigs that differ primarily at the beginning of the signal chain—though not in major ways. Herbert’s main guitar is a 27-fret Jackson Custom Shop Warrior with Ernie Ball .012–.054 sets tuned down to a rumbly C#. When asked about the extra frets, Herbert admits he only goes past the 24th for a single note on the latest All That Remains album. The Warrior features neck-through construction, a Floyd Rose Original with FU-Tone titanium upgrades, and EMG 81 and 85 active humbuckers. “I only have one volume knob. I don’t need a tone knob,” says Herbert, “because I’m playing metal.”

Martin’s main guitar—a Charvel Desolation DX-1 ST—also has EMG 81 and 85 pickups, but he prefers the Charvel’s through-body stringing and locking tuners. “I don’t like to get too complicated with the Floyd Rose and the floating tremolos and stuff.” One of Martin's beloved Charvels—an identical black Desolation—was a victim of rock ’n’ roll wreckage, having taken a pounding early in the tour. A flame-topped version is now his No. 1 road guitar.


ATR’s guitar duo sends their effected signals into EVH 5150III heads driving
Mesa/Boogie 4x12 cabs.


The signals from Herbert’s and Martin’s axes travel through Shure ULXP4 wirelesses and into Boss TU-2 tuners. Both players use Furman PL-Plus C power-conditioning units and Maxon OD808 overdrives with gain set pretty low, but Martin cuts out extraneous noise with an iSP Decimator, while Herbert uses an MXR Noise Clamp.


Photo by cottonbro



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