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Rig Rundown: Emily Wolfe

How “Hot for Teacher,” a homemade mic, and a B.B. King-inspired signature axe factor into a repertoire that mixes Queens of the Stone Age sizzle with modern pop hooks.

Everything on this board centers around the Fulltone OCD. All the other effects either hit or boost the OCD or affect its core tone with modulation. And for those pedal purists keeping score at home, she’s using the V2 model that was painted black with white lettering and sold through Chicago Music Exchange. It has a new output buffer and class-A input section for increased dynamics. At one time she had two stacked OCDs, but she’s since swapped out one for the Fulltone 2B Boost because the dynamics knob has a germanium diode limiter allowing her to tailor her sound to the idiosyncrasies of each room or venue. Before the OCD and 2B is an EarthQuaker Devices Tentacle that adds a nasty octave to the Fulltone filth. The TC Electronic Sub ‘N’ Up adds an octave and the Keeley 30ms Automatic Double Tracker incorporates a stereo effect. All those pedals are controlled by the Flex Reaction Compound 55 Switcher. Outside the looper and next in line are two always-on pedals—the MXR 6-Band EQ and a Klon KTR. The last two stomps are the Boss DD-500 Digital Delay and a Strymon Flint. All her guitars are kept in line with a TC Electronic PolyTune 2 Mini.


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A dual-channel tube preamp and overdrive pedal inspired by the Top Boost channel of vintage VOX amps.

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Jack White's 1950s Kay Hollowbody Guitar
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This hollowbody has been with Jack since the '90s purring and howling onstage for hundreds of shows.

Our columnist’s Greco 912, now out of his hands, but fondly remembered.

A flea-market find gave our Wizard of Odd years of squealing, garage-rock bliss in his university days.

Recently, I was touring college campuses with my daughter because she’s about to take the next step in her journey. Looking back, I’ve been writing this column for close to 10 years! When I started, my kids were both small, and now they’re all in high school, with my oldest about to move out. I’m pretty sure she’s going to choose the same university that I attended, which is really funny because she’s so much like me that the decision would be totally on point.

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Ethnomusicologist Frances Densmore records the song of Mountain Chief, head of the Blackfeet Tribe, on a phonograph for the Bureau of American Ethnology in 1916.

Once used as a way to preserve American indigenous culture, field recording isn’t just for seasoned pros. Here, our columnist breaks down a few methods for you to try it yourself.

The picture associated with this month’s Dojo is one of my all-time favorites. Taken in 1916, it marks the collision of two diverging cultural epochs. Mountain Chief, the head of the Piegan Blackfeet Tribe, sings into a phonograph powered solely by spring-loaded tension outside the Smithsonian. Across from him sits whom I consider the patron saint of American ethnomusicologists—the great Frances Densmore.

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