![Rig Rundown: Gary Clark Jr. & Eric Zapata [2019]](https://www.premierguitar.com/media-library/rig-rundown-gary-clark-jr-eric-zapata-2019.jpg?id=33277420&width=1245&height=700&quality=85&coordinates=0%2C0%2C0%2C90)
When Gary Clark Jr. took over the scene with his debut Warner release, Blak and Blu, he did it armed with this 2007 Epiphone Casino packed with the stock P-90s. “Red” stays strung with D’Addario Chromes (.011–.014–.018p–.028–.038–.049).
This ’90s Ibanez Blazer, a gift from Gary Clark Jr.’s mother, is where it all started. The Blazer stays strung with D’Addario Custom Nickel Roundwounds.
Gary Clark Jr. worked with Gibson to help create a Gibson GCJ Flying V prototypes. Clark carries two of them on the road and both rock a trio of Gibson Custom Shop P-90s and D’Addario .011–.049 strings.
Here is Gary Clark Jr.’s second V prototype.
In 2017 Gibson built Gary Clark Jr. this signature SG with Gibson Custom shop P-90s.
Gary Clark Jr. has long been associated with the Fender Vibro-King. Currently, he tours with a 2012 65-watt head version that sports a 100-watt transformer with modded bias points on the back of the amp.
The Vibro-King feeds a Fender 2x10 closed back cab loaded with Fender 10” speakers.
Depending on the venue, Gary Clark Jr. will often add this 2013 Fender Princeton at low volume in rooms when the big amp loses tone from lack of volume.
Gary Clark Jr.’s pedalboard is run entirely through the effects loop of the Vibro-King, so his guitar plugs straight into the front of his amp. Down front he has a TC Electronic PolyTune 2 Noir, Fulltone Octafuzz, Function f(x) The Cannon Dual Fuzz, Strymon Flint, Dunlop Gary Clark Jr. Cry Baby Wah, Function f(x) Clusterfuzz, and a Hermida Audio Zendrive.
This yellow sparkle number is Eric Zapata’s go-to on every gig. It’s a Moollon S-style axe based on vintage ’60s Stratocaster specs. He outfitted it with Don Mare pickups with the bridge pickup reversed. Zapata strings it up with D’Addario EXL115 Nickel Wound strings (.011–.049).
Eric Zapata’s other Moollon is this lefty Esquire-style axe.
For something a bit different, King Zapata plays this 1959 Supro Belmont made by National Valco. The pickup looks like a humbucker but it's actually a hot 9K single-coil. This vintage beauty features a Brazilian rosewood fretboard, solid mahogany body, and a maple neck.
Eric Zapata uses a dual-amp setup where both amps run into a single cab via a Radial Headbone VT. On the bottom is an Amplified Nation Steel String Singer, which was based on a Dumble Steel String Singer S/N #005. It contains four 6550 tubes running at a staggering 150 watts. The power section is articulate, punchy, and stays clean at extreme levels of volume. It also has a cathode follower driver tube, which is an additional 12AT7 located in the power section. The cathode follower adds output with extremely low distortion.
On top is a custom built Royal JPP100. The Royal and the Steel String run into what started out as a Marshall JTM45 4x12 cab, but he converted it to a 2x15 loaded with Electro-Voice 15L speakers.
Eric Zapata combines pedals to create spacious, ethereal effects. On the floor, from amp to guitar, Zapata runs a Carl Martin Headroom Reverb, ’70s MXR Loop Selector, ’90s Electro-Harmonix Deluxe Memory Man, ’80s Ibanez Analog Delay D-80, Sonus Halo Vibe, Hughes & Kettner Rotosphere, a ’60s Vox 847 Wah, a ’70s Shin-Ei 8tr Fuzz that was rehoused by Analog Man, and a Scott McKeon germanium fuzz. Other than some proprietary power solutions, a Voodoo Lab PP2 supplies the juice. Zapata’s pedalboard was built by Mason Marangella at Vertex Effects.
On top of Zapata’s rack sits a ’70s Roland Space Echo Tape Delay.
American Stage Cables:https://www.daddario.com/AmericanStageRR
Guest picker Ally Venable
Ally Venable - Guest Picker
By FifthLegend from Eagan, Minnesota, United States of America - Thundercat, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=70617212
A: For my late-night show's house band, I’ve assembled a dream team. This ensemble inspires me with their unparalleled musical talents and diverse backgrounds. Chris Layton’s drumming is unmatched and he will provide a solid foundation. I’ll have Jon Batiste on keys. His creativity and energy is boundless. Eric Gales would be on guitar. I love how emotive his music is, and I strive for that type of connection within my playing as well. Finally, I’d have Thundercat on bass. His playing is infused with jazz and funk sensibilities that would tie the whole sound together in an interesting way.
Obsession: My current obsession is shifting my approach to playing—focusing on connection over applause. Instead of chasing technical perfection or crowd reactions, I’m leaning into the emotional and spiritual side of music. It’s about creating moments that resonate deeply, whether it’s with myself, my bandmates, or the audience.
David Saenger - Reader of the Month
A: I love the idea of supergroups and how each of the players would interact. On guitars I would have Nuno Bettencourt (Extreme) and Isaiah Sharkey. My drum and bass combo would be Stewart Copeland (The Police) and Mohini Dey. On keys and sax, I would have Herbie Hancock and Joshua Redman. My male and female vocalists would be Corey Glover (Living Colour) and Liv Warfield (Prince). All of these players are fantastic improvisers and really know how to put on an entertaining show in any genre.
Bassist Victor Wooten
Obsession: My current obsession has been bass. My 12-year-old daughter started playing electric and upright bass about two years ago, and it’s been a blast working with her. I’ve been really focusing on having a solid pocket, and it’s forced me to get better at reading bass clef. I’m taking her to see Victor Wooten next week. Can’t wait!
Jason Shadrick - Managing Editor
Jason Shadrick on the SNL stage.
A: The natural move would be to go for a high-energy party band decked out with multiple keyboards, horns, and vocalists. I’d go a different route. I’d go for a more rootsy vibe with Blake Mills leading a band consisting of Jay Bellerose on drums, esperanza spalding on bass, Bob Reynolds on saxophones, and a rotating guest each week. They could cover lo-fi Americana, funky open-tuned blues, and so much more.
Obsession: This month is slightly less obsession and more reflection as this will be my last issue as Managing Editor for PG. Over the last 15 years I’ve worked on 182 issues, which is kinda mind-boggling. I’ve been lucky enough to do some incredible things during my time at PG, including walking through the host door at SNL and spending a few minutes with Brian May. Never could have imagined it. I am very grateful.
Nick Millevoi - Senior Editor
A: I’ve long said that joining one of the late night bands would probably be my absolute top dream gig. So, if I were choosing my own late-night band, from any era, I would go no further than getting a chance to sit with Paul Schaffer and the World’s Most Dangerous Band or G.E. Smith-era Saturday Night Live Band.
Obsession: The late guitarist Jef Lee Johnson, who spent time in Schaffer’s band, had a heavy resume that included stars of all genres from Billy Joel to the Roots to McCoy Tyner. I got to see him play some low-key gigs around Philly, and each rearranged my molecules. It’s only now, years after his 2013 death, that I’ve become obsessed with his discography. Though much of his work was as a high-level sideman, his albums show the broad range of this masterful guitarist, whose tone, feel, and phrasing conveyed the instrument’s deepest emotional capabilities.
“Earthwood Bell Bronze strings are a giant leap forward in tone, playability, and durability. They’re great in any musical setting but really shine when played solo. There’s an orchestral quality to them.” -John Mayer
Product Features:
- Developed in collaboration with John Mayer
- Big, bold sound
- Inspired by alloys used for bells and cymbals
- Increased resonance with improved projection and sustain
- Patent-pending alloy unique to Ernie Ball stringsHow is Bell Bronze different?
- Richer and fuller sound than 80/20 and Phosphor Bronze without sounding dark
- Similar top end to 80/20 Bronze with richer low end than Phosphor Bronze
We caught up with guitarists Carlos O’Connell and Conor Curley from red-hot Dublin indie rock outfit Fontaines D.C. for a Rig Rundown in 2023, but we felt bad missing bassist Conor “Deego” Deegan III, so we’ve been waiting for the lads to make their way back.
This time, riding the success of their fourth LP, 2024’s Romance, we caught up with all three of them at Nashville’s Marathon Music Works ahead of their April 30 gig to see what they brought across the pond.
Brought to you by D’Addario
All’s Fairlane
Curley’s go-to is this Fairlane Zephyr, loaded with Monty’s P-90s and a Mastery bridge. It mostly stays in standard tuning and, like his other axes, has Ernie Ball Burly Slinky strings.
Blue Boy
Fender sent Curley this Jazzmaster a couple of years ago, and since then, he’s turned to it for heavier, more driven sounds. It’s tuned to E flat, but Curley also tunes it to a unique shoegaze-y tuning for their tune “Sundowner.”
You can also catch Curley playing a Fender Johnny Marr Jaguar.
Twin Win
Fender Twin Reverbs are where Conor Curley feels most comfortable, so they’re his go-to backline. The amps are EQ’d fairly flat to operate as pedal platforms.
Conor Curley’s Pedalboard
Curley’s pedalboard for this tour includes a TC Electronic PolyTune3 Noir, Strymon Timeline, Boss RV-6, Boss PN-2, Boss BF-3, Keeley Loomer, Death by Audio Echo Dream, Fairfield Circuitry Hors d'Ouevre?, Strymon Sunset, Strymon Deco, DigiTech Hardwire RV-7, Electro-Harmonix Nano POG, and Lehle Little Dual.
Fake Out
Connor Deegan didn’t own a bass when Fontaines D.C. began, and his first purchase was the black Fender Jazz bass (right)—or so he thought. He later discovered it was a total knock-off, with a China-made body, Mexico-made neck, and a serial number that belongs to a Jaguar. But he fell in love with it, and its sound—nasal on the high strings, with cheap high-output pickups—is all over the band’s first record, Dogrel. Deego plays with orange Dunlop .60 mm picks, and uses Rotosound Swing Bass 66 strings.
Deegan picked up the Squier Bass VI (left) for its “surfy vibes,” and upgraded the pickups and bridge.
Also in his arsenal is this 1972 Fender P-bass (middle). (He’s a bit nervous to check the serial number.)
V-4 You Go
Deego plays through an Ampeg V-4B head into a Fender 6x10 cabinet.
Conor Deegan’s Pedalboard
Deegan’s board includes a Boss TU-3, Electro-Harmonix Hum Debugger, Boss TR-2, modded Ibanez Analog Delay, Death by Audio Reverberation Machine, Boss CE-2w, Tech 21 SansAmp Bass Driver DI, Darkglass Electronics Alpha Omega Ultra, and Dunlop Volume (X) Mini pedal. A GigRig QuarterMaster helps him switch sounds.
Mustang Muscle
Carlos O’Connell favors this 1964 Fender Mustang, which has been upgraded with a Seymour Duncan Hot Rails pickup since Romance. It’s set up so that the single-coil pickup is always on, and he’ll add in the Hot Rails signal for particular moments.
Ghost of Gallagher
Mustang MuscleAfter getting to play a number of Rory Gallagher’s guitars thanks to a private invitation from the guitarist’s estate, O’Connell picked up this Fender Custom Shop Rory Gallagher Signature Stratocaster. The jangly, direct tone of this one is all over tunes like “Boys in the Better Land.”
More Fender Friends
O’Connell runs his guitars, including a vintage Martin acoustic which he picked up in Nashville, through a Fender Twin Reverb and Deluxe Reverb.
Carlos O’Connell’s Pedalboard
The gem of O’Connell’s board is this Soundgas 636p, an imitation of the infamous Grampian 636 mic preamp’s breakup. Alongside it are a TC Electronic PolyTune, Ceriatone Centura, Strymon Volante, Eventide H9, Orchid Electronics Audio 1:1 Isolator, Vein-Tap Murder One, MXR Micro Amp, Moog MF Flange, MXR Smart Gate, and Freqscene Koldwave Analog Chorus. A Radial BigShot ABY navigates between the Twin and Deluxe Reverb.
