Gary Clark Jr.’s longtime tech Dave Holman met with Premier Guitar’s John Bohlinger before their three-night sold-out run at Nashville’s Ryman Auditorium for a look at Gary Clark Jr.’s simple, yet stellar, setup. Later, JB met with King Zapata (above right) who showed off how he uses his complex rig for layering deep soundscapes.
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
New RAT Sound Solution Offers a Refined Evolution of Distortion
ACT Entertainment ’s iconic RAT brand has unveiledthe Sterling Vermin, a boutique distortion guitar pedal that blends heritage tone with modernrefinement. With a new take on RAT’s unmistakable sound, Sterling Vermin delivers a new levelof precision and versatility.
“The Sterling Vermin was born from a desire for something different — something refined, withthe soul of a traditional RAT pedal, but with a voice all its own,” says Shawn Wells, MarketManager—Sound, ACT Entertainment, who designed the pedal along with his colleague MattGates. “Built in small batches and hand-soldered in ACT’s Jackson, Missouri headquarters, theSterling Vermin is a work of pure beauty that honors the brand legacy while taking a bold stepforward for creativity.”
The Sterling Vermin features the LM741 Op-Amp and a pair of selectable clipping diodes.Players can toggle between the traditional RAT silicon diode configuration for a punchy, mid-range bite, or the BAT41 option for a smoother, more balanced response. The result is a pedalthat’s equally at home delivering snarling distortion or articulate, low-gain overdrive, with a wide,usable tonal range throughout the entire gain spectrum.
The pedal also features CTS pots and oversized knobs for even, responsive control that affordsa satisfying smoothness to the rotation, with just the right amount of tension. Additionally, thepolished stainless-steel enclosure with laser-annealed graphics showcases the merging of thepedal’s vintage flavor and striking design.
“From low-gain tones reminiscent of a Klon or Bluesbreaker, to high-gain settings that flirt withBig Muff territory — yet stay tight and controlled — the Sterling Vermin is a masterclass indynamic distortion,” says Gates, an ACT Entertainment Sales Representative. “With premiumcomponents, deliberate design and a focus on feel, the Sterling Vermin is more than a pedal, it’sa new chapter for RAT.”
The RAT Sterling Vermin is available immediately and retails for $349 USD. For moreinformation about this solution, visit: actentertainment.com/rat-distortion .
The Miku was introduced about 10 years ago and is based on the vocal stylings of Hatsune Miku, a virtual pop icon. But it does much more than artificial vowels and high-pitched words.
It’s tempting to think of this pedal as a joke. Don’t.
It all started a few years ago through a trade with a friend. I just wanted to help him out—he really wanted to get a fuzz pedal but didn’t have enough cash, so he offered up the Korg Miku. I had no idea then, but it turned out to be the best trade I’ve ever made.
Here’s the truth: the Korg Miku is not your typical guitar pedal. It won’t boost your mids, sculpt your gain, or serve up that warm, buttery overdrive you’ve always worshipped. Nope. This little box does something entirely different: It sings! Yes, sings in a Japanese kawaii accent that’s based on the signature voice of virtual pop icon Hatsune Miku.
At first glance, it’s tempting to dismiss this pedal as just a gimmick—a joke, a collector’s oddity, the kind of thing you buy for fun and then forget next to your Hello Kitty Strat. But here’s the twist: Some take it seriously and I’m one of those people.
I play in a punk band called Cakrux, and lately I’ve been working with a member of a Japanese idol-style girl group—yeah, it’s exactly the kind of wild mashup you’d ever imagine. Somewhere in the middle of that chaos, the Miku found its way into my setup, and weirdly enough, it stuck. It’s quirky, beautiful, occasionally maddening, and somehow … just right. After plenty of time spent in rehearsals, studio takes, and more sonic experiments than I care to admit, I’ve come to appreciate this pedal in unexpected ways. So here are a few things you probably didn’t know about this delightfully strange little box.
It’s Not Organic—and That’s OK
Most guitar pedals are chasing something real. Wah pedals mimic the human voice—or even a trumpet. Tube Screamers? They’re built to recreate the warm push of an overdriven tube amp. Cab sims aim to replicate the tone of real-world speaker setups. But the Miku? It breaks the mold. Instead of emulating reality, it channels the voice of a fictional pop icon. Hatsune Miku isn’t a person—she’s a vocaloid, a fully digital creation made of samples and synthesis. The Miku doesn’t try to sound organic, it tries to sound like her. In that sense, it might be the only pedal trying to reproduce something that never existed in the physical world. And honestly, there’s something oddly poetic about that.
A World-Class Buffer
Here’s a fun fact: I once saw a big-name Indonesian session guitarist—you know, the kind who plays in sold-out arenas—with a Miku pedal on his board. I was like, “No way this guy’s busting out vocaloid lines mid-solo.” Plot twist: He only uses it for the buffer. Yep, the man swears by it and says it’s the best-sounding buffer he’s ever plugged into. I laughed … until I tried it. And honestly? He’s not wrong. Even if you never hear Miku sing a note, this pedal still deserves a spot on your board. Just for the tone mojo alone. Wild, right?
“The Miku is one of those pedals that really shouldn’t work for your music, but somehow, it just does.”
Impossible to Tame
Most pedals are built to make your life easier. The Miku? Not so much. This thing demands patience—and maybe a little spiritual surrender. First off, the tracking can be finicky, especially if you’re using low-output pickups. Latency becomes really noticeable and your picking dynamics suddenly matter a lot more. Then there’s the golden rule I learned the hard way. Never—ever—put anything before the Miku. No fuzz, no wah, no compressor, not even a buffer! It gets confused instantly and says “What is going on here?” And don’t even think about punching in while recording. The vocal results are so unpredictable, you’ll never get the same sound twice. Mess up halfway? You’re starting from scratch. Same setup, same take, same chaotic energy. It’s like trying to recreate a fever dream. Good luck with that.
Full Range = Full Power
Sure, it’s made for guitar, but the Miku really comes to life when you run it through a keyboard amp, bass cab, or even a full-range speaker. Why? Because her voice covers way more frequency range than a regular guitar speaker can handle. Plug it into a PA system or a bass rig, and everything sounds clearer, richer, way more expressive. It’s like letting Hatsune Miku out of her cage.
The Miku is one of those pedals that really shouldn't work for your music, but somehow, it just does. Is it the best pedal out there? Nah. Is it practical? Not by a long shot. But every time I plug it in, I can’t help but smile. It’s unpredictable, a little wild, and it feels like you’re jamming in the middle of a bizarre Isekai anime scene. And honestly, that’s what makes it fun.
This thing used to go for less than $100. Now? It’s fetching many times that. Is it worth the price? That’s up to you. But for me, the Korg Miku isn’t just another pedal—it’s a strange, delightful journey I’m glad I didn’t skip. No regrets here.
Two guitars, two amps, and two people is all it takes to bring the noise.
The day before they played the coveted Blue Room at Third Man Records in Nashville, the Washington, D.C.-based garage-punk duo Teen Mortgage released their debut record, Devil Ultrasonic Dream. Not a bad couple of days for a young band.
PG’s Chris Kies caught up with guitarist and vocalist James Guile at the Blue Room to find out how he builds the band’s bombastic guitar attack.
Brought to you by D’Addario.
Devilish Dunable
Guile has been known to use Telecasters and Gretsches in the past, but this time out he’s sticking with this Dunable Cyclops DE, courtesy of Gwarsenio Hall—aka Jordan Olds of metal-themed comedy talk show Two Minutes to Late Night. Guile digs the Dunable’s lightness on his shoulders, and its balance of high and low frequencies.
Storm Warning
What does Guile like about this Squier Cyclone? Simple: its color. This one is also nice and easy on the back, and Guile picked it up from Atomic Music in Beltsville, Maryland.
Crushing It
Guile also scooped this Music Man 410-HD from Atomic, which he got just for this tour for a pretty sweet deal. It runs alongside an Orange Crush Bass 100 to rumble out the low end.
James Guile’s Pedalboard
The Electro-Harmonix Micro POG and Hiwatt Filter Fuzz MkII run to the Orange, while everything else—a DigiTech Whammy, Pro Co Lil’ RAT, and Death by Audio Echo Dream 2—runs to the Music Man. A TC Helicon Mic Mechanic is on board for vocal assistance, and a TC Electronic PolyTune 3, Morley ABY, and Voodoo Labs Pedal Power 3 Plus keep the ship afloat.
Ernie Ball, the world’s leading manufacturer of premium guitar and bass strings, is proud to announce the release of the Pino Palladino Signature Smoothie Flats, the newest innovation in flatwound bass strings.
Developed in collaboration with legendary bassist Pino Palladino, these signature sets are engineered to deliver an ultra-smooth feel and a rich, warm tone that’s as versatile as it is expressive. Available in two gauges—Extra Light (38–98) and Medium (43–108)— Smoothie Flats are crafted with a precision-polished cobalt alloy ribbon for low tension, flexible playability, and deep vintage-inspired sound.
Ernie Ball: Pino Palladino Signature Smoothie Flats Bass Strings
Product Features:
- Precision polished for an ultra-smooth feel
- Cobalt alloy ribbon winding for a rich, deep sound
- Flexible, low-tension design for superior playability
- Trusted by Pino Palladino for studio and live performance
Pino Palladino Signature Smoothie Flats bass strings are available at Ernie Ball dealers worldwide.