The band’s platinum pop-rock is fueled with amazingly customized axes, vintage Voxes, and plenty of sonic exploration.

Wayne Sermon plays several different BiLT guitars throughout the set. These offset beauties are highly customized with features Sermon specifically needs to create certain sounds from ID albums. His No. 1 is a gold-plated Volaré loaded with a pair of Lindy Fralin Twangmaster humbuckers. Each guitar is strung up with Elixir .011–.052 strings and Sermon uses Dunlop 88 mm 50th Anniversary Gold nylon picks.

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Kemper Profiler Stage, Nueral DSP Quad Cortex & Line 6 HX Stomp (clockwise from top)

A deep dive into faux amps, futuristic setups, and how to use modern technology’s powers for good.

The jump between analog and digital gear has never been more manageable. It no longer takes a rack full of outboard gear with a six-figure price tag to help realize not only the tone you have in your head, but the expansive workflows that started to pop up in the early ’80s. We’re now about a decade into the modern era of digital modelers and profilers and it seems like the technology has finally come into its own. “This is really the first time in a while where you can have bar bands playing the exactsame gear as stadium acts,” says Cooper Carter, a Fractal Audio Systems production consultant who has done sound design and rig building for Neal Schon, James Valentine, John Petrucci, and others.

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Master builder Dennis Galuszka recreates the legendary "Chicago" guitarist's legacy with a collectible, limited run guitar.

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