Sermon’s BiLT Relevator is finished in shoreline gold and features both an MXR Carbon Copy and BiLT’s own fuzz circuit built into the body along with a Sustainiac in the neck position. Sermon can control the parameters of the effects via a wealth of buttons, switches, and controls that are accessible on the front of the guitar. There’s a Pedaltrain Volto on his strap that supplies power to the pedals via the stereo cable. He keeps this guitar tuned a half-step down from standard.
On “Fricton” Sermon reaches for this prototype BiLT baritone that’s tuned to A and features a Mastery bridge and tremolo along with a pair of Bare Knuckle Mule humbuckers. He strings it up with a set of Elixir strings gauged .012–.068.
For the acoustic tunes, Sermon grabs either his Gibson J-35 or Gibson LG-2 American Eagle (shown here), both flattops have LR Baggs M1 pickups. The LG-2 is kept in standard tuning and used on “Trouble,” “Thief,” and “Release,” while the J-35 is tuned a half-step down and is featured on the bridge to “I Bet My Life.”
The backline for Sermon’s chimey brand of pop-rock is full of classic British tones. His wet/dry/wet setup revolves around a quartet of vintage Vox AC30 amps—two from ’64, a ’66, and a ’67.
Along with the vintage Voxes, Sermon runs an angry Friedman Smallbox 50.
Each one is modded with a Top Boost Kit from Plexi Palace.
Friedman Smallbox 50 is plugged into a 65 Amps 2x12 Whiskey cabinet.
In order to keep things tight, Sermon’s pedals are kept offstage in a rack. The first drawer contains an original silver Klon Centaur, Analog Man King of Tone, ISP Decimator II, Paul Cochrane Timmy, and a Refractor built by Aion Electronics. The whole shelf is powered by a Voodoo Lab Pedal Power 2 Plus power supply.
The second drawer houses everything that’s routed before the volume pedal. It includes an Electro-Harmonix POG 2, Voodoo Lab Micro Vibe, J. Rockett Mark Sampson Hightop, Wampler Ego Compressor, Electro-Harmonix Superego Synth Engine, and a Malekko Vibrato (which is in the effects loop of the Superego). All of the effects are run through a RJM Mini Effects Gizmo and powered by another Voodoo Lab Pedal Power 2 Plus.
The final drawer of “silliness” holds the Eventide H9, DigiTech Whammy, and Source Audio Programmable EQ. Sermon’s tech uses his iPad to connect to the H9 via Bluetooth in order to change or tweak any settings on the fly in real time.
During a typical show, Sermon needs to cover a lot of ground. After going through a Shure ULXD4 wireless unit, the signal hits a Sound Sculpture Switchblade GL before feeding one of three Eventide products: a pair of 7600 units and a H9.
Out front, Sermon uses a RJM Mastermind GT/22 for all his switching needs. He pairs that with a trio of Mission Engineering expression pedals that control the volume of individual amps and the DigiTech Whammy. Also on the board is a Boss TU-3 tuner.
Ben McKee keeps it cool with this custom bass built by Chris Stambaugh from Stambaugh Designs. It has some T-style design concepts along with a 33” scale length. It also features custom artwork using images that represent the band’s charitable foundation, The Tyler Robinson Foundation.
This Sadowsky Jazz bass is tuned to B-E-A-D for specific tunes on the band’s latest album, Smoke & Mirrors.
McKee also keeps this Mike Lull T4 tuned to B and it features passive electronics, a mahogany body and acoording to McKee, makes him feel like a “badass.”
A pair of Matchless Thunderman 50-watt heads provides McKee with his low-end rumble.
He runs the Matchless heads into a Bergantino NV412 cab.
Shane Johnson also built McKee’s bass rig. The goal was to be bulletproof yet still offer plenty of sonic options. His pedal drawer houses a Malekko B:Assmaster, Brimstone Audio Crossover Distortion XD-2, Electro-Harmonix Bass Micro Synth, and an Xotic EP Booster.
This modeling amplifier comes in two colors (White, Black), each of which is paired with its own carefully curated selection of preamp models.
The modulation dial can be adjusted to choose between chorus, phaser, and vibrato effects, whereas the delay dial facilitates analog, tape echo, and digital delay. Also, the reverb unit includes room, hall, and church emulations, making sure that there is an atmosphere and effect chain that works for any practice scenario.
A unique feature of this amplifier is how it can be used in two modes: “Live” and “Preset” mode. When using Live mode, guitarists will be able to browse the device's built-in preamp tones, which they can then enhance if they wish to throw the effect units. In contrast, the "Preset" mode allows users to save these effects and dynamic parameter changes into each preset, enabling them to customize them without overwriting the originals.
As any good amplifier should, the Hornet 15 Li is complete with industry-standard features, such as three-band EQ adjustment dials, volume and gain dials, a 1/4" guitar input, and both an auxiliary input and headphone output. However, MOOER has gone above and beyond to pack the amplifier with several special features; for example, this modeling amp boasts separate tap-tempo buttons for both the modulation and delay units, in addition to a dedicated tuner button and function, allowing guitarists to use the device's screen to ensure their guitar tuning is precise. What's more, the Hornet 15 Li also supports Bluetooth input, meaning that any guitarist can stream their favorite songs and backing tracks directly to the amplifier, making practice sessions and rehearsals easier than ever.
Arguably, the most impressive feature of the Hornet 15 Li is the fact that, in addition to being powered by a mains supply, it can also operate on battery. The device is built with an integrated 4000mA.h lithium battery, empowering guitarists to practice guitar on the go for hours–even when there’s no power source nearby. Combining this with how the amp weighs just 2.9kg and comes with a built-in handle, it’s clear that MOOER had portability and convenience in mind when designing this product.
Features:
- Available in 2 colors (White, Black), each with its own selection of classic preamps
- 9 high-quality preamp models, each captured through MOOER’s MNRS technology (controllable through the 9-way tone rotary switch)
- Modulation effects unit (chorus, phaser, vibrato) and dial
- Delay effects unit (analog, tape echo, digital) and dial
- Reverb effects unit (room, hall, church) and dial
- Three dials for three-band EQ adjustment (treble, mid, bass)
- Gain and master volume dials
- Live/Preset mode toggle switch
- Tap tempo buttons and features for modulation and delay effects
- 15 watts of rated power, ideal for practicing
- Digital screen for displaying functional and tuning information
- Built-in digital tuner
- ¼” guitar input
- 3.5mm auxiliary input
- 3.5mm headphone output
- Bluetooth support for high-quality audio input playback, perfect for backing tracks
- Convenient handle for easy transportation
- Rechargeable 4000mA.h lithium battery for portable play
- Power switch for easy on/off control
The Hornet 15 Li is available from distributors and retailers worldwide now.
A Galloup guitar made from paulownia.
Guitars priced between $1,500 and $4,000 typically utilize domestic woods or other widely accessible alternatives that provide excellent value. However, in recent years, sustainability has become an increasingly critical concern regarding the sourcing of these natural resources. We are committed to ensuring that the materials we select not only deliver superior sound but also align with sustainable practices, helping to preserve the environment for future generations of musicians.
Over the years, I’ve encountered difficulties with alternative, sustainable soundboard options. That is, until I took part in the paulownia experiment initiated by World Tree, an environmental organization “focused on nature-based solutions to some of our biggest global challenges.” This project highlighted wood from the fast-growing paulownia tree, which was cultivated by former President Jimmy Carter. Initially, the prospect of using paulownia appeared impractical. Yet, upon further analysis, we recognized its potential as a viable substitute, though some of its material property characteristics, such as damping and admittance, still require further testing.
Many luthiers understand traditional soundboard materials well. Despite this knowledge, integrating new tonewoods into our repertoire can be an arduous process. Fortunately, advancements in wood testing technology have significantly expedited the evaluation process. Currently, for the assessment of wood, I use the Acousonix Sonic Calculator, a handheld application that enables me to input various wood-property parameters for a thorough evaluation. Upon entering the data, the application delivers a precise rating, considers multiple factors, delineates the wood's sonic characteristics, and then specifies its best use applications.
Fig. 1
My Acousonix analysis of paulownia indicates that its 11.3 sonic rating makes it unexpectedly well-suited for use as a soundboard (see Fig. 1). As my builds with this material progressed, the results were exceedingly promising. Paulownia features well-rounded tonal characteristics, exhibiting a rapid response with a seemingly high admittance, which indicates a lower damping factor. Another noteworthy aspect of paulownia is its sustainability: The tree reaches full maturity in approximately 12 years. Upon harvest, a new sapling can be replanted in the same root system, allowing for accelerated mature growth in around seven years. This cycle can be repeated multiple times, establishing paulownia as a highly renewable resource. But unlike typical spruce, which commonly yields eight to 11 growth rings per inch, paulownia’s growth rings come in at around three to four per inch. But don’t let this fool you. Despite its non-traditional appearance, paulownia has a reputation for being stable and warp-resistant (see Fig. 2).
Fig. 2
“Another noteworthy aspect of paulownia is its sustainability: The tree reaches full maturity in approximately 12 years.”
While testing paulownia for guitar making, we observed that this species yields a highly responsive instrument. It offers a fast musical response similar to many late-1930s Gibson J-35s I have played. It exhibits a quick response with a lower fundamental and a pleasant decay. But, due to its lightweight—around 5 grams per cubic inch—it tends to exhibit lower headroom. Thus, despite being a powerful and enjoyable guitar to play, it tends to distort when pushed to higher volumes. In its defense, most players commonly don’t play hard enough to reach these limits.
Ultimately, the tests I conducted affirm its potential as a substitute tonewood for guitars, possessing desirable acoustic properties. While paulownia has historically been utilized in instruments like the Japanese koto, it stands to reason that the acoustic guitar market should explore this avenue further. To prove a point, we used paulownia for the top, back, sides, bracing, and neck, with the total price tag for all tone woods used coming in at around $70. So, given its low cost, stability, availability, and the grower's commitment to environmental sustainability, paulownia is a resource deserving of serious consideration.
For more information about World Tree, visit worldtree.eco, and to learn more about the Acousonix Sonic Calculator, visit acousonix.com.
