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.
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.
The Sunset is a fully analog, zero latency bass amplifier simulator. It features a ¼” input, XLR and ¼” outputs, gain and volume controls and extensive equalization. It’s intended to replace your bass amp both live and in the studio.
If you need a full sounding amp simulator with a lot of EQ, the Sunset is for you. It features a five band equalizer with Treble, Bass, Parametric Midrange (with frequency and level controls), Resonance (for ultra lows), and Presence (for ultra highs). All are carefully tuned for bass guitar. But don’t let that hold you back if you’re a keyboard player. Pianos and synthesizers sound great with the Sunset!
The Sunset includes Gain and master Volume controls which allow you to add compression and classic tube amp growl. It has both ¼” phone and balanced XLR outputs - which lets you use it as a high quality active direct box. Finally, the Sunset features zero latency all analog circuitry – important for the instrument most responsible for the band’s groove.
Introducing the Sunset Bass Amp Simulator
- Zero Latency bass amp simulator.
- Go direct into the PA or DAW.
- Five Band EQ:
- Treble and Bass controls.
- Parametric midrange with level and frequency controls.
- Presence control for extreme highs.
- Resonance control for extreme lows.
- Gain control to add compression and harmonics.
- Master Volume.
- XLR and 1/4" outputs.
- Full bypass.
- 9VDC, 200mA.
Artwork by Aaron Cheney
MAP price: $210 USD ($299 CAD).
PRS Guitars celebrates 40 years with the limited edition McCarty SC56. Featuring vintage-inspired design and modern innovations, this single-cutaway guitar pays tribute to Ted McCarty and his impact on the industry. With only 400 pieces available, this instrument is a must-have for collectors and performers alike.
PRS Guitars today announced the 40th Anniversary McCarty SC56 Limited Edition. With a classic PRS single-cutaway body shape and carefully chosen specifications, the McCarty SC56 is both a tribute to tradition and a reliable tool for the modern performer. Only 400 pieces will be made.
“The SC56, signifying Singlecut and 1956, model is our most recent tribute to my late mentor Ted McCarty and his impact on the guitar industry. We started with our take on a classic late ‘50s singlecut body. 1956 marks the year that Ted first had guitars made with his newly coined 'humbucker' pickups. It also happens to be the year I was born. Bringing vintage design into the modern era, we loaded this model with our McCarty III pickups, meticulously designed to deliver warm, clear, vintage tone with exceptional note separation and dynamics,” said PRS Guitars Founder & Managing General Partner, Paul Reed Smith.
Anchored by a maple top and mahogany back, the 24.594” scale length and 22-fret Pattern Vintage neck work with Phase III non-locking tuners and PRS two-piece bridge to promote its musical sustain. The PRS McCarty III pickups are controlled by a simple layout — two volume controls, two tone controls, and a three-way toggle on the upper bout.
Single-cutaway guitars are known to be heavier than their double-cutaway counterparts. The McCarty SC56 Limited Edition design incorporates weight-relief, decreasing the weight of the guitar by about 2/3 of a pound, while maintaining several points of attachment between the guitar top and back to eliminate the “hollow” sound of the cavities and promote tone transfer.
With appointments like binding on the fretboard, classic bird inlays, and a vintage-inspired nitrocellulose finish, the 40th Anniversary McCarty SC56 Limited Edition blends heritage and innovation into a timeless instrument.
PRS Guitars continues its schedule of launching new products each month in 2025.
For more information, please visit prsguitars.com.
40th Anniversary McCarty SC56 Limited Edition | Demo | PRS Guitars - YouTube
His credits include Miles Davis’ Jack Johnson and Herbie Mann—next to whom he performed in Questlove’s 2021 documentary, Summer of Soul—and his tunes have been covered by Santana and the Messthetics. But it’s as a bandleader and collaborator where Sharrock cut his wildest recordings. As groundbreaking as Sharrock’s music could be, his distorted tone and melodic tunes helped bring rock listeners into the jazz tent. Our callers let us know how much Sharrock meant to them and why he’s one of the “top guys of all time.”
Designed for players who demand flexibility without sacrificing tone, the Aquanaut fuses the rich warmth of classic analog delay with the extended range and clarity of modern digital designs. Featuring up to 600 milliseconds of delay time, the Aquanaut easily covers everything from tight slapback echoes to lush, ambient textures and rhythmic soundscapes – all with a simple, intuitive control layout.
Unlike many digital delays that can sound sterile and detached, the Aquanaut retains an organic, analog-inspired voice. Repeats are smooth and musical, gently fading into the mix to create depth and dimension without overwhelming your dry signal. Whether you’re chasing vintage tape echo, adding subtle space to your solos, or building massive atmospheric layers, the Aquanaut keeps your tone clear, present, and inspiring.
Berserker Electronics Aquanaut Delay/Echo
Key features include:
- Up to 600ms of delay time for expanded creative possibilities
- Analog-voiced digital architecture for warm, natural-sounding repeats
- Ambient-style echo that enhances, not distracts from, your core tone
- Simple, intuitive controls for delay time, feedback, and blend
The Aquanaut is available direct at www.berserkerpedals.com and Reverb at a $149 street price.