The Swedish prog-metal sorcerers dish on their longstanding PRS ties and uncover why they traded traditional tube amps for swappable high-gain Synergy modules.
Holding down lead guitar duties in Opeth since 2007, Fredrik Ć kesson knows his way around the fretboard. And before the bandās first Ryman performance, the self-admitted āgear dorkā shows off the cavalcade of PRS 6-strings he and singer/guitarist Mikael Ć kerfeldt use onstage, explains the bandās move from tube heads to miniature modules designed by Dave Friedman and Steve Vai, and demos the core colors of his live tone.
Fredrik Ć kesson has long been associated with single-cut guitars. His time with Arch Enemy and Krux saw him rock ESP Eclipse models and when he teamed up with Ć kerfeldt he joined the PRS squad. (He was even honored with a signature SE single-cut in 2011.) And one of his favorite studio tools (as noted in our 2014 interview on Pale Communion), is a 1955 Les Paul Junior with P-90s. His current No. 1 is this PRS single-cutāa P245 that is favored because it allows him to blend in piezo tones for the bandās acoustic or quieter sections while still blowing smoke through the humbuckers during their heaviest parts. All of his guitars are strung up with DR Veritas strings, gauged .010ā.052.
Hereās another PRS P245 for Fredrik Ć kesson who goes with this one on the bandās brutish songs because it has their \m/ (Metal) pickup in the bridge position.
For the low-tuned (DāAāDāFāAāE) ripper āReverie / Harlequin Forestā off Ghost Reveries, Fredrik Ć kesson rides this longer-scaled (25") PRS P22.
āNepentheā from Heritage contains jazz-fusion elements, so Fredrik Ć kesson plays this PRS Mark Tremonti signature with a recessed trem so he can unleash his inner Allan Holdsworth. He used to swap out the stock pickups for Seymour Duncans (JB in the bridge here), but this is the only guitar that doesnāt have the originals in it.
Fredrik Ć kessonās above PRS P24 is now a touring backup but still receives plenty of studio action as he loves how it sounds as a lead instrument.
Founding singer/guitarist Mikael Ć kerfeldt spends most of the night on this custom white PRS P24 with a vintage (fatter) profile neck. He uses Thomastik-Infeld Power-Brights (.010ā.045) and Dunlop Nylon 1 mm picks.
Mikael Ć kerfeldtās newest PRS P24 is this bodacious green one.
And for āSorceressā (tuned AāAāDāGāBāE), Mikael Ć kerfeldt employs this PRS McCarty model.
If youāve seen Fredrik Ć kesson with Opeth, youāve seen him shadowed by stacks of traditional, 100-watt tube heads like a Blackstar Series One 100 or a Marshall JVM410H. For recent fly gigs, the guitar tandem needed a smaller, lighter solution and the Synergy tube modules lent themselves as the perfect guinea pigs. Those shows went well so theyāve since adopted them into their touring rigs where theyāre constantly fine-tuning the module pairings. Currently, Fredrik is going with the Steve Vai module and the Soldano SLO module.
Mikael Ć kerfeldtās current module setup includes a Friedman Dirty Shirley matched with a Soldano SLO.
The brain of Fredrik Ć kessonās stomp station is a MusicomLab EFX-LE loop switcher. For pedals, he has the Strymon Volante, TC Electronic Flashback 2, Xotic EP Booster, One Control Tiger Lily Tremolo, Olsson Amps Fuzztner, MXR Phase 95, Boss OC-2 Octave, DryBell Vibe Machine, and a Dunlop 95Q Cry Baby Wah. As for the non-noisemakers, he has a Dunlop DVP3 Volume pedal to harnesses dynamics, a TC PolyTune 2 Mini keeps everything in check, an ISP Technologies Decimator X squelches extra noise, and a Decibel Eleven Hot Stone powers all the fun.
Mikael Ć kerfeldt takes a simpler approach for his colors with a Fractal Audio AX8 doing most of the heavy lifting aside from a Electro-Harmonix Small Stone phaser and a TC Electronic BodyRez pickup enhancer.
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D'Addario XT Strings:https://www.daddario.com/XTRR
Nineties-style high-gain heaviness that can be surgically tailored with a powerful EQ.
Excellent variations on high-gain modern distortion tones. Powerful EQ.
Not many low- or mid-gain sounds here.
$199
JHS Hard Drive
jhspedals.com
JHS makes many great and varied overdrive stomps. Their Pack Rat is a staple on one of my boards, and I can personally attest to the quality of their builds. The new Hard Drive has been in the works since as far back as 2016, when Josh Scott and his staff were finishing off workdays by jamming on ā90s hard rock riffs.
During these sessions, Scottās go-to pedal was the Ibanez SM7 Smash Box. He realized that JHS had never offered anything along those lines, conferred with his then lead engineer, Cliff Smith, and the wheels were set in motion. Over several years of design, the Hard Drive evolved from an SM7 homage to a unique, original circuit.
JHSā Hardest to Date
The Hard Driveās control panel is streamlined, consisting of knobs for volume, mid frequency, drive, bass, middle, and treble. Driven by cascading gain stages, the Hard Drive can cop a wide range of modern distorted tones. Even at the lowest drive settings, the Hard Drive simmers, delivering massive bottom end on muted power chords. Nudging the drive up very slightly transforms the Hard Drive into a roaring Marshall JCM 900. And if you bring the drive all the way up, youāre in for all out chaos. Even with an amp set just louder than bedroom levels, the Hard Drive, with its volume at just 11 oāclock, is very loud and in-your-face. You donāt have to work hard to imagine how this could sound and feel like multiple stacks raging at Madison Square Garden in the context of a recorded track.
Even at the lowest drive settings, the Hard Drive simmers, delivering massive bottom end.
Zoning the Frequencies
Unlike some heavy pedals that concern themselves with mega-gain and little else, the Hard Driveās EQ controls are very effective and powerful. Moving the treble knob from 11 oāclock to 1 oāclock changes the pedalās tone and response characteristics completely, opening up and transforming the naturally relatively dark sound of my Fender Super Sonic amp. Turning the treble knob all the way off with the bass and mid knobs at noon gives me a vocal lead tone thatās creamy, warm, and still immediate and responsive.
The middle and mid frequency controls work in tandem. The mid control itself works as a cut or boost. The mid frequency control, however, lets you choose the specific frequency you cut or boost. I found these controls invaluable for sculpting tones that could leverage the copious gain without being abrasive. Meanwhile, adding more high midrange lends clarity to complex chords.
The Verdict
The Hard Drive is an unapologetically heavy pedalāif youāre looking for a dirt box that can double as a clean boost, well, the Hard Drive is not that. Itās meant to slay with gain, and it performs this task well and with a vengeance. There are countless dirt boxes on the market that deliver hot rodded, ā80s-style brown sound. Fewer cater to the subsequent generations of high-gain players that used the ā80s as a mere jumping-off point. The Hard Drive is very much voiced for this strain of heavy music. If thatās your jam, the Hard Drive is hard to beat.
Tailored for Yngwie Malmsteen's signature sound, the MXR Yngwie Malmsteen Overdrive is designd to offer simple controls for maximum impact.
Working closely alongside Yngwie, the MXR design team created a circuit that delivers clarity, expressive dynamics, and rich harmonicsāall perfectly tailored for his light-speed arpeggios, expressive vibrato, and big, bold riffs. The control setup is simple, with just Level and Gain knobs.
"Want to sound like Yngwie? Crank both knobs to the max."
āThis pedal is the culmination of 45+ years developing a sound thatās perfect in every possible way,ā Yngwie says. āI present to you: the MXR Yngwie Malmsteen Overdrive. Prepare to be amazed.ā
āMXR Yngwie Malmsteen Overdrive highlights:
- Perfectly tailored for Yngwie Malmsteen's signature sound and style
- Simple control setup tuned for maximum impact
- Boost every nuance with superior clarity, expressive dynamics, and rich harmonics
- Dig into light-speed arpeggios, expressive vibrato, and big, bold riffs
The MXR Yngwie Malmsteen Overdrive is available now at $129.99 street/$185.70 MSRP from your favorite retailer.
For more information, please visit jimdunlop.com.
Voltage Cable Company's new Voltage Vintage Coil 30-foot guitar cable is now protected with ISO-COAT technology to provide unsurpassed reliability.
The new coiled cables are available in four eye-grabbing retro colors ā Surf Green, Electric Blue, Orange and Caramel ā as well as three standard colors: Black, White and Red. There is also a CME exclusive āChicago Creamā color on the way.
Guitarists can choose between three different connector configurations: straight/straight plugs, right angle/straight and right angle/right angle options.
The Voltage Vintage Coil offers superior sound quality and durability thanks to ISO-COAT treatment, a patent-pending hermetic seal applied to solder terminations. This first-of-its-kind airtight seal prevents corrosion and oxidization, a known factor in cable failure and degradation. ISO-COAT protected cables are for guitarists who value genuine lifetime durability and consistent tone throughout their career on stage and in the studio.
Voltage cables are hand made by qualified technical engineers using the finest components available and come with a lifetime warranty.
Voltage Vintage Coil features include:
- Lifetime guarantee, 1000+ gig durability
- ISO-COAT treatment - corrosion & oxidization resistant cable internals
- Strengthened structural integrity of solder terminations
Voltage Vintage Coils carry $89.00 USD pricing each and are available online at voltagecableco.com, as well as in select guitar stores in North America, Australia, Thailand, UK, Belgium and China.
About Voltage Cable: Established in 2021, Voltage Cable Co. is a family owned and operated guitar cable company based in Sydney, Australia. All their cables are designed to be played, and built for a lifetime. The companyās ISO-COAT is a patent pending hermetic seal applied to solder terminations.
Featuring dual-engine processing, dynamic room modeling, and classic mic/speaker pairings, this pedal delivers complete album-ready tones for rock and metal players.
Built on powerful dualāengine processing and worldāclass UAD modeling, ANTI 1992 High Gain Amp gives guitarists the unmistakable sound of an original "block letter" Peavey 5150 amplifier* ā the notorious 120āwatt tube amp monster that fueled more than three decades of modern metal music, from Thrash and Death Metal, to Grunge, Black Metal, and more.
"With UAFX Dream, Ruby, Woodrow, and Lion amp emulators, we recreated four of the most famous guitar amps ever made," says UA Sr. Product Manager Tore Mogensen. "Now with ANTI, we're giving rock and metal players an authentic emulation of this punishing high gain amp ā with the exact mic/speaker pairings and boost/noise gate effects that were responsible for some of the most groundbreaking modern metal tones ever captured."
Key Features:
- A complete emulation of the early '90s 120āwatt tone monster that defined new genres of modern metal
- Powerful UAFX dual-engine delivers the most authentic emulation of the amp ever placed in a stompbox
- Complete albumāready sounds with builtāin noise gate, TSāstyle overdrive, and TCāstyle preamp boost
- Groundbreaking Dynamic Room Modeling derived from UA's award-winning OX Amp Top Box
- Six classic mic/speaker pairings used on decades of iconic metal and hard rock records
- Professional presets designed by the guitarists of Tetrarch, Jeff Loomis, and The Black Dahlia Murder
- UAFX mobile app lets you access hidden amp tweaks and mods, choose overdrive/boost, tweak noise gate, recall and archive your presets, download artist presets, and more
- Timeless UA design and craftsmanship, built to last decades
For more information, please visit uaudio.com.