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 Åkesson knows his way around the fretboard. And before the band’s first Ryman performance, the self-admitted “gear dork” shows off the cavalcade of PRS 6-strings he and singer/guitarist Mikael Åkerfeldt use onstage, explains the band’s move from tube heads to miniature modules designed by Dave Friedman and Steve Vai, and demos the core colors of his live tone.
Fredrik Åkesson 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 Åkerfeldt 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-cut—a P245 that is favored because it allows him to blend in piezo tones for the band’s 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 .010–.052.
Here’s another PRS P245 for Fredrik Åkesson who goes with this one on the band’s brutish songs because it has their \m/ (Metal) pickup in the bridge position.
For the low-tuned (D–A–D–F–A–E) ripper “Reverie / Harlequin Forest” off Ghost Reveries, Fredrik Åkesson rides this longer-scaled (25") PRS P22.
“Nepenthe” from Heritage contains jazz-fusion elements, so Fredrik Åkesson 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 doesn’t have the originals in it.
Fredrik Åkesson’s 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 Åkerfeldt spends most of the night on this custom white PRS P24 with a vintage (fatter) profile neck. He uses Thomastik-Infeld Power-Brights (.010–.045) and Dunlop Nylon 1 mm picks.
Mikael Åkerfeldt’s newest PRS P24 is this bodacious green one.
And for “Sorceress” (tuned A–A–D–G–B–E), Mikael Åkerfeldt employs this PRS McCarty model.
If you’ve seen Fredrik Åkesson with Opeth, you’ve 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 they’ve since adopted them into their touring rigs where they’re constantly fine-tuning the module pairings. Currently, Fredrik is going with the Steve Vai module and the Soldano SLO module.
Mikael Åkerfeldt’s current module setup includes a Friedman Dirty Shirley matched with a Soldano SLO.
The brain of Fredrik Åkesson’s 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 Åkerfeldt 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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Metalocalypse creator Brendon Small has been a lifetime devotee and thrash-metal expert, so we invited him to help us break down what makes Slayer so great.
Slayer guitarists Kerry King and Jeff Hanneman formed the original searing 6-string front line of the most brutal band in the land. Together, they created an aggressive mood of malcontent with high-velocity thrash riffs and screeching solos that’ll slice your speaker cones. The only way to create a band more brutal than Slayer would be to animate them, and that’s exactly what Metalocalypse (and Home Movies) creator Brendon Small did.
From his first listen, Small has been a lifetime devotee and thrash-metal expert, so we invited him to help us break down what makes Slayer so great. Together, we dissect King and Hanneman’s guitar styles and list their angriest, most brutal songs, as well as those that create a mood of general horribleness.
This episode is sponsored by EMG Pickups.
Use code EMG100 for 15% off at checkout!
Learn more: emgpickups.com
The legendary German hard-rock guitarist deconstructs his expressive playing approach and recounts critical moments from his historic career.
This episode has three main ingredients: Shifty, Schenker, and shredding. What more do you need?
Chris Shiflett sits down with Michael Schenker, the German rock-guitar icon who helped launch his older brother Rudolf Schenker’s now-legendary band, Scorpions. Schenker was just 11 when he played his first gig with the band, and recorded on their debut LP, Lonesome Crow, when he was 16. He’s been playing a Gibson Flying V since those early days, so its only natural that both he and Shifty bust out the Vs for this occasion.
While gigging with Scorpions in Germany, Schenker met and was poached by British rockers UFO, with whom he recorded five studio records and one live release. (Schenker’s new record, released on September 20, celebrates this pivotal era with reworkings of the material from these albums with a cavalcade of high-profile guests like Axl Rose, Slash, Dee Snider, Adrian Vandenberg, and more.) On 1978’s Obsession, his last studio full-length with the band, Schenker cut the solo on “Only You Can Rock Me,” which Shifty thinks carries some of the greatest rock guitar tone of all time. Schenker details his approach to his other solos, but note-for-note recall isn’t always in the cards—he plays from a place of deep expression, which he says makes it difficult to replicate his leads.
Tune in to learn how the Flying V impacted Schenker’s vibrato, the German parallel to Page, Beck, and Clapton, and the twists and turns of his career from Scorpions, UFO, and MSG to brushes with the Rolling Stones.
Credits
Producer: Jason Shadrick
Executive Producers: Brady Sadler and Jake Brennan for Double Elvis
Engineering Support by Matt Tahaney and Matt Beaudion
Video Editor: Addison Sauvan
Graphic Design: Megan Pralle
Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.
Katana-Mini X is designed to deliver acclaimed Katana tones in a fun and inspiring amp for daily practice and jamming.
Evolving on the features of the popular Katana-Mini model, it offers six versatile analog sound options, two simultaneous effects, and a robust cabinet for a bigger and fuller guitar experience. Katana-Mini X also provides many enhancements to energize playing sessions, including an onboard tuner, front-facing panel controls, an internal rechargeable battery, and onboard Bluetooth for streaming music from a smartphone.
While its footprint is small, the Katana-Mini X sound is anything but. The multi-stage analog gain circuit features a sophisticated, detailed design that produces highly expressive tones with immersive depth and dimension, supported by a sturdy wood cabinet and custom 5-inch speaker for a satisfying feel and rich low-end response. The no-compromise BOSS Tube Logic design approach offers full-bodied sounds for every genre, including searing high-gain solo sounds and tight metal rhythm tones dripping with saturation and harmonic complexity.
Katana-Mini X features versatile amp characters derived from the stage-class Katana amp series. Clean, Crunch, and Brown amp types are available, each with a tonal variation accessible with a panel switch. One variation is an uncolored clean sound for using Katana-Mini X with an acoustic-electric guitar or bass. Katana-Mini X comes packed with powerful tools to take music sessions to the next level. The onboard rechargeable battery provides easy mobility, while built-in Bluetooth lets users jam with music from a mobile device and use the amp as a portable speaker for casual music playback.
For quiet playing, it’s possible to plug in headphones and enjoy high-quality tones with built-in cabinet simulation and stereo effects. Katana-Mini X features a traditional analog tone stack for natural sound shaping using familiar bass, mid, and treble controls. MOD/FX and REV/DLY sections are also on hand, each with a diverse range of Boss effects and fast sound tweaks via single-knob controls that adjust multiple parameters at once. Both sections can be used simultaneously, letting players create combinations such as tremolo and spring reverb, phaser and delay, and many others.
Availability & Pricing The new BOSS Katana-Mini X will be available for purchase at authorized U.S. Boss retailers in December for $149.99. For the full press kit, including hi-res images, specs, and more, click here. To learn more about the Katana-Mini X Guitar Amplifier, visit www.boss.info.
Snark releases its most compact model ever: the Crazy Little Thing rechargeable clip-on headstock tuner.
Offering precise tuning accuracy and a super bright display screen, the Crazy Little Thing is approximately the size of your guitar pick – easy to use, unobtrusive and utterly dependable.
Housed in a sturdy shell, the Crazy Little Thing can be rotated for easy viewing from any angle, and its amazingly bright display makes it perfect for the sunniest outdoor stages or the darkest indoor studios. You can clip it to the front of your headstock or on the back of your headstock for extra-discreet usage – and you can easily adjust the display to accommodate your preference.
As the newest addition to Snark’s innovative line of headstock tuners, the Crazy Little Thing is rechargeable (no batteries!) and comes with a USB-C cable/adapter for easy charging. Its display screen includes a battery gauge, so you can easily tell when it’s time to recharge.
The Crazy Little Thing’s highly responsive tuning sensor works great with a broad range of instruments, including electric and acoustic guitar, bass, ukulele, mandolin and more. It also offers adjustable pitch calibration: its default reference pitch is A440, but also offers pitch calibration at 432Hz and 442 Hz.
Snark’s Crazy Little Thing rechargeable headstock tuner carries a street price of $21.99. For more information visit snarktuners.com.