Witness how 5-string Krautsters, solid-state Sunn heads, and pitch shifters provide the stoner-metal band’s foundation for brute-force tones.

The Portland, Oregon, rockers rolled into Nashville, and before their show at the Exit/In, guitarists Bryan Giles and David Sullivan, along with bassist Aaron Beam (above right), spoke with PG’s Perry Bean about how a lot of their gear decisions have two common factors: Delta and keeping up with hard-hitting drummer John Sherman.

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This rare English Tonemaster was made circa 1957.

The Valco-produced English Tonemaster is a rare, lap-steel-inspired gem from the 1950s—when genres and guitar design were fluid.

The 1950s were a peculiar time for the electric guitar. Innovators, designers, and tinkerers were pushing the boundaries of the instrument, while musicians were experimenting with various playing techniques and sounds. There was an evolution of sorts (or de-evolution, depending on your slant) from solidbody “sit-down” guitars, like pedal and lap steels, to “stand-up” or “upright” solidbody electrics. If you look at an early Fender catalog—let’s say from 1953—you’ll see the Telecaster (and Esquire), the Precision Bass, and then a whole bunch of steel guitars. There was a shift underway, and many manufacturers began to blur the lines of what a guitar should look, sound, and play like.

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PRS Guitars and John Mayer officially announce the PRS SE Silver Sky, an affordable version of the original with PRS trademark bird inlays and three single-coil pickups.

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