Enthusiastic, nimble-fingered Dylan Mattheisen dances between technical mathcore and catchy rock with Teles and a trusty DL4.
On the heels of releasing their seventh album in September 2019, breathe, the rocking trio of guitarist/vocalist Dylan Mattheisen and brothers Bill and Matt Chevalier, on drums and bass respectively, rolled intro Nashville primed to share songs old and new with the Music City crowd at the Exit/In.
But before all that happened, PG’s Perry Bean chatted with Mattheisen about why he prefers mid-level Teles, how he developed his flashy technique, and the need for his constant pedal companion—the powerful Line 6 delay.
Dylan Mattheisen has been a Blink-182 fan since he can remember. And because of that, he knew when he had the scratch, he was gonna get a Fender because that’s what Tom DeLonge used. After saving up enough cash while stocking shelves at his local grocery store, he searched eBay and landed on this MIM Fender Classic Series ’72 Telecaster Thinline because of the color and swanky f-hole.
Since then, he’s become such a fan of the Wide Range ’buckers he hasn’t even messed around with a traditional single-coil Tele setup. Mattheisen feels these types of Ts expressively complement his playing style and serve as a fluent writing partner. The guitar is all stock except that it’s now hardwired into the middle position. Dylan often vigorously strums and would knock the 3-way switch towards the neck or bridge, so he had a local tech friend solve the issue with a quick surgery. His main ride here carries the tuning of D–A–E–A–C#–E (covering 60 percent of TMP songs) and all of his guitars take Ernie Ball Skinny Top Heavy Bottom Slinky (.010–.052) strings.
This Fender Classic Series ’72 Telecaster Thinline sees the stage for drop-D songs. (And as you can see with this one, and the next slide, he has gaff tape locking the selector into the middle position.)
And this third ’72 Thinline is a standby for the surf-green model for open tunings.
The bridge part in their newest single “Vertebrae” features a banjo breakdown so Dylan busts out this Fender Rustler during that portion of the song.
This “Blazer” head started its life as a 60-watt Fender Super-Sonic combo. It feeds two Super-Sonic 2x12 cabs that are set up on each side of the drumkit. Dylan has loved this amp since hearing it at a friend’s house because it has the perfect one-two punch of crystal cleans and burning distortion.
For all the adventurous rock moods Dylan and the Chevalier brothers go between within a set, his board is surprisingly, well, boring. The main tool is the Line 6 DL4, while he controls dynamics with his Ernie Ball Expression Overdrive, and interjects loops and samples with the Boss RC-30. Everything is kept in line because of the TC Electronic PolyTune.
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D'Addario Trigger Capos:https://www.daddario.com/TriggerCaposRR
This year PG landed some elsuive white whales (TOOL, Pantera & Jack White), revisited some revamped setups (Jason Isbell, Foo Fighters & Kingfish), and got introduced to some unusual gear (King Gizzard and the Lizard Wizard. Plus, the hosts share their favorite moments from the last 52 episodes before dropping a few coins into the wishing well for 2025 Rundown guests.
12. Green Day Rig Rundown
The legendary punk band are in the middle of an enormous multi-anniversary tour, celebrating both Dookie and American Idiot. Check out how bassist Mike Dirnt and guitarist Jason White tuned their road rigs to cover decades of sounds.
11. Knocked Loose Rig Rundown
Ungodly, sinister, and maliciously menacing guitar tones erupt from the Kentucky hardcore band’s 7-string Ibanez models, providing the soundtrack to the summer’s biggest mosh pits and nastiest breakdowns.
10. Jason Isbell & Sadler Vaden Rig Rundown
With four Grammys, loads of gear, and millions of tour bus miles, Isbell is back for an updated Rig Rundown with his 400 Unit co-guitarist, Sadler Vaden.
9. Extreme's Nuno Bettencourt & Pat Badger Rig Rundown
Guitar legend Nuno Bettencourt crashes his own Rundown to showcase the “Bumblebee” guitar he cooked up to honor Eddie Van Halen, while bassist Pat Badger shares two killer stories about basses that once belonged to members of Van Halen and Aerosmith.
8. Slash's Blues Ball Band Rig Rundown
The rock ’n’ roll icon brings his blues-rockin’ Orgy of The Damned to the people headlining the S.E.R.P.E.N.T. Blues Festival tour.
7. Kingfish Rig Rundown
Kingfish doesn’t play a lot of gear, but with a signature Fender Tele Deluxe, a Chertoff Custom guitar, a pair of road-worthy amps, and a handful of effects, the Clarksdale, Mississippi, native is well on his way to becoming the blues’ newest 6-string ruler. He returns for his second Rundown with a Grammy under his belt, supporting his new Live in London album.
6. Jack White Rig Rundown
Get an up-close look at the tone wizard’s rig for his action-packed 2024 tour.
5. Jerry Cantrell Rig Rundown
The legendary Alice in Chains axeman gives us a look at his updated solo touring setup.
4. King Gizzard and the Lizard Wizard Rig Rundown
Just like their records, the Australian rockers’ road gear is eclectic and adventurous, ready to cover ground from metal to microtonal Turkish psychedelia.
3. Foo Fighters’ Chris Shiflett Rig Rundown
The Foos’ guitarist and intrepid Shred With Shifty host opens the guitar garage for his current tour and details his brand-new pedal setup.
2. Pantera's Rex Brown & Zakk Wylde Rig Rundown
The original Cowboys from Hell bassist reclaims his spine-rattling position as the band's charging piston, while his guitar brother brings his fleet of Wylde Audio gear and a few tone sweeteners from Dimebag Darrell's private stash.
1. Tool's Justin Chancellor Rig Rundown
The bass lord morphs and mutates between rhythm and lead parts with a hearty Wal 4-string, Gallien-Krueger crushers, and a pedalboard that could make Adam Jones jealous.
When Building Guitars—or Pursuing Anything—Go Down All the Rabbit Holes
Paul Reed Smith shows John Bohlinger how to detect the grain in a guitar-body blank, in a scene from PG’s PRS Factory Tour video.
Paul Reed Smith says being a guitar builder requires code-cracking, historical perspective, and an eclectic knowledge base. Mostly, it asks that we remain perpetual students and remain willing to become teachers.
I love to learn, and I don’t enjoy history kicking my ass. In other words, if my instrument-making predecessors—Ted McCarty, Leo Fender, Christian Martin, John Heiss, Antonio de Torres, G.B. Guadagnini, and Antonio Stradivari, to name a few—made an instrument that took my breath away when I played it, and it sounded better than what I had made, I wanted to know not just what they had done, but what they understood that I didn’t understand yet. And because it was clear to me that these masters understood some things that I didn’t, I would go down rabbit holes.
I am not a violin maker, but I’ve had my hands on some of Guadagnini’s and Stradivari’s instruments. While these instruments sounded wildly different, they had an unusual quality: the harder you plucked them the louder they got. That was enough to push me further down the rabbit hole of physics in instrument making. What made them special is a combination of deep understanding and an ability to tune the instrument and its vibrating surfaces so that it produced an extraordinary sound, full of harmonics and very little compression. It was the beginning of a document we live by at PRS Guitars called The Rules of Tone.
My art is electric and acoustic guitars, amplifiers, and speaker cabinets. So, I study bridge materials and designs, wood species and drying, tuning pegs, truss rods, pickups, finishes, neck shapes, inlays, electronics, Fender/Marshall/Dumble amp theories, schematics, parts, and overall aesthetics. I can’t tell you how much better I feel when I come to an understanding about what these masters knew, in combination with what we can manufacture in our facilities today.
One of my favorite popular beliefs is, “The reason Stradivari violins sound good is because of the sheep’s uric acid they soaked the wood in.” (I, too, have believed that to be true.) The truth is, it’s never just one thing: it’s a combination of complicated things. The problem I have is that I never hear anyone say the reason Stradivari violins sound good is because he really knew what he was doing. You don’t become a master of your craft by happenstance; you stay deeply curious and have an insatiable will to learn, apply what you learn, and progress.
“Acoustic and electric guitars, violins, drums, amplifiers, speaker cabinets–they will all talk to you if you listen.”
What’s interesting to me is, if a master passes away, everything they believed on the day they finished an instrument is still in that instrument. These acoustic and electric guitars, violins, drums, amplifiers, speaker cabinets—they will all talk to you if you listen. They will tell you what their maker believed the day they were made. In my world, you have to be a detective. I love that process.
I’ve had a chance to speak to the master himself. Leo Fender, who was not a direct teacher of mine but did teach me through his instruments, used to come by our booth at NAMM to pay his respects to the “new guitar maker.” I thought that was beautiful. I also got a chance to talk to Forrest White, who was Leo’s production manager, right before he passed away. What he wanted to know was, “How’d I do?” I said, “Forrest, you did great.” They wanted to know their careers and contributions were appreciated and would continue.
In my experience, great teachers throw a piece of meat over the fence to see if the dog will bite it. They don’t want to teach someone who doesn’t really want to learn and won’t continue their legacy and/or the art they were involved in. While I have learned so much from the masters who were gone before my time, I have also found that the best teaching is done one-on-one. Along my journey from high school bedroom to the world’s stages, I enrolled scores of teachers to help me. I didn’t justenroll them. I tackled them. I went after their knowledge and experience, which I needed for my own knowledge base to do this jack-of-all-trades job called guitar making and to lead a company without going out of business.
I’ve spent most of my career going down rabbit holes. Whether it’s wood, pickups, designs, metals, finishes, etc., I pay attention to all of it. Mostly, I’m looking backward to see how to go forward. Recently, we’ve been going more and more forward, and I can’t tell you how good that feels. For me, being a detective and learning is lifesaving for the company’s products and my own well-being.
Sometimes it takes a few days to come to what I believe. The majority of the time it’s 12 months. Occasionally, I’ll study something for a decade before I make up my mind in a strong way, and someone will then challenge that with another point of view. I’ll change my mind again, but mostly the decade decisions stick. I believe the lesson I’m hitting is “be very curious!” Find teachers. Stay a student. Become a teacher. Go down all the rabbit holes.
Featuring the SansAmp section, Reverb/Delay/Roto effects, and OMG overdrive, with new additions like a switchable Pre/Post Boost and Effect Loop. Pre-configured for the RK Killer Wail wah, this pedal offers versatile tones and unmatched flexibility.
Since the debut of the original RK5 in 2014, Richie’s needs have changed, both on and off the road. The RK5 v3 retains the same SansAmp section, Reverb/Delay/Roto section, and Richie’sSignature OMG overdrive. New features include a switchable Pre/Post Boost to beef up drive and distortion or increase the overall volume to punch up fills and solos, along with the addition of an Effect Loop. It has also been pre-configured to provide phantom power for Richie’s Tech21 Signature RK Killer Wail wah.
The all-analog SansAmp section of the RK5 focuses on clean tones within the tube amplifier sound spectrum. It includes 3-band active EQ, and Level and Drive controls. To dirty things up, you have the flexibility of using the Drive control, and the Boost function, or you can add overdrive from the OMG section. Or all three. Each method achieves different tones. The OMG section is based upon the Richie Kotzen Signature OMG pedal, which provides a wide range of overdrive, from clean to aggressive. You can add personality to a clean amp or use it for extra punch with a dirty amp tone. Controls include Drive for the overall amount of gain and overdrive and Tone with specialized voicing for adjusting the high-end and mid-range. A Fuzz switch changes the character and attack of the overdrive to a fuzz-style tone, making it thicker and woolier.
Other features include an independent foot-switchable Reverb witha choice of large and small“room sizes;” Tap Tempo Delay, which can be transformed into a rotating speaker effect; included Tech 21 Model #DC9 universal self-adjusting 9V DC power supply, with interchangeable international prong assemblies for use anywhere in the world. Anticipated availability: January 2025
For more information, please visit tech21nyc.com.
OM-balance and comfort suited for the fingerstylist on a budget.
Comfortably, agreeably playable. Balanced dimensions. Nice fretwork.
Lighter mahogany top looks less classically mahogany-like. Some compressed sounds in heavy-strumming settings.
$299
Guild OM-320
guildguitars.com
The Premier Guitar crew is spoiled when it comes to hanging out with nice flattops. But while those too-brief encounters with acoustics we can’t afford teach us a lot about the flattop at its most refined, they also underscore a disconnect between the cost and the acoustic guitar’s status as a true folk instrument of the people.
Guild’s OM-320, from the company’s new 300 series, sells for $299, which isn’t much more than a good-quality, entry-level flattop cost in the 1980s. Strikingly, there’s a lot of competition in this price class. Even so, the OM-320’s nice build quality and pretty tone in fingerpicking applications stand out in a very crowded price segment.
The United Guild of Deal-Seeking Pickers
Though Guild, in all its incarnations, has always made accessible guitars a part of their offerings, a $300 instrument with the company’s logo might give pause to players familiar with guitars from their various U.S. factories. Quality can be hit-or-miss on any guitar from any brand at the entry level. What’s more, a lot of guitars with different brand names come from just a few OEM facilities—lending a certain sameness on top of irregular quality. But the recent acquisition of Guild by Yamaha, who has a reputation for solid entry-level instruments, inspires confidence as far as these concerns go.
So, too, does the integrity of the OM-320 at the nuts-and-bolts level. I couldn’t find any overt lapses in quality control. And in many spots where that really counts, like the fretwork, the execution is especially good. Little details like the Guild logo overlay (rather than a simple decal) add a soupçon of luxury. So do the Guild-branded, Grover Sta-Tite-style butterbean tuners, which look stylish and feel sensitive and accurate.
“The neck inhabits a comfortable zone between C and D shapes that’s super agreeable and, at least in my case, a nice antidote for hand fatigue.”
Though the body is built from layered mahogany on the back and sides and a solid mahogany top, the latter is much lighter and amber- or honey-toned than the rich cocoa-hued mahogany tops you’d associate with a vintage Guild M-20, or, for that matter, theM-120 from the company’s contemporary Westerly line. As a result, you see a little more contrast in the grain and a little dimpling in certain sections of the wood. The lighter wood isn’t unattractive, it just looks less trad, if you’re chasing Nick Drake’s Bryter Layter style. If that’s important, you should adjust the “design/build” score appropriately.
Sit and Stay Awhile
Barring being covered in porcupine spines, almost any OM or 000 will qualify as a pure-comfort title finalist. It’s not too thick, too wide, nor too petite—a size and profile that also pays unique, civilized sonic dividends. Here, the OM body is complimented by a neck that feels like an especially natural match. I don’t have a bunch of inexpensive OMs on hand to compare, and there isn’t anything wildly unique about the shape, but the neck profile feels very proportionate to the body. It also, depending on your own sense of such things, inhabits a comfortable zone between C and D shapes that’s super agreeable and, at least in my case, a nice antidote for hand fatigue. The neck is not classically OM-like in terms of nut width. The M-320’s nut measures 1 13/16", which is typical of a 000, rather than the 1 3/4" associated with OMs. The extra width, of course, would make the guitar more appealing to some fingerstylists that need the space. At no point, however, did I feel anything close to cramped; it’s just very comfortable.
The combination of layered back and sides, OM/000 dimensions, and mahogany mean the OM-320 feels and sounds less than super-widescreen in terms of tone spectrum and power. Nevertheless, it sounds balanced and pretty—particularly with a droning, dropped 6th string and other more-elastic tunings where the guitar can exercise the lower extremes of its voice. Tuning to standard has the effect of highlighting midrange emphasis, which can get boxy and render the 3rd and 4th strings a bit less potent and present. That said, it’s still balanced and almost never collapses into a distorted harmonic blur. The bottom end maintains an appealing growl and, as long as you use a gentler picking approach, you can use the highest four strings in very dynamic ways. Using a capo emphasizes other cool, high-mid-focused voices in the guitar that coexist well with most strumming approaches.
The Verdict
Inexpensive guitars that feel great can make up for a lot of shortcomings in tone. But the OM-320’s deficiencies in the latter regard are few, and some perceived limitations, like midrange emphasis, are intrinsic to guitars with OM dimensions. So, while forceful strumming is not the OM-320’s strength, the comfortable playability might just lead you to those places anyway. And if you compensate accordingly with touch dynamics, you can conjure many sweetly chiming tones that might sound extra sweet given the bargain price