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 outing of Dipped In Tone kicks off with an exciting update from Zach Broyles’ camp: He’s opening a brick-and-mortar guitar shop in Nashville, called High Voltage Guitars. Opening on October 8, the store will carry gear from Two-Rock, Divided By 13, Dr. Z, Castedosa, Fano, Novo, and of course Mythos Pedals. Zach hints that there might be some handwired JHS pedals from Josh Scott himself, too, and Rhett reveals that he plans to consign some of his guitars at the shop.
The business side of Zach’s new venture brings them to a key piece of today’s episode: Rhett and Zach aren’t running charities. They do what they do to make money; guitars, gear, podcasting, and content creation are their literal jobs. And they’re not as glamorous and breezy as most armchair commentators might guess.
Want to do what Rhett and Zach do? Welcome to the club. The guitar-influencer field is what one might call “oversaturated” at the moment, and it’s difficult to break out—but not impossible. As our hosts explain, it requires putting in 60-hour work weeks, a diverse skillset, a knack for catching people’s attention, and a certain level of genuineness. Rhett knows this path well, and he has hard-earned advice for staying true to oneself while building a following in the gear world.
Tune in to learn why Rhett thinks Fretboard Summit, a three-day guitar festival organized by Fretboard Journal, blows NAMM out of the water and builds legitimate connections between guitarists, and catch the duo dipping a Dick Dale-inspired, all-Fender rig.
