Rig Rundown: Trans-Siberian Orchestra's Joel Hoekstra and Chris Caffery
Huge arena-rock guitar tones meet heavy-metal Christmas jams on one of the year’s most successful tours. Go behind the scenes to see how the guitar tandem kick out the holiday jams.
The Trans-Siberian Orchestra tour is demanding. Each day could bring multiple shows and meet-and-greets with only a few days off. We caught up with TSO’s East Coast guitarists Joel Hoekstra and Chris Caffery (above) before their Nashville doubleheader.
Joel Hoekstra is a longtime Les Paul guy. This 2007 Gibson Les Paul Custom is his main axe for the TSO show. It’s totally stock, and like all of his guitars, it’s strung up with Ernie Ball Power Slinky .011–.048 strings.
Joel Hoekstra’s 2017 Gibson Firebird Custom also features an ebony fretboard and 490R/ 498T humbuckers.
Here’s Joel Hoekstra’s 50th Anniversary Gibson Flying V in a Brimstone Burst finish.
This 1991 Gibson Howard Roberts Fusion III was originally purchased for jazz/swing gigs, but Joel Hoekstra finds it works well with the TSO.
Joel Hoekstra also grabs this 2016 Friedman Vintage-T, which is loaded with a Fernandes Sustainer, and decked out in Vintage White to match the holiday theme. Beneath the bridge you’ll notice a small card of text that was taken from David Zablidowsky’s funeral and placed there to honor Joel’s former bandmate. (Zablidowsky was killed when a semi-truck hit the touring vehicle for Adrenaline Mob in 2017.)
This 2010 white Explorer-style guitar was built for Joel Hoekstra by Atomic Guitar Works.
Joel Hoekstra also rocks this 2010 Jackson USA Signature Phil Collen PC1 with a DiMarzio DP152 in the bridge, a DP116 in the middle, and a Fernandes PC1 Sustainer Driver in the neck.
Ironically through a Steve Vai hookup, Joel Hoekstra got his hands on this brand-new Ibanez JS1CR Satriani sig with a Fernandes Sustainiac in the neck.
When things get mellow Joel Hoekstra grabs this 2010 Martin 000-16GT armed with a Fishman Matrix Infinity VT preamp. It’s strung up with Ernie Ball 80/20 Bronze strings (.013–.056).
For quicker acoustic changes, Joel Hoekstra uses this early ’90s Gibson Chet Atkins SST.
Joel Hoekstra uses the Fractal Audio Axe-Fx II XL with his tech, Galen Henson, controlling the effects in real-time with an off-stage Voodoo Lab Ground Control switcher. Hoekstra mainly uses two sounds:
- A dry rhythm sound based on the Mesa/Boogie TriAxis model into a 4x12 Recto cab model. This same preset is used with delay programmed to song tempos when needed.
- A lead sound based on the Soldano SLO-100 model into a 4x12 Recto cab model, with a TS808 model in front, delay programmed to song tempo, and a plate reverb.
There’s also a clean sound used in just a couple of instances that’s based on a Fender Vibroverb model into a Bassman cab model with light chorus, delay, and reverb.
The rig itself consists of four channels of Shure UR4D wireless, one channel for acoustic guitar direct to the board and three channels for electric guitar into a Whirlwind Multi-Selector which sends the signal to the Fractal that sends the signal directly to the board.
Chris Caffery recently purchased a trio of matching Gibsons in Hunter Green. The first one is a stock 1992 Custom Shop Flying V. This and all but one other guitar, is strung with GHS .010–.052 nickel strings.
The second matching guitar is Chris Caffery’s ’93 Gibson SG.
Finally, we have Chris Caffery’s ’92 Gibson Explorer. This guitar is kept in drop-C tuning (C–G–C–F–A–D) and uses GHS .011–.056 strings.
Chris Caffery’s Zelinski is a special TSO build with white tiger engraved graphics. The neck is engraved with the company’s patent-pending Z-Glide that’s reminiscent of a diamond pattern for a better feel and smoother movement. It’s loaded with a Seymour Duncan JB set.
This 2001 Jackson V was revamped by Chris Caffery’s tech, Fred Kowalo, who put in a set of Seymour Duncan JB pickups and returned the wiring to the proper specs. It is equipped with an Eddie Van Halen Floyd Rose D-Tuna.
This 2009 Gibson Les Paul is equipped with a TonePro bridge and tailpiece, Grover locking tuners, and a Hipshot GT1 Grover-style drop-D tuner.
The graphics on Chris Caffery’s 2008 Dean are from TSO’s Night Castle album and sports Seymour Duncan pickups and an EVH D-Tuna.
Chris Caffery’s other decked-out Dean is dubbed “The Wizard” and features custom TSO graphics, Grover tuners, and Seymour Duncan JG pickups.
This 2009 Zelinsky DBZ features Beethoven graphics, Seymour Duncan JB pickups, and an EVH D-Tuna.
The centerpiece of Chris Caffery’s rack are his DigiTech GSP1101 units. He rolls with three vintage models and combines them with a Dunlop Cry Baby rackmount wah.
In Chris Caffery’s pedal rack sits a Fulltone GT500, H.B.E. Power Screamer, and a Boss CE-5 Chorus Ensemble. The whole rig is powered by a Furman AR-15 Voltage Regulator.
And we couldn't forget this one — a curvaceous interpretation of a classic is Joel Hoekstra’s 2018 Gibson Modern V.
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New RAT Sound Solution Offers a Refined Evolution of Distortion
ACT Entertainment ’s iconic RAT brand has unveiledthe Sterling Vermin, a boutique distortion guitar pedal that blends heritage tone with modernrefinement. With a new take on RAT’s unmistakable sound, Sterling Vermin delivers a new levelof precision and versatility.
“The Sterling Vermin was born from a desire for something different — something refined, withthe soul of a traditional RAT pedal, but with a voice all its own,” says Shawn Wells, MarketManager—Sound, ACT Entertainment, who designed the pedal along with his colleague MattGates. “Built in small batches and hand-soldered in ACT’s Jackson, Missouri headquarters, theSterling Vermin is a work of pure beauty that honors the brand legacy while taking a bold stepforward for creativity.”
The Sterling Vermin features the LM741 Op-Amp and a pair of selectable clipping diodes.Players can toggle between the traditional RAT silicon diode configuration for a punchy, mid-range bite, or the BAT41 option for a smoother, more balanced response. The result is a pedalthat’s equally at home delivering snarling distortion or articulate, low-gain overdrive, with a wide,usable tonal range throughout the entire gain spectrum.
The pedal also features CTS pots and oversized knobs for even, responsive control that affordsa satisfying smoothness to the rotation, with just the right amount of tension. Additionally, thepolished stainless-steel enclosure with laser-annealed graphics showcases the merging of thepedal’s vintage flavor and striking design.
“From low-gain tones reminiscent of a Klon or Bluesbreaker, to high-gain settings that flirt withBig Muff territory — yet stay tight and controlled — the Sterling Vermin is a masterclass indynamic distortion,” says Gates, an ACT Entertainment Sales Representative. “With premiumcomponents, deliberate design and a focus on feel, the Sterling Vermin is more than a pedal, it’sa new chapter for RAT.”
The RAT Sterling Vermin is available immediately and retails for $349 USD. For moreinformation about this solution, visit: actentertainment.com/rat-distortion .
The Miku was introduced about 10 years ago and is based on the vocal stylings of Hatsune Miku, a virtual pop icon. But it does much more than artificial vowels and high-pitched words.
It’s tempting to think of this pedal as a joke. Don’t.
It all started a few years ago through a trade with a friend. I just wanted to help him out—he really wanted to get a fuzz pedal but didn’t have enough cash, so he offered up the Korg Miku. I had no idea then, but it turned out to be the best trade I’ve ever made.
Here’s the truth: the Korg Miku is not your typical guitar pedal. It won’t boost your mids, sculpt your gain, or serve up that warm, buttery overdrive you’ve always worshipped. Nope. This little box does something entirely different: It sings! Yes, sings in a Japanese kawaii accent that’s based on the signature voice of virtual pop icon Hatsune Miku.
At first glance, it’s tempting to dismiss this pedal as just a gimmick—a joke, a collector’s oddity, the kind of thing you buy for fun and then forget next to your Hello Kitty Strat. But here’s the twist: Some take it seriously and I’m one of those people.
I play in a punk band called Cakrux, and lately I’ve been working with a member of a Japanese idol-style girl group—yeah, it’s exactly the kind of wild mashup you’d ever imagine. Somewhere in the middle of that chaos, the Miku found its way into my setup, and weirdly enough, it stuck. It’s quirky, beautiful, occasionally maddening, and somehow … just right. After plenty of time spent in rehearsals, studio takes, and more sonic experiments than I care to admit, I’ve come to appreciate this pedal in unexpected ways. So here are a few things you probably didn’t know about this delightfully strange little box.
It’s Not Organic—and That’s OK
Most guitar pedals are chasing something real. Wah pedals mimic the human voice—or even a trumpet. Tube Screamers? They’re built to recreate the warm push of an overdriven tube amp. Cab sims aim to replicate the tone of real-world speaker setups. But the Miku? It breaks the mold. Instead of emulating reality, it channels the voice of a fictional pop icon. Hatsune Miku isn’t a person—she’s a vocaloid, a fully digital creation made of samples and synthesis. The Miku doesn’t try to sound organic, it tries to sound like her. In that sense, it might be the only pedal trying to reproduce something that never existed in the physical world. And honestly, there’s something oddly poetic about that.
A World-Class Buffer
Here’s a fun fact: I once saw a big-name Indonesian session guitarist—you know, the kind who plays in sold-out arenas—with a Miku pedal on his board. I was like, “No way this guy’s busting out vocaloid lines mid-solo.” Plot twist: He only uses it for the buffer. Yep, the man swears by it and says it’s the best-sounding buffer he’s ever plugged into. I laughed … until I tried it. And honestly? He’s not wrong. Even if you never hear Miku sing a note, this pedal still deserves a spot on your board. Just for the tone mojo alone. Wild, right?
“The Miku is one of those pedals that really shouldn’t work for your music, but somehow, it just does.”
Impossible to Tame
Most pedals are built to make your life easier. The Miku? Not so much. This thing demands patience—and maybe a little spiritual surrender. First off, the tracking can be finicky, especially if you’re using low-output pickups. Latency becomes really noticeable and your picking dynamics suddenly matter a lot more. Then there’s the golden rule I learned the hard way. Never—ever—put anything before the Miku. No fuzz, no wah, no compressor, not even a buffer! It gets confused instantly and says “What is going on here?” And don’t even think about punching in while recording. The vocal results are so unpredictable, you’ll never get the same sound twice. Mess up halfway? You’re starting from scratch. Same setup, same take, same chaotic energy. It’s like trying to recreate a fever dream. Good luck with that.
Full Range = Full Power
Sure, it’s made for guitar, but the Miku really comes to life when you run it through a keyboard amp, bass cab, or even a full-range speaker. Why? Because her voice covers way more frequency range than a regular guitar speaker can handle. Plug it into a PA system or a bass rig, and everything sounds clearer, richer, way more expressive. It’s like letting Hatsune Miku out of her cage.
The Miku is one of those pedals that really shouldn't work for your music, but somehow, it just does. Is it the best pedal out there? Nah. Is it practical? Not by a long shot. But every time I plug it in, I can’t help but smile. It’s unpredictable, a little wild, and it feels like you’re jamming in the middle of a bizarre Isekai anime scene. And honestly, that’s what makes it fun.
This thing used to go for less than $100. Now? It’s fetching many times that. Is it worth the price? That’s up to you. But for me, the Korg Miku isn’t just another pedal—it’s a strange, delightful journey I’m glad I didn’t skip. No regrets here.
Two guitars, two amps, and two people is all it takes to bring the noise.
The day before they played the coveted Blue Room at Third Man Records in Nashville, the Washington, D.C.-based garage-punk duo Teen Mortgage released their debut record, Devil Ultrasonic Dream. Not a bad couple of days for a young band.
PG’s Chris Kies caught up with guitarist and vocalist James Guile at the Blue Room to find out how he builds the band’s bombastic guitar attack.
Brought to you by D’Addario.
Devilish Dunable
Guile has been known to use Telecasters and Gretsches in the past, but this time out he’s sticking with this Dunable Cyclops DE, courtesy of Gwarsenio Hall—aka Jordan Olds of metal-themed comedy talk show Two Minutes to Late Night. Guile digs the Dunable’s lightness on his shoulders, and its balance of high and low frequencies.
Storm Warning
What does Guile like about this Squier Cyclone? Simple: its color. This one is also nice and easy on the back, and Guile picked it up from Atomic Music in Beltsville, Maryland.
Crushing It
Guile also scooped this Music Man 410-HD from Atomic, which he got just for this tour for a pretty sweet deal. It runs alongside an Orange Crush Bass 100 to rumble out the low end.
James Guile’s Pedalboard
The Electro-Harmonix Micro POG and Hiwatt Filter Fuzz MkII run to the Orange, while everything else—a DigiTech Whammy, Pro Co Lil’ RAT, and Death by Audio Echo Dream 2—runs to the Music Man. A TC Helicon Mic Mechanic is on board for vocal assistance, and a TC Electronic PolyTune 3, Morley ABY, and Voodoo Labs Pedal Power 3 Plus keep the ship afloat.
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