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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Grez Guitars has introduced the Grez GrandTour Bass, a short scale semi-hollow carve-top instrument available in 4-string format.
The Grez Grand Tour Bass, designed in collaboration with bass powerhouse Ian MartinAllison is, like all Grez instruments, a modern sleek interpretation of the classic instruments from the 50’s and 60’s.
The instruments feature a carved Spruce top, Honduran Mahogany body and neck. The 30" scale construction includes a Macassar ebony fretboard, 12” radius with 21 jumbofrets. Each bass comes equipped with a Halon bridge, Grez string anchor and LaBellaDeep Talkin’ long scale 45-105 flatwound strings. Electronics include Curtis Novak Bisonic/Darkstar pickups with coil tap.
The Grand Tour bass features a nitro finish and is available in a variety of colors(pictured here in custom Toasted Marshmallow).
Grez Grand Tour Bass with Ian Martin Allison
Barry Grzebik explains: “I love process of design instruments, marrying acoustical,electrical, visual and ergonomic engineering with industrial and artistic design. In this case creating something that artfully balances the desire for a robust acoustic voice with the need to hold up to professional touring and stadium stage volumes. One small notable detail is that although this is a short scale instrument, because of the after-length of string past the bridge, it uses standard long scale strings which dramatically increases sting options and availability.”
Ian Marin Allison shares, “I’m inspired by the unique character of vintage hollow andsemi-hollow basses, but they don’t always live up to our modern expectation of stability, playability, versatility and QUALITY. I’m proud to have helped create something that does”.
The Grez Grand Tour Bass, is available now from Grez Guitars and their dealers with astreet price starting at $5,999. Light customization is welcome with delivery times aslittle as 8 weeks.
$149
Marshall 1959 Super Lead
The very definition of classic, vintage Marshall sound in a highly affordable package.
There’s only one relevant question about Marshall’s new 1959 Super Lead overdrive/distortion pedal: Does it sound like an actual vintage Super Lead head? The answer is, simply and surprisingly, yes. The significant difference I heard within the voice of this stomp, which I ran through a Carr Vincent and a StewMac Valve Factory 18 kit amp for contrast, is that it’s a lot quieter than my 1972 Super Lead.
The Super Lead, which bore Marshall’s 1959 model number, debuted in 1965 and was the amp that defined the plexi sound. That sound is here in spades, clubs, diamonds, and hearts. Like the Super Lead, the pedal is easy to use. The original’s 3-band EQ is replaced by a single, rangeful tone control. The normal dial and the volume, which together mimic the character created by jumping the first and second channels of a plexi head, offer smooth, rich, buttery op-amp driven gain and loudness. And the high-treble dial functions much like the presence control on the original amp.
The pedal is sturdy and handsome, too. A heavy-duty metal enclosure evokes the classic black-with-gold-plate plexi look and a vintage-grille-cloth motif. Switches and knobs (the latter with rubber sides for slip-free turning) are ultra solid, and—refreshingly—there’s a 9V battery option in addition to a barrel-pin connection. Whether with single-coils or humbuckers, getting beefy, sustained, historic tones took moments. I especially delighted in approximating my favorite Super Lead head setting by flooring the high treble, normal, and tone dials, and turning back the tone pots on my Flying V, evoking Disraeli Gears-era Clapton tone. That alone, to me, makes the 1959 Super Lead stomp a bargain at $149.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.
Ernie Ball, the world’s leading manufacturer of premium guitar and bass strings, is proud to announce the release of the Pino Palladino Signature Smoothie Flats, the newest innovation in flatwound bass strings.
Developed in collaboration with legendary bassist Pino Palladino, these signature sets are engineered to deliver an ultra-smooth feel and a rich, warm tone that’s as versatile as it is expressive. Available in two gauges—Extra Light (38–98) and Medium (43–108)— Smoothie Flats are crafted with a precision-polished cobalt alloy ribbon for low tension, flexible playability, and deep vintage-inspired sound.
Ernie Ball: Pino Palladino Signature Smoothie Flats Bass Strings
Product Features:
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Pino Palladino Signature Smoothie Flats bass strings are available at Ernie Ball dealers worldwide.