We met with Volbeat’s Rob Caggiano and Anders Kjølholm before their show at Marathon Music Works in Nashville on April 28, 2014. Caggiano, who spent much of the last decade playing in Anthrax, talks about his signature ESP guitars, while bassist Kjølholm shows how he gets his thunderous tones with minimal gear.
Rob Caggiano's Gear
Guitars
Caggiano plays two of his ESP signature guitars (which are based on ESP’s Horizon model), touring with two identical production models. They feature glow-in-the-dark position markers, TonePros Tune-o-matic-style bridge and tailpiece, a DiMarzio Air Norton neck pickup, and a DiMarzio RC Custom bridge pickup. Caggiano strings his ESPs with D’Addario EXL140 .010–.052 sets.
Amps
Two 100-watt Fryette Sig:X heads are at the heart of Caggiano’s onstage sound. One is his main amp, the other is a slave. The main amp runs two Fryette Deliverance D412-P50E 4x12s, while the other drives two Fryette FatBottom 4x12s.
Effects
Caggiano routes his guitars through a Sennheiser EW500 G3 wireless systems and into a TC Electronic PolyTune, a Dunlop GCB95F Cry Baby Classic wah, an MXR Custom Comp, a TC Electronic Spark Booster, an MXR Smart Gate, a Pigtronix Philosopher’s Rock, an MXR Micro Chorus, a Boss DD-6 digital delay (controlled with a custom tap-tempo pedal), a Tech 21 Boost R.V.B., and a Death by Audio Interstellar Overdriver Deluxe—all of which are accessed in varying combinations via a MusicomLab EFX MKIII+ loop switcher. Caggiano’s rack has a Furman P-1800 PF R power conditioner/surge suppressor, a Whirlwind MultiSelector PRO instrument switcher, a Rocktron Hush Super C that runs through the main Sig:X’s effects loop, and another TC Electronic PolyTune.
Anders Kjølholm's Gear
Guitars
Volbeat’s founding bassist Anders Kjølholm is a MusicMan man, touring with seven different MusicMan StingRay 4-strings. He tunes six of them down a full step and keeps one in standard tuning. Kjølholm also has a custom bass by New Jersey luthier Bill Baker.
Amps
Kjølholm uses a Sennheiser EW500 G3 wireless system routed to a rackmounted Whirlwind MultiSelector PRO that allows fast switching between wireless receivers and two 450-watt TC Electronic RH450 heads driving four TC Electronic RS410 4x10 cabs with custom-painted grilles. He also runs a direct signal via a Radial Engineering J48 active direct box, and he has two TC Electronic PolyTune pedals (one in his rack and one on stage). A Furman PL-Plus DMC provides clean power to the entire offstage rack setup.
A mix of futuristic concepts and DeArmond single-coil pickups, the Musicraft Messenger’s neck was tuned to resonate at 440 Hz.
Until its untimely end, Musicraft made roughly 250 Messengers in various configurations: the mono-output Messenger and the flagship Messenger Stereophonic, both of which could come with the “Tone Messer” upgrade, a built-in distortion/fuzz circuit. The company’s first catalog also featured a Messenger Bass, a wireless transmitter/receiver, and various models of its Messenger Envoy amplifier, very few of which have survived, if many were ever made at all.
“To this day, even fans will sometimes call the decision to use DeArmonds the Messenger’s ‘Achilles’ heel.’”
Upon its release, the Messenger was a mix of futuristic concepts and DeArmond single-coil pickups that were more likely to be found on budget instruments than pricier guitars such as these. The Messengers often featured soapbar-style DeArmonds, though some sported a diamond grille. (To this day, even fans will sometimes call the decision to use DeArmonds the Messenger’s “Achilles’ heel.”) The Stereophonic model, like the one featured in this edition of Vintage Vault, could be plugged into a single amplifier as normal, or you could split the bridge and neck pickup outputs to two separate amps.
One of the beloved hallmarks of the guitars are their magnesium-aluminum alloy necks, which continue as a center block straight through the tailpiece, making the guitars relatively lightweight and virtually immune to neck warping, while enhancing their playability. Thanks to the strength of that metal-neck design, there’s no need for a thick heel where it meets the body, granting unprecedented access to the higher end of the fretboard.
This Stereophonic model could be plugged into a single amplifier as normal, or you could split the bridge and neck pickup outputs to two separate amps.
The neck was apparently also tuned to have a resonant frequency of 440 Hz, which, in all honesty, may be some of that 1967 “whoa, man” marketing continuing on through our modern-day guitar discourse, where this fact is still widely repeated on forums and in YouTube videos. (As one guitar aficionado to the next, what does this even mean in practice? Would an inaudible vibration at that frequency have any effect at all on the tone of the guitar?)
In any event, the combination of that metal center block—resonant frequency or not—the apple-shaped hollow wooden body of the guitar, and the cat’s-eye-style “f-holes” did make it prone to gnarly fits of feedback, especially if you engaged the Tone Messer fuzz and blasted it all through the high-gain amp stacks favored by the era’s hard rockers.
The most famous devotee of the Messenger was Grand Funk Railroad’s Mark Farner, who used the guitar—and its Tone Messer circuitry—extensively on the group’s string of best-selling records and in their defining live shows, like the Atlanta Pop Festival 1970 and their sold-out run at New York’s Shea Stadium in 1971. But even Farner had some misgivings.
The Messengers often featured soapbar-style DeArmonds, though some sported a diamond grille.
In a 2009 interview, he talked about his first test-run of the guitar: “After I stuffed it full of foam and put masking tape over the f-holes to stop that squeal, I said, ‘I like it.’” He bought it for $200, on a $25-per-pop installment plan, a steal even at the time. (He also made it over with a psychedelic paint job, befitting the era, and experimented with different pickups over the years.)
When these guitars were new in 1967, the Messenger Stereophonic in morning sunburst, midnight sunburst, or mojo red would have run you $340. By 1968, new stereo models started at $469.50. Recent years have seen prices for vintage models steadily increase, as the joy of this rarity continues to thrill players and collectors. Ten years ago, you could still get them for about $1,500, but now prices range from $3,000 to $6,000, depending on condition.
Our Vintage Vault pick today is listed on Reverb by Chicago’s own SS Vintage. Given that it’s the stereo model, in very good condition, and includes the Tone Messer upgrade, its asking price of $5,495 is near the top-end for these guitars today, but within the usual range. To those readers who appreciate the vintage vibe but don’t want the vintage price tag, Eastwood Guitars offers modern reissues, and eagle-eyed buyers can also find some very rare but less expensive vintage MIJ clones made in the late ’60s and early ’70s.
Sources: Reverb listing from SS Vintage, Reverb Price Guide sales data, Musicraft July 1, 1967 Price Schedule, 1968 Musicraft Catalog, Chicago Music Exchange’s “Uncovering The Secret Sounds of the 1967 Musicraft Messenger Guitar,” MusicPickups.com article on the Messenger.In continued support of their 3x GRAMMY-nominated album Dark Matter, Pearl Jam will be touring select U.S. cities in April and May 2025.
Pearl Jam’s live dates will start in Hollywood, FL on April 24 and 26 and wrap with performances in Pittsburgh, PA on May 16 and 18. Full tour dates are listed below.
Support acts for these dates will be announced in the coming weeks.
Tickets for these concerts will be available two ways:
- A Ten Club members-only presale for all dates begins today. Only paid Ten Club members active as of 11:59 PM PT on December 4, 2024 are eligible to participate in this presale. More info at pearljam.com.
- Public tickets will be available through an Artist Presale hosted by Ticketmaster. Fans can sign up for presale access for up to five concert dates now through Tuesday, December 10 at 10 AM PT. The presale starts Friday, December 13 at 10 AM local time.
earl Jam strives to protect access to fairly priced tickets by providing the majority of tickets to Ten Club members, making tickets non-transferable as permitted, and selling approximately 10% of tickets through PJ Premium to offset increased costs. Pearl Jam continues to use all-in pricing and the ticket price shown includes service fees. Any applicable taxes will be added at checkout.
For fans unable to use their purchased tickets, Pearl Jam and Ticketmaster will offer a Fan-to-Fan Face Value Ticket Exchange for every city, starting at a later date. To sell tickets through this exchange, you must have a valid bank account or debit card in the United States. Tickets listed above face value on secondary marketplaces will be canceled. To help protect the Exchange, Pearl Jam has also chosen to make tickets for this tour mobile only and restricted from transfer. For more information about the policy issues in ticketing, visit fairticketing.com.
For more information, please visit pearljam.com.