The jazz-rock maverick spills the details on his no-frills, get-it-done setup.

Premier Guitar caught up with Wayne Krantz in Nashville at City Winery on the first date of his two-month tour to discuss his pragmatic approach to gear.


Wayne Krantz goes live without a net, touring with a single guitar, an S-style loaner from John Suhr. The Suhr has a very useable whammy bar, maple neck, and Suhr ML (Michael Landau) vintage-style single-coil pickups. Krantz opts for big-top/ skinny-bottom D’Addario strings (.011, .013, .017, .026, .032, .038).


During his Nashville show Krantz plugged into a stock Fender Blues Deville 2x12 on loan from his driver. He ran out of the Fender into his personal amp, a Marshall 2553 Silver Jubilee with a matching 2x12 mini cabinet. Krantz picked up the Marshall on eBay years ago, and the two have had a warm working relationship ever since.


While not an obsessive gear nerd, Krantz does enjoy pedals. At one point he toured with a professionally built board, but the TSA ruined all that by repeatedly pulling it apart on flights. Now Krantz rocks it like a teenager in a garage band with all of his pedals living in a bag—he just pulls them out and arranges them on the floor. It makes changing pedals a snap and travel easier.

Although Krantz often experiments with different pedals, he currently plugs into a Vertex Wah, Vertex Boost, Maxon SD-9 Sonic Distortion, Wren and Cuff Tall Font Russian, Boss OC-2, Electro-Harmonix Frequency Analyzer, Boss DD-3, Electro-Harmonix Freeze, and a Neunaber Technology Wet Reverb. A G-Lab PB-1 Power Box provides the juice.


Equipped with noise reduction and noise gate modes, the Integrated Gate has a signal monitoring function that constantly monitors the input signal.

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Luthier Maegen Wells recalls the moment she fell in love with the archtop and how it changed her world.

The archtop guitar is one of the greatest loves of my life, and over time it’s become clear that our tale is perhaps an unlikely one. I showed up late to the archtop party, and it took a while to realize our pairing was atypical. I had no idea that I had fallen head-over-heels in love with everything about what’s commonly perceived as a “jazz guitar.” No clue whatsoever. And, to be honest, I kind of miss those days. But one can only hear the question, “Why do you want to build jazz guitars if you don’t play jazz?” so many times before starting to wonder what the hell everyone’s talking about.

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A modern take on Fullerton shapes and a blend of Fender and Gibson attributes strikes a sweet middle ground.

A stylish alternative to classic Fender profiles that delivers sonic versatility. Great playability.

Split-coil sounds are a little on the thin side. Be sure to place it on the stand carefully!


Fender Player Plus Meteora HH


After many decades of sticking with flagship body shapes, Fender spent the last several years getting more playful via their Parallel Universe collection. The Meteora, however, is one of the more significant departures from those vintage profiles. The offset, more-angular profile was created by Fender designer Josh Hurst and first saw light of day as part of the Parallel Universe Collection in 2018. Since then, it has headed in both upscale and affordable directions within the Fender lineup—reaching the heights of master-built Custom Shop quality in the hands of Ron Thorn, and now in this much more egalitarian guise as the Player Plus Meteora HH.

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