A chilled-out look at the road rigs of guitarists Jimmy Herring and John “JB” Bell, and bassist Dave Schools—32 years after the legendary jam band’s first gig in Athens, Georgia.
Premier Guitar’s Ted Drozdowski met with virtuoso Jimmy Herring, frontman John “JB” Bell, and techs Joel Byron and Paul Agostino before the second of three dates at Nashville’s Ascend Amphitheater to get the scoop on how Widespread Panic’s string-stretchers get their sounds.
Jimmy Herring’s main guitar with Widespread Panic is a custom-built Paul Reed Smith with Lollar Imperial pickups, two volume controls and a single tone control. He favors jumbo frets with medium action for more clarity and definition, and strings them up with D’Addario .010 sets. The back of its headstock bears the legend “Custom built for Jimmy Herring,” and is signed by Smith. His backup axe, which also has Lollar Imperials, is a David Grissom signature PRS that he mostly pays in drop D.
Besides his PRS guitars, Herring brought this parts S-style guitar built by guitar tech Joel Byron on Widespread’s sojurn to Nashville. It’s “sort of a ’50s style,” says Herring. The guitar’s got a light ash body (from MJT), which he says tends to resonate better, a USA Custom Guitars neck, Don Mare pickups, and a Callaham bridge chosen to give the strings a more modern spacing. As with all his guitars with whammy bars, he uses four springs under the bridge. The axe’s middle setting activates the neck and middle pickup.
Herring’s dry tone comes from a 100-watt Homestead head handbuilt by Peter McMahon, outfitted with 6550 tubes. After a volume pedal and tuner, it’s what Herring’s signal hits first, and then a line out goes to a second volume pedal that leads to his wet amp rig.
The cab for Herring’s dry signal is this old 4x12 Sound City with 40/40 Tone Tubby ceramic magnet speakers. Perched atop the cabinet is a Brown Box input voltage attenuator with a sticker of his late mentor Col. Bruce Hampton’s face on it.
Herring’s Crown power amp pushes sound through an Orange 4x12 run in stereo, with four Electro-Voice Force monitor speakers, for big, clean tones. The reverb comes courtesy of an Eventide Space, and when things need to get dirty, there’s a Hughes & Kettner Tube Factor also atop the power amps.
Here’s the Ampeg BA210SP that Herring uses as a monitor for Dave Schools’ sound. Typically, he leaves the controls where Joel Byron sets ’em.
Herring might use this Germino Classic 45 to play smaller venues than an outdoor arena like the Ascend. It’s essentially an update on the Marshall JTM45, with Drake power and output transformers, and TAD KT-66 and Mullard reissue 12AX7 tubes.
Jimmy Herring’s versatile palette of tones with Widespread Panic mostly comes from his deft control of volume, but a few boxes are also along for the ride. The most important is his Eventide Space, which provides the reverb for the tone that emerges from his stereo Orange cab. That’s buoyed by a Hughes & Kettner Tube Factor, for overdrive, but he plugs straight into an Ernie Ball volume pedal and a battered Boss TU-2 tuner.
This array of volume pedals at the front of Herring’s stage carpet allows him to control what he’s hearing in his monitors without using his hands. He got the system while touring with the Dead in 2000. “I was finding myself for the first time on really big stages, and asked their soundman, Dennis Leonard, who they call ‘Wiz,’ if he could build something better for me than one of those monitors you have to control by hand. This keeps me from having to think about anything while I play.”
John “JB” Bell’s main guitar is the latest in a line of Washburn HB35 semi-hollowbody models he’s been playing since 1990, with a distinctive custom red finish and white binding. It’s got Seymour Duncan Pearly Gates humbuckers and is strung with .012 sets with a wound G. His backup is an all-black HB35 he uses for slide—mostly in open G, open D, or drop D. His slides are brass, and he also tunes the guitar down a whole step to play some Vic Chesnutt songs. The pickups are a Duncan Alnico II Pro in the neck and a Custom in the bridge. He tends to use both pickups at all times, for both guitars.
Depending on the tunes in the set, JB might play a National Tricone resonator, a banjo, or this Washburn M3SW F-style mandolin. The mando was the acoustic instrument he brought for these Nashville shows.
JB runs both his amps throughout the band’s two-set marathons. He’s had a Roland JC-120 since Widespread began and typically has the chorus engaged. But things get a little “wonky,” he says, when he steps on his Vox wah, so Joel Byron modded the wah with a switch that deactivates the amp’s chorus when it gets stomped on.
JB’s other amp, a 100-watt Fuchs Overdrive Supreme, has a radically different tone than the Roland. There’s a Radial Tonebone switcher on top, connecting both amps. We’re not sure what effect the crystal has on his tone, but it’s cool!
The cab beneath the Fuchs is a stock Mesa/Boogie 4x12 with a closed back.
JB’s Horizon Selectaline switcher routes his guitar signal into his JC-120 and Fuchs amps, and dates back to a time when one of his guitars was a Gibson Chet Atkins model.
JB’s essential tone-shaping pedal is this Ibanez Tube Screamer, which he leaves on all the time. It’s joined on the floor by a Peterson Strobo Stomp 2 tuner, a Fulltone OCD overdrive for solos, an Ernie Ball volume pedal, his modded Vox wah, and a Voodoo Lab Pedal Power 2. He also uses a passive Radial DI when he decides to play National Tricone resonator, banjo, or his Washburn M3SW F-style mandolin.
Dave Schools’ No. 1 is a custom 6-string Modulus Graphite bass he calls “Merle.” It has Bartolini pickups, an active preamp, and active EQ controls. There are two stickers laminated onto the back, for inspiration. One is Grateful Dead-themed. The other is derived from Indian classical painting.
His other 6-string bass is a gorgeous Alembic Custom Series II in a dark mahogany with a cocobolo top and a walnut, ebony, purpleheart, and maple neck. It’s a Bird of Prey body shape, with Alembic’s proprietary pickups and an active preamp and EQ. Both of his basses sport multi-pin connector ins, but those go unused.
Clean power is the aim of Schools’ current system, which is driven by a d&b power amp. Agostino explains that the bass rig mirrors the band’s overall PA system, and that Schools was inspired to put it together by Phil Lesh’s rig. It’s bi-amped, with the highs running through two d&b Y10 speakers and two of the company’s 1x15 cabs for low end. Those rest atop a pair of 18s, controlled by the monitor engineer, who feeds them some kick drum, too, letting them double as monitor and bass output. A currently unused Line 6 Relay wireless receiver rests below the d&b amp.
Schools’ core tone shaping is done by an Avalon Design Vacuum Tube VT 737sp preamp, which rests in his rack alongside a Live Wire power conditioner and a Korg ToneWorks tuner.
According to bass tech Paul Agostino, Dave Schools changes his buffet of effects on a nightly basis, but his two constants are this MXR Bass Octave Deluxe, for subtones, and the new Waza Craft version of the classic Boss DM-2 Delay.
The rest of School’s pedal feast at Nashville’s Ascend: a Catlinbread SFT Ampeg-voiced overdrive, a Walrus Audio Luminary Quad Octave Generator, EarthQuaker Devices’ The Depths optical vibe, a Catlinbread Echorec, a Caroline Guitar Company Kilobyte Lo-Fi Delay, and, on the floor, a Carl Martin Octa-Switch. He’s also fond of envelope filters, but not for this gig. And Schools uses an Ernie Ball volume pedal to mute before tuning, and a Voodoo Lab Pedal Power 2 to run his rotating roster of stomps.
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With over 350 effects models, 120 sampling slots, and a Groove Station with a 480-second looper, this pedal offers unparalleled versatility for guitarists worldwide.
In 2025, MOOER has announced that it will be set to release its latest multi-effects pedal, the GS1000 Intelligent Amp Profiling Processor, an augmented intelligent amp profiling processor. Built on MOOER’s advanced third-generation digital platform, the GS1000 introduces groundbreaking MNRS 2.0 technology, allowing guitarists around the world to emulate their favorite gear with immense precision–specifically, for distortion pedals, preamps, amplifier heads, and cabinets.
With this innovation, guitarists can fully capture the essence of their favorite guitar gear without owning the physical hardware, enabling them to carry their favorite tones wherever they go. Users are even able to use third-party IRs for cabinets of their choice, further enhancing the flexibility of this feature.
It’s unforgettable how much MOOER’s multi-effects pedals have impressed audiences so far, primarily thanks to their robust tone libraries. However, even still, the GS1000 continues to build upon this with storage for up to 120 sampling profiles, along with continued integration with the MOOER Cloud app. Essentially, this cloud integration facilitates infinite upload and download possibilities, giving users access to a global community of shared tones, widely expanding the number of accessible tones. More still, the GS1000’s previously mentioned third-party IR cabinet simulations support up to 2048 sample points, guaranteeing studio-grade tonal accuracy across the board.
Even more impressive for the price is how the GS1000 inherits the dual-chain effects architecture that made previous MOOER gear so versatile, making it suitable for highly complex usage scenarios. With over 350 factory effects models and a Sub-Patch preset grouping mode, the GS1000 makes it far simpler for users to make seamless transitions between tones, all while maintaining effect tails to guarantee seamless transitions. Additionally, the reintroduction of the innovative AI-driven EQ Master builds upon MOOER devices’ previous capabilities, using intelligent adjustments in real-time to match the musical style of players to tones, while still allowing manual tweaks for precise control.
Impressively, the GS1000 also comes packed with a Groove Station module, consisting of a combination of drum machine and looper features–including 56 high-quality drum kits! It offers a 480-second phrase looper with infinite overdubs, automated detection, and synchronization capabilities, resulting in an intuitive platform for solo jamming, composition, and live loop-based performance. Overall, the Groove Station acts as an all-in-one suite for creating full arrangements, without having to depend on additional backing tracks or bandmates.
Visually and functionally, the GS1000 really stands out thanks to its sleek visual design and enhanced user experience. For example, it features a convenient 5-inch high-resolution touchscreen, which is also paired with ambient lighting to add a visually stunning element to the pedal. As a result, the GS1000 is not only designed for convenient touch-based control but also as a standout centerpiece in any guitar rig.
In addition to this touchscreen control system, the GS1000 also provides expanded connectivity options, improving upon the already impressive flexibility of past pedals. Most notably, it supports connectivity with the MOOER F4 wireless footswitch, as well as the ability to control presets via external MIDI devices.
As is expected from MOOER these days, the GS1000 also excels when it comes to routing opportunities, going above and beyond the typical stereo ¼” inputs and outputs that would be expected from other brands. Yes, it still includes such staples, but it also includes an XLRmicrophone input, alongside balanced TRS outputs for long-distance signal clarity. The configurable serial/parallel stereo effects loop enables seamless integration of external effects, and the addition of Bluetooth audio input and MIDI compatibility broadens its wide range of use cases for live and practice-based applications.
Furthermore, the pedal also serves as a professional audio solution thanks to its low-latency 2-in/2-out ASIO USB sound card. Supporting up to 192kHz sampling rates, the GS1000 makes recording and live streaming effortless, as it can easily be used with software DAWs, MOOER’s editing software, as well as the USB-based MIDI control.
The GS1000 will be available in two versions–the standard white edition, which is powered by mains power, and the GS1000 Li version, which introduces a 7.4V 4750mAh lithium battery, chargeable through its power port. With this upgrade, users can enjoy up to six hours of continuous power-free playtime, making it ideal for practicing, busking, and generally performing on the go.
Overall, for fans of MOOER’s previous amp simulation offerings, the GS1000 represents a natural evolution, building on everything that made its predecessors great while introducing cutting-edge features and expanded capabilities. Most importantly, MOOER has promised to continuously update its MOOER 4.0 tonal algorithms on the MOOER Cloud in line with therelease, keeping things fresh for the company’s dedicated user base.
- MNRS 2.0 sampling technology for emulating distortion pedals, preamps, amplifier heads, and cabinets
- Over 350 original factory effects models
- 120 sampling slots with upload/download support via the MOOER Cloud app
- Supports third-party cabinet IR files up to 2048 sample points
- Integrated Groove Station with a drum machine and 480-second looper, featuring infinite overdubs and synchronization capabilities
- 54 high-quality drum kits
- 4 metronome tones
- Tap-tempo control for timing effects
- Advanced AI-driven EQ Master for intelligent tone adjustment based on music styles, with manual customization options
- Built-in high-precision digital tuner
- Quick-access dual-chain effects architecture for seamless creative workflows
- 5-inch high-resolution touchscreen with ambient lighting for enhanced usability
- Four multi-purpose footswitches
- Configurable serial/parallel TRS stereo effects loop for external effects integration
- 6.35mm instrument input and XLR microphone input for expanded connectivity
- Balanced TRS stereo outputs for long-distance signal transmission without quality loss
- Bluetooth audio input functionality for accompaniment playback
- Low-latency ASIO 2-in/2-out USB sound card supporting up to 192kHz sampling rate
- MIDI controller compatibility for managing presets and features
- USB-C port for preset management, USB audio, and USB MIDI functionality
- Supports MOOER F4 wireless footswitch for extended control
- Also available as the GS1000 Li, which features a built-in 7.4V 4750mAh lithium battery, offering up to 6 hours of continuous playtime, chargeable through the power port
The GS1000 will be available from the official distributors and retailers worldwide on January 16th, 2025.
For more information, please visit mooeraudio.com.
A stereo multi-effects pedal collaboration between Walrus Audio and Yvette Young.
Pronounced “chee ethereal-izer”, the Qi is a new collaboration with Yvette Young that has been over a year in the making. Combining Chorus, Delay, Granular effects, and Reverb, Qi is designed to offer an expansive creative playground for musicians seeking inspiration to create sounds and explore lush, evolving soundscapes.
The Qi Etherealizer allows players to mix and match Chorus, Delay, and Granular effects, running them in either series or parallel configurations to create a vast universe of sonic possibilities. Whether you’re crafting a traditional chorus with a hint of delay or exploring glitchy, ethereal washes of sound, the Qi offers unparalleled flexibility and instant inspiration.The pedal features intuitive controls that let players save up to three onboard presets (127 via MIDI) plus a live mode.
Key features include:
- Space Knob: Adds lush, ambient reverb to the affected signal.
- Tone Knob: A synth-style low-pass filter to shape the overall tone of the effect output.
- Series and Parallel Effects Routing
- Grain Effect: Offers two modes — Grain Cloud for unpredictable glitchy textures and Phrase Sample for rhythmically triggered grain effects.
- Delay: Clean digital delay with up to two seconds of delay time, feedback control, and three subdivision options
- Chorus: Tri Chorus and Stereo Chorus for lush modulation.
- Preset Storage: Three onboard presets (red, green, blue) plus a live mode (white).
- MIDI Control: TRS MIDI 1⁄8” in and thru ports.
- Extended stomp switch controls for Momentary Grain Freeze, Reverb freeze, tap tempo, and Delay oscillation.
Inside, the Qi includes the debut of Walrus Audio’s own proprietary digital processing platform, MDSP, setting a new standard in high-fidelity audio and innovative design. At its core is the powerful ARM-based Cortex M7 processor, enabling sophisticated algorithms in a compact, modular form that adapts to various pedal formats. With a superior audio codec and advanced processing capabilities, MDSP ensures unmatched performance, offering limitless creative possibilities for musicians and audio professionals. The introduction of MDSP reflects Walrus Audio’s commitment to providing creators with cutting-edge tools that inspire innovation and creativity.
The Qi Etherealizer is packaged in a rosy clay-colored enclosure with custom art illustrated by Yvette, or a simplified black and cream variant. The die-cast enclosure’s exact size is 5.83” x 4.87” x 2.30” including hardware.
Walrus Audio is offering The Qi Etherealizer for $449.99 Join us in celebrating the release of the Qi Etherealizer, available now at walrusaudio.com and authorized dealers worldwide.
For more information, please visit walrusaudio.com.
John Bohlinger gets the run-around from Keeley with their new, deep-and-watery chorus and Leslie-like modulator.
Rotary speaker cabinets impart a one-of-a-kind type of chorus effect. This pedal faithfully recreates the swirling textures and vintage warmth of those rotary cabinets. Tucked inside Keeley's laser cut aluminum case is a brand new set of circuit boards delivering the finest tone we've ever achieved.
KEY FEATURES:
- Sculpt your rotary tones with our finest sounds to date
- Updated circuits for maximum fidelity
- Simple and intuitive controls for live and studio use
- New LED speed indicator - Become one with the sound
- True Stereo for perfect integration in modern rigs
- True or Buffered Bypass - Switchable on the fly
Featuring Bluetooth input, XLR inputs, and advanced amplifier platform, the KC12 is designed to offer exceptional sound quality and versatility for a wide range of applications.
The KC12 is a first-of-its-kind, 3-way, 3000-watt active loudspeaker system encompassing the visual aesthetic of a column loudspeaker while surpassing the acoustic performance of conventional designs. Simple and easy to deploy, the elegant KC12, available in black and white, is ideal for a wide range of customers and applications from solo entertainers, musicians and bands, mobile entertainers and DJs to corporate AV, event production, and static installations.
Column-style portable loudspeaker systems are most often put into service due to their unobtrusive form factor. However, typical designs lack clarity and definition, particularly when pushed to high output levels, forcing the user into a form-over-function compromise. Solving this common dilemma, the KC12 cleverly utilizes a 3-way design featuring QSC’s patented LEAF™ waveguide (first introduced in L Class Active Line Array Loudspeakers) combined with a true 1-inch compression driver, two 4-inch midrange drivers, and a high output 12-inch subwoofer, while still maintaining the desired, elegant appearance of a “column” system. The KC12 produces an outstanding full-range horizontal coverage of 145 degrees and 35 degrees of audience-directed vertical coverage with clean and natural sound at all output levels.
The system features three inputs: a Bluetooth ® input combined with a 3.5 mm TRS stereo input, as well as two combo XLR inputs (Mic/Line/Hi-Z and Mic/Line/+48 V), with independent, assignableFactory Presets for each XLR input, making it ideal for small events where two microphones are needed for different uses. The rear panel incorporates a multi-function digital display, offering control and selection of several loudspeaker functions, including Global Parametric EQ, Subwoofer level, Presets and Scenes, Bluetooth configuration, Delay (maximum of 200 ms), or Reverb. Bluetooth functionality also provides True Wireless Stereo (TWS), which ensures low latency pairing between the music source and both left and right loudspeakers simultaneously.
Additionally, the KC12 can be deployed with or without its lower column pole, making the system ideally suited for utilization on a floor, riser or raised stage. The system is backed by a 6-year Extended Warranty (with product registration).
“The KC12 exquisitely resolves the form-over-function compromise that has frustrated users of this category of products since they made their market introduction over 20 years ago,” states David Fuller, VP of Product Development, QSC Audio. “With the benefit of time, experience, extensive customer research, and cutting-edge innovation, our talented design team has truly created something very different from the status quo – not simply a differentiated product, but an overall better solution for the customer.”
The feature set and performance characteristics of the KC12 are complemented by a new, advanced amplifier platform, first incorporated into the L Class LS118 subwoofer released this past October. Fuller adds, “Among the platform’s key attributes are layers of real-time telemetry and protection to ensure uninterrupted performance day after day, which is a foundational QSC brand attribute.”
“Just like our first K Series reset the bar for powered loudspeakers, elevating customers’ expectations for performance, quality, reliability, usability, and professional appearance, the K Column offers a compelling, new approach to a familiar category and is destined to redefine the whole notion of what a ‘column’ is for users of portable PA products,” states Ray van Straten, VPBrand, Marketing & amp; Training, QSC Audio. “The product is simply stunning in its sleek and elegant appearance, but with the marketing tagline, ‘Just Listen’, we’re confident that once again, QSC sound quality will ultimately be the reason customers will quickly embrace the K Column as the next ‘New Standard’ in its category.”
The QSC KC12 K Column carries a MAP price of $1,999.
For more information, please visit qsc.com.