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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We chat with Molly about Sister Rosetta’s “immediately impressive” playing, which blends jazz, gospel, chromaticism, and blues into an early rock ‘n’ roll style that was not only way ahead of its time but was also truly rockin’.
In the early ’60s, some of the British guitarists who would shape the direction of our instrument for decades to come all found themselves at a concert by Sister Rosetta Tharpe. What they heard from Tharpe and what made her performances so special—her sound, her energy—must have resonated. Back at home in the U.S., she was a captivating presence, wowing audiences going back to her early days in church through performing the first stadium rock ‘n’ roll concert—which was also one of her weddings—and beyond. Her guitar playing was incendiary, energetic, and a force to be reckoned with.
On this episode of 100 Guitarists, we’re joined by guitarist Molly Miller, who in addition to being a fantastic guitarist, educator, bandleader, and performing with Jason Mraz, is a bit of a Sister Rosetta scholar. We chat with Molly about Sister Rosetta’s “immediately impressive” playing, which blends jazz, gospel, chromaticism, and blues into an early rock ‘n’ roll style that was not only way ahead of its time but was also truly rockin’.
Featuring the SansAmp section, Reverb/Delay/Roto effects, and OMG overdrive, with new additions like a switchable Pre/Post Boost and Effect Loop. Pre-configured for the RK Killer Wail wah, this pedal offers versatile tones and unmatched flexibility.
Since the debut of the original RK5 in 2014, Richie’s needs have changed, both on and off the road. The RK5 v3 retains the same SansAmp section, Reverb/Delay/Roto section, and Richie’sSignature OMG overdrive. New features include a switchable Pre/Post Boost to beef up drive and distortion or increase the overall volume to punch up fills and solos, along with the addition of an Effect Loop. It has also been pre-configured to provide phantom power for Richie’s Tech21 Signature RK Killer Wail wah.
The all-analog SansAmp section of the RK5 focuses on clean tones within the tube amplifier sound spectrum. It includes 3-band active EQ, and Level and Drive controls. To dirty things up, you have the flexibility of using the Drive control, and the Boost function, or you can add overdrive from the OMG section. Or all three. Each method achieves different tones. The OMG section is based upon the Richie Kotzen Signature OMG pedal, which provides a wide range of overdrive, from clean to aggressive. You can add personality to a clean amp or use it for extra punch with a dirty amp tone. Controls include Drive for the overall amount of gain and overdrive and Tone with specialized voicing for adjusting the high-end and mid-range. A Fuzz switch changes the character and attack of the overdrive to a fuzz-style tone, making it thicker and woolier.
Other features include an independent foot-switchable Reverb witha choice of large and small“room sizes;” Tap Tempo Delay, which can be transformed into a rotating speaker effect; included Tech 21 Model #DC9 universal self-adjusting 9V DC power supply, with interchangeable international prong assemblies for use anywhere in the world. Anticipated availability: January 2025
For more information, please visit tech21nyc.com.
OM-balance and comfort suited for the fingerstylist on a budget.
Comfortably, agreeably playable. Balanced dimensions. Nice fretwork.
Lighter mahogany top looks less classically mahogany-like. Some compressed sounds in heavy-strumming settings.
$299
Guild OM-320
guildguitars.com
The Premier Guitar crew is spoiled when it comes to hanging out with nice flattops. But while those too-brief encounters with acoustics we can’t afford teach us a lot about the flattop at its most refined, they also underscore a disconnect between the cost and the acoustic guitar’s status as a true folk instrument of the people.
Guild’s OM-320, from the company’s new 300 series, sells for $299, which isn’t much more than a good-quality, entry-level flattop cost in the 1980s. Strikingly, there’s a lot of competition in this price class. Even so, the OM-320’s nice build quality and pretty tone in fingerpicking applications stand out in a very crowded price segment.
The United Guild of Deal-Seeking Pickers
Though Guild, in all its incarnations, has always made accessible guitars a part of their offerings, a $300 instrument with the company’s logo might give pause to players familiar with guitars from their various U.S. factories. Quality can be hit-or-miss on any guitar from any brand at the entry level. What’s more, a lot of guitars with different brand names come from just a few OEM facilities—lending a certain sameness on top of irregular quality. But the recent acquisition of Guild by Yamaha, who has a reputation for solid entry-level instruments, inspires confidence as far as these concerns go.
So, too, does the integrity of the OM-320 at the nuts-and-bolts level. I couldn’t find any overt lapses in quality control. And in many spots where that really counts, like the fretwork, the execution is especially good. Little details like the Guild logo overlay (rather than a simple decal) add a soupçon of luxury. So do the Guild-branded, Grover Sta-Tite-style butterbean tuners, which look stylish and feel sensitive and accurate.
“The neck inhabits a comfortable zone between C and D shapes that’s super agreeable and, at least in my case, a nice antidote for hand fatigue.”
Though the body is built from layered mahogany on the back and sides and a solid mahogany top, the latter is much lighter and amber- or honey-toned than the rich cocoa-hued mahogany tops you’d associate with a vintage Guild M-20, or, for that matter, theM-120 from the company’s contemporary Westerly line. As a result, you see a little more contrast in the grain and a little dimpling in certain sections of the wood. The lighter wood isn’t unattractive, it just looks less trad, if you’re chasing Nick Drake’s Bryter Layter style. If that’s important, you should adjust the “design/build” score appropriately.
Sit and Stay Awhile
Barring being covered in porcupine spines, almost any OM or 000 will qualify as a pure-comfort title finalist. It’s not too thick, too wide, nor too petite—a size and profile that also pays unique, civilized sonic dividends. Here, the OM body is complimented by a neck that feels like an especially natural match. I don’t have a bunch of inexpensive OMs on hand to compare, and there isn’t anything wildly unique about the shape, but the neck profile feels very proportionate to the body. It also, depending on your own sense of such things, inhabits a comfortable zone between C and D shapes that’s super agreeable and, at least in my case, a nice antidote for hand fatigue. The neck is not classically OM-like in terms of nut width. The M-320’s nut measures 1 13/16", which is typical of a 000, rather than the 1 3/4" associated with OMs. The extra width, of course, would make the guitar more appealing to some fingerstylists that need the space. At no point, however, did I feel anything close to cramped; it’s just very comfortable.
The combination of layered back and sides, OM/000 dimensions, and mahogany mean the OM-320 feels and sounds less than super-widescreen in terms of tone spectrum and power. Nevertheless, it sounds balanced and pretty—particularly with a droning, dropped 6th string and other more-elastic tunings where the guitar can exercise the lower extremes of its voice. Tuning to standard has the effect of highlighting midrange emphasis, which can get boxy and render the 3rd and 4th strings a bit less potent and present. That said, it’s still balanced and almost never collapses into a distorted harmonic blur. The bottom end maintains an appealing growl and, as long as you use a gentler picking approach, you can use the highest four strings in very dynamic ways. Using a capo emphasizes other cool, high-mid-focused voices in the guitar that coexist well with most strumming approaches.
The Verdict
Inexpensive guitars that feel great can make up for a lot of shortcomings in tone. But the OM-320’s deficiencies in the latter regard are few, and some perceived limitations, like midrange emphasis, are intrinsic to guitars with OM dimensions. So, while forceful strumming is not the OM-320’s strength, the comfortable playability might just lead you to those places anyway. And if you compensate accordingly with touch dynamics, you can conjure many sweetly chiming tones that might sound extra sweet given the bargain price
Featuring vintage tremolos, modern slicer effects, and stereo auto-panners, the update includes clever Rate and Tempo controls for seamless syncing and morphing.
Today Kemper announces the immediate availability PROFILER OS 12.0 including the highly anticipated collection of advanced Tremolo and Slicer FX for the entire range of KEMPER PROFILER guitar amps.
The Collection features three vintage tremolos, two modern slicer effects, and two stereo auto-panners, that have been derived from the slicer effects. They all feature a clever Rate and Tempo control system, that allows for syncing the tremolo to the song tempo, retriggering the timing by simply hitting the TAP switch, and changing or morphing the tremolo rate to different note values,
The new Advanced Tremolo Modules in Detail
- The Tube Bias Tremolo is the familiar Tremolo in the Kemper Profilers. Formally named "Tremolo“ and available in the PROFILERs since day one, it is a reproduction of the famous Fender Amp tremolos from the 50‘s. Placed in front of the amp it beautifully interacts with the amp distortion.
- The Photocell Tremolo dates back to the 60‘s and features a steeper pulse slope, and its width varies with the intensity.
- The Harmonic Tremolo also dates back to the 60‘s and was introduced by Fender. The low and high frequencies alternate with the tremolo rate.
- The Pulse Slicer is a modern slizer or stutter effect that will continuously transition from the smoothest sine wave to the sharpest square wave, using the "Edge“ parameter. The "Skew“ parameter changes the timing of the high level versus the low level, sometimes also called pulse width or duty cycle.
- The Saw Slicer creates a ramp like a saw wave. The saw wave has a falling ramp when "Edge“ is at full position, and a rising edge at zero position. Towards the middle position a rising and falling ramp are forming a triangle wave. The „Skew“ parameter changes the slope of the rising and falling ramp from a linear trajectory to a more convex or concave shape.
- The Pulse Autopanner and the Saw Autopanner are derivates from their respective Slicers, they spread their signals in the stereo panorama. The "Stereo“-control parameter is included in many effects of the PROFILER. Here, it introduces a novel "super-stereo" effect that lets the Autopanner send the signal well outside the regular stereo image. This effect works best if you are well positioned in the correct stereo triangle of your speakers. When you move the “Stereo” soft knob beyond the +/-100% setting, the super-stereo effect comes into place, reaching its maximum impact at +/-200%.
- A single press on the TAP button at the beginning of the bar will bring the rhythmic modulation effects, such as Tremolo or Slicer, back into sync with the music without changing the tempo. The sync will happen smoothly and almost unnoticeable, which is a unique feature. Of course, tapping the tempo is possible as well.
- Modulation Rate - The “Rate” control available in many modulation effects is based on a special philosophy that allows continuous control over the speed of the modulation and continuous Morphing, even when linked to the current tempo via the To Tempo option. The fine Rate resolution shines when seamlessly morphing from, e.g., 1/8 notes to 1/16 notes or triplets without a glitch and without losing the timing of the music.