Nels Cline spends 40 glorious minutes detailing and demoing his Wilco rig.

We caught up with the multi-talented Nels Cline to check out his Wilco rig in Des Moines, Iowa. Watch our extensive video interview, including demos of all of his effects:

Cline is best known for using Jazzmasters, and the one pictured below is his main guitar, a well-used 1959. He adds a Mastery bridge to all of his guitars. He also has a Henss Rosewood jazzmaster, Gibson Les Paul Junior for open tuning and slide, Jerry Jones Neptune 12-string, a unique Jerry Jones doubleneck with a 12-string neck and baritone 6-string neck, a Japanese Crown guitar painted by Norton Wisdom, a '60s Hopf Guitar, '69 Fender Jaguar, and Bill Nash T-style. Nels likes to play behind the bridge, so many of his unique instruments also have that feature. Watch the video to see Nels describe why he uses each guitar and demonstrate how they sound.

Nels uses a Schroeder DB7, designed and built for him by Tim Schroeder plugged into a Marshall 4x12 cabinet that was once matched with a JTM45 reissue. The cab is loaded with with blue-back Celestions that are only found in that cabinet. He plugs in using Divine Noise cables.

Nels' board is packed with goodies! In addition to this board, he has another pedal setup on a table with tweakable effects and a Korg Kaoss II for even more sonic madness. His main board features a Boss TU-2 tuner, Z.Vex Fuzz Factory, Fulltone DejáVibe, DigiTech Whammy, Boss CS-3 Compression Sustainer, Boss VB-2 Vibrato, Bigfoot FX Magnavibe, Klon Centaur, Crazy Tube Circuits Starlight Overdrive, Crowther Hotcake, Fulltone '69, Electro-Harmonix Pulsar, Crazy Tube Circuits Viagra Boost, Boss FV-500H volume pedal, Boss DD-3 delay, MXR Phase 45, and Boss DD-7 delay.

His second board includes an Electro-Harmonix Deluxe Memory Man, Electro-Harmonix 16 Second Delay, Electro-Harmonix Ring Thing, Korg Kaoss Pad 2, and Electro-Harmonix Holy Grail Plus.

This 1964 Vibrolux Reverb arrived in all-original condition, right down to a two-prong power cord and a death cap wired to the ground switch. The author’s well-worn Strat is the perfect companion.

How our columnist’s risky purchase turned out to be a dusty pre-CBS jewel.

This month, I’d like to share the story of my 1964 Fender Vibrolux Reverb. It was a really risky purchase that had some big surprises.

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Fat tones from a sweet niche where Les Paul, Gretsch, and Telecaster share the limelight.

Copious, unexpected tones. Cool, useful bass contour control. Very nice build quality. Excellent value.



Reverend Flatroc Bigsby


If you only pay casual attention to Reverend guitars, it’s easy to overlook how different their instruments can be. Some of that may be due to the way Reverends look. There are longstanding styling themes and strong family likenesses among models that can make differentiation a challenge for uninitiated guitar spotters. For instance, the Flatroc reviewed here has more or less the same body as the Charger, Buckshot, and Double Agent OG (which has an entirely different body than the more Jazzmaster-like Double Agent W). If you don’t have an experienced Reverend enthusiast at your side, it can all be a bit mind bending.

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