An interview with Roger McGuinn, with notes from Rickenbacker''s John Hall and the Byrds'' Chris Hillman
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After The Byrds broke up in 1973, Roger maintained an electric band until 1981, and then began performing solo and has been ever since. Now in his mid-sixties, Roger and Camilla, his wife/road manager, tour in a well-equipped van carrying only the essentials: several guitars, a banjo, and a few electronic devices (heās always been a lover of gadgetry and collects vintage transistor radios) along with their personal belongings. McGuinn picks and chooses his gigs carefully, avoiding outdoor shows, clubs, bars and church venues. He continues to sell out shows wherever he playsāno simple feat for this folk/rock survivor and member of the Rock nā Roll Hall of Fame. I questioned Roger extensively about a possible reformation of The Byrds. Although some of that conversation remains on the cutting room floor, McGuinnās position is clear. He has no interest in putting the Byrds back together.
Letās start by discussing your current stage equipment. What are you using right now?
All the guitars I use are signature models, such as the Rickenbacker 370/12/RMā similar to a triple pickup 370āa Martin D12-42/RM and Martin HD-7, the seven string model Martin designed with input from me. I also use a banjo that I got from Bernie Leadon, formerly of The Eagles, and in return I gave him a new Fender Mastertone banjo. Itās a combination of old Vega and Ode banjo parts. Itās one of the best banjos Iāve ever played. I took it to Pete Seegerās house recently and he played it and gave it his stamp of approval.
You are most closely associated with the Rickenbacker 12-string. Would you tell us how you came to use that guitar in the early days of The Byrds? Also, what that guitar has meant to you as your sonic āsignatureā over the years?
We went as a group to see A Hard Dayās Night multiple times and were totally taken with The Beatles. I liked George Harrisonās Rickenbacker 12, but I couldnāt find one that looked like his with the pointy cutaways, so I bought the blonde 360 model. I thought it was beautiful, like a golden palomino and the checkerboard binding reminded me of Gene Autry or Roy Rogers. I loved that guitar and played it eight hours a day.
It was later stolen and I discovered that it was auctioned off in England for over $100,000. Given the statute of limitations and the difficulty in dealing with laws in a foreign country, there wasnāt much I could do, even though I considered myself the legal and rightful owner.
Your sound has always been marked by the use of compression on the Rick 12. You used to record directly into the board. What brand of compressor was it?
I donāt know what they used in the Columbia Studios, but I do know they were tube-driven. Using compression was the idea of Ray Gerhardt, one of the house engineers at Columbia. They had no experience working with rock nā roll bands and were scared weād blow out their equipment, so they used compression in an attempt to protect themselves! I know they were very nervous about recording us. [Authorās Note: Ray Gerhardt was an award-winning engineer, famed for his work on records by Percy Faith and other easy listening artists of the day.]
How did you recreate your compressed studio tone onstage back in the days when stompboxes were in their infancy?
I never did. Paul Kantner of Jefferson Airplane, who also played a Rickenbacker 12, turned me on to the Vox Treble Booster in 1966. I took the Rick apart and installed it in the guitar. It really was an outboard box that gave me some gain, but no compression. Later, we got a rack compressor that we used on gigs, but in the early days, I couldnāt get compression onstage until we got that rack. I tried all the compressors available, including the Dyna-Comp and the Boss, but didnāt like any of them. Not until Rickenbacker designed my signature guitar with the built-in compressor, did I find one that worked for me.
Were you involved in the design of your onboard compressor?
No, an engineer from Rickenbacker designed it. He left shortly after and went to work for Fender, I think. John Hall could tell you who he was. [Authorās Note: See John Hall sidebar.]
When Rickenbacker stopped producing your signature guitar, that compressor was discontinued along with the guitar. Iām surprised they never marketed a stompbox version of it.
It was the best sounding compressor I ever used until the Janglebox came along. I suppose it was because Rickenbacker is not in the effects business. I did the entire Back From Rio album with that Rick compressor. The Janglebox is now the bestsounding compressor on the market in my opinionāI use it all the time. Itās clean and quiet, and it sounds very close to the built-in one I have in the 370/12/RM. As far as that guitar goes, they produced a thousand and sold every one. John Hall wonāt reissue it because he wants to keep the collectible mystique alive, I suppose, but I wish he would reissue it.
Rickenbacker 12-strings have always been finicky instruments. I own a ā92 330-12 with ātoasterā pickups with an Amber Fireglo finish. Do you do your own setups and adjustments?
Yes, I do. If you check out my video, The 12 String Guitar of Roger McGuinn on Homespun Tapes, I demonstrate how to do your own neck and action adjustments and string changes.
Although you are most often associated with the Rick 12, you played other guitars with The Byrds. Can you tell us about those instruments and why and how you used them?
I had a Gretsch Country Gentleman strung with flatwound strings that I used on āHave You Seen Her Faceāāthat was The Beatlesā influence again.
I could have sworn that was a Telecaster.
No, it was a Gretsch. After Fender was taken over by CBS, we got a ton of Fender gear. They gave me a Mastertone banjo, which is the one I traded to Bernie, an electric 12-string that I used in the studio, an acoustic guitar and a Telecaster. I used the Gretsch a lot around the time Gram Parsons was in the band and we recorded Sweetheart Of The Rodeo. The Rickenbacker really didnāt fit too well with the country music we were playing.
I remember seeing you with your later band Thunderbyrd in the mid-seventies, and you played a Rickenbacker Light Show guitar on āEight Miles High.ā Do you still have it? What was it like to play?
I have two of them and theyāre fun guitars. The first one I have is no longer in playing condition, but the second one is in pretty good shape. However, I donāt use either of them anymore.
You also had a Rickenbacker Bantar, didnāt you? That was their hybrid instrument that combined a banjo and a guitar, right?
Yes. I actually took that on loan and sent it back. I tried it for a little while, but it wasnāt very useful.
Do you have any other interesting guitars we should know about, and do you consider yourself a collector?
Iām not a collector, but I do have a very nice ā57 Martin 00-21 that I paid $165 for. Iām not permitted to say how many Rickenbackers I own.
How did your signature Martin seven string come about?
Air France broke one of my acoustic 12-strings, so I wanted to condense the characteristics of a six and twelve string into one guitar. We designed a prototype on napkins over lunch and Martin put it into production. Itās now available in a less expensive version. I call it the āSwiss Army Knifeā of guitars. It gives me nice bottom end tone, and itās easy to do bluegrass runs and bend strings.
Over the years, what amps have you used?
In early days of The Byrds, I used an Epiphone with two 10. speakers. We went direct in the studio. Later on, we used Fender Dual Showman amps for live work, which we liked a lot. John Sebastian turned me on to the Roland JC-120, and that was my amp of choice for years. Although itās a great-sounding amp, I go direct onstage. I use an in-ear monitor and AM wireless. In fact, I start my show offstage, so you can hear me, but not see me. I plug into a Sennheiser wireless, into the Janglebox and then a direct box.
How do you view The Byrds today, after years as a solo artist? When you look back over your time with the band, what are your thoughts and feelings about those days?
It was a lot of fun. We left a great legacy of music. I hear new, young bands all the time that are influenced by The Byrdsā music.
Do you think the music holds up well?
Yes, it does hold up quite well. Iām amazed at the young kids I meet who are into the Byrdsā music, people in their twentiesāhippie kids you might say, who like the band.
What are your favorite Byrds tracks?
āRenaissance Fair,ā āTime Between,ā āHave You Seen Her Face,ā āTurn! Turn! Turn!,ā āMr. Tambourine Manā and āSo You Want To Be A Rock ān Roll Star.ā There are a lot of favorites.
Are there any youād like to forget?
If there are, Iāve forgotten about them! [laughter on both ends]
The Byrds went through many stylistic and personnel changes and pioneered folk rock, psychedelic rock, country rock and even space rock. Which version of the band was your favorite and why?
I donāt have one favorite, but the first version of the band with Gene Clark, David Crosby, Chris Hillman and Michael Clarke was special. We had no money, no day jobs; we were almost starving, but then we had a number one hit with āMr. Tambourine Man,ā and everything took off from there. It was an amazing acceleration to go from nothing to number one. I also liked the later version of The Byrds with Clarence White.
Letās do a little name association. David Crosby:
Great harmonies.
Multi-talented.
Gene Clark:
Wonderful songwriter.
Michael Clarke:
Looked like two of The Rolling Stones.
Clarence White:
Incredible genius.
John Lennon:
A way with words.
George Harrison:
Loved his guitar work.
Bob Dylan:
Great songwriter
You have toured as a solo artist since 1981, but do you ever miss working with a full band?
I play with The Rockbottom Remainders, a band that includes Stephen King, Amy Tan, Dave Barry, Ridley Pearson, Mitch Albom and other writers. We do about 3- 5 charity gigs a year and have a lot of fun doing it. The name of the band pertains to the reject books in the bargain bin that no one wants. I have also gone out occasionally with a trio of Dave Matthews on bass [Authorās Note: Not singer/songwriter Dave Matthews] and Paul Eaton on guitar and banjo.
I saw The Byrdsā version of āMr. Tambourine Manā on YouTube that was recorded at the Roy Orbison PBS tribute show, and your harmonies with Bob Dylan were so moving. They went straight to my heart. Was Dylanās walkon appearance planned ahead of time, or did he just stroll onstage on a whim?
That was a pretty cool night. We definitely flew by the seat of our pants! No, Bobās entrance was planned beforehand. We discussed it backstage in the dressing room. He missed his cue to come out. They had to go find him, I guess, so thatās why he was late entering the stage. Bob is always a delight to work with.
Now, the question I have been waiting to ask you for years: why no Byrds reunion? Chris Hillman has stated that he would do it, and I know Crosby would too.
Chris used to go back and forth on it. When he talked to David he agreed with him. When we talk now, he agrees with me that we shouldnāt. We have a wonderful backlog of songsāa great legacy so why mess with it? I certainly wouldnāt do it for the money. We did another benefit in 2000 with Bonnie Raitt, Jackson Browne and Graham Nash. Iām having too much fun as a solo artist to go through all that again.
You wouldnāt have to do a whole tour, Roger. Would you consider doing just two shows, one on the west coast and one in New York City, just for the fans?
You have our music, your memories and our old film clips on YouTube.
Youāve been releasing your own recordings for years without a record deal and that seems to be the trend today and most likely for the future. What are your feelings on the current state of the music industry?
After I did Back From Rio on Arista, I turned down other record deals because the record industryās business model is broken. One record executive commented, āI didnāt know Roger McGuinn was so smart.ā
Having my own label was something I wanted to do for years. Weāve released several CDs, but I think the record business, i.e. the major labels, are doomed to a slow and painful death. Theyāre dinosaurs. They loan you a million bucks with advances to keep you in debt, so you never make any royalties. Most bands make their money on live gigs and merchandise and always have.
I never saw a penny in royalties from Arista on Back From Rio, and it sold over a half million copies. I made more money on the Limited Edition CD I released myself than I ever did from them. All a young band needs today is MySpace, Facebook, a website and a blog. They can cut their own CDs with Pro Tools and a Mac and sell them over the Internet or at gigs. You donāt need a record label throwing money your way anymore.
Unfortunately, this trend has also put a lot of recording studios out of business, and thatās a shame.
Youāve always been a fan of gadgetry, so itās no surprise that you latched onto the internet early on. Do you ever frequent websites dedicated to the Byrds or Rickenbacker guitars?
Once in a while I used to visit forums like allbyrdsmusic.com a lot in the nineties, but things started getting ugly on there.
Any thoughts of slowing down your gig schedule? Is touring and performing still exciting and fulfilling for you?
Not at all, and yes, I still love performing. Iāve stopped doing clubs, bars, outdoor festival-type gigs and church gigs, but Iāll only play theatres and performing arts centers because theyāre always well-equipped facilities. Itās still very enjoyable for me to go out and play for people. I travel with my wife and we have friends and fans all over the country. I sell out everywhere and plan to play for the rest of my life.
John Hall on Roger McGuinn and his Signature Rickenbacker |
I met him in 1965 at The Beatlesā rented house in Hollywood after their Hollywood Bowl concert. That was a real thrill for me. I was fifteen and Roger had several years on me. We became friends and have always had a very cordial relationship. We had a great time building his signature guitar.
I think it was 1988. I contacted Roger to do a limited edition guitar. We had just done the Pete Townshend limited edition, and doing a 12-string with Roger was a natural thing. He had been associated with the Rickenbacker 12-string for so many years. Essentially, we worked together to produce Rogerās dream instrument. He chose features from his standard 370 three pickup model, plus other improvements and upgrades, such as the onboard compressor.
Who designed the compressor in Rogerās guitar?
That was our chief engineer, Bob Desiderio. He left shortly after and went to work for Fender, and I believe heās still there. Bob also designed the pickups and circuitry for John Kayās signature model.
I wondered why Rickenbacker never issued the McGuinn compressor as an outboard stompbox?
It wouldnāt have been right to offer something like that after a limited edition guitar had gone out of production.
Any chance you might reissue the 370/12/RM anytime in the future?
Not at the moment. Weāre already way behind in our production schedule as it is. We donāt have the manpower to put limited edition reissues into production. I really donāt like reissuing signature guitars, to be honest. It defeats the purpose of an instrument being a limited edition. If Roger wants to work with us to produce a new instrument sometime down the road, we could do that.
Chris Hillman on Roger McGuinn & The Byrds |
Chris Hillman was the original bass player with The Byrds and also played with Roger McGuinn in the group McGuinn, Clark & Hillman. Chris has worked with Gram Parsons in The Flying Burrito Brothers, with Stephen Stills in Manassas, with the ill-fated super-group Souther, Hillman & Furay, and as a solo acoustic and electric artist. Hillman enjoyed considerable mainstream country music success with The Desert Rose Band in the nineties, and still tours, playing mandolin and flattop acoustic guitar with his musical partner, Herb Pederson. They play an acoustic bluegrass-inspired music. I chatted with Hillman briefly about Roger McGuinn and The Byrds.
How would you describe your relationship with Roger McGuinn?
Roger and I are still friends, in fact, I emailed him for his birthday recently and said we should have lunch and catch up, but of course, he lives in Florida now. I can tell you that Roger was easily the best musician in The Byrds. Heās an extremely talented and meticulous man, and I have nothing but respect for him and always have. Although I enjoy what heās doing now, I think heās the type of musician who needed and still needs a catalyst to bring out the best in him. I believe I was that catalyst in The Byrds. He and I finished the Notorious Byrd Brothers album ourselves.
Roger told me point blank that he wouldnāt reform The Byrds. As a lifelong Byrds fan, it would be great to see the three surviving original members together onstage again before I leave this earth.
Youāre not going to see it. I totally agree with Roger that we should leave it alone. The Byrds left a great legacy of music and it should remain that way. Besides, both Michael Clarke and Gene Clark are dead, and we both feel the band should be remembered as the Photo: Ā© Bill Kollar five original members.
Rogerās Gearbox On the road and in the studio:
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Roger McGuinn
rogermcguinn.com
Hereās how 21 killer players from the past year of Rig Rundownsāincluding Justin Chancellor, Zakk Wylde, MonoNeon, Carmen Vandenberg, Sturgill Simpson, Jason Isbell, and Grace Bowersāuse stomps to take their sounds outside the box.
TOOL'S JUSTIN CHANCELLOR
Justin Chancellorās Pedalboard
If you ever catch yourself playing air guitar to Tool, youāre probably mimicking Justin Chancellorās parts. āSchism,ā āThe Pot,ā āForty Six & 2,ā āH.,ā āFear Inoculum,ā āDescending,ā āThe Grudge,ā and plenty of others feature his buoyant bass riffs.
What stomps does he run his Wal, StingRay, and Fender basses through? Glad you asked. His setup is either a bass playerās dream or nightmare, but for someone as adventurous as Chancellor, this is where the party starts.
Youāll notice many of his pedals are available at your favorite guitar store, including six Boss boxes, an Ernie Ball Volume Pedal, and MXR Micro Amp. Crucial foot-operated pedals are in blue: the Dunlop JCT95 Justin Chancellor Cry Baby Wah with a Tone Bender-style fuzz circuit (far left) and DigiTech Bass Whammy (middle). He really likes using the Tech 21 SansAmp GT2 for distortion and feedback when the Whammy is engaged or heās playing up the neck. Covering delays are three pedalsāhe has the pink Providence DLY-4 Chrono Delay programmed to match drummer Danny Careyās BPMs in āPneuma,ā which slightly increase during the song from 113 ms to 115 ms. The Boss DD-3s are set for different speeds with the one labeled āFasterā handling āThe Grudgeā and the other one doing more steady repeats. Thereās a pair of vintage Guyatone pedalsāthe Guyatone VT-X Vintage Tremolo Pedal (Flip Series) and Guyatone BR2 Bottom Wah Rocker (a gift from guitarist Adam Jones). The Gamechanger Audio Plus pedal is used to freeze moments and allow Justin to grab onto feedback or play over something. The Boss GEB-7 Bass Equalizer and Pro Co Turbo RAT help reinforce his resounding, beefy backbone of bass tone, while the MXR Micro Amp helps goose his grimy rumbles. The Boss LS-2 Line Selector is a one-kick escape hatch out of the complicated signal chain for parts of āSchism.ā The Wal and Music Man stay in check with the TU-3S tuner, a pair of Voodoo Lab Pedal Power 2 Pluses help bring things to life, and everything is wired up with EBS patch cables.
STURGILL SIMPSON AND LAUR JOAMETS
Sturgill Simpsonās Pedalboard
Alt-country veteran Sturgill Simpson packed light for his latest run. His board bears just a Peterson Stomp Classic tuner running into a Fulltone True-Path ABY-ST, which splits his signal to his two Magnatone Panoramic Stereo amps. āI wouldnāt use a tuner if I didnāt have to,ā he chuckles. The LILY P4D beside the splitter lets him control his mic signal to cut interference from onstage noise.
Laur Joametsā Pedalboard
For his main board, Laur Joamets packs a little heavier than his boss. The platform, made by West Coast Pedal Board, carries a Peterson StroboStomp, Greer Amps Arbuckle Trem, sRossFX fuzz/overdrive, MXR Booster, T-Rex Replica, sRossFX germanium octave pedal, TC Electronic Viscous Vibe, Dunlop EP103 Echoplex, and Source Audio True Spring Reverb. An MXR Tap lets him tap in delay tempos. He has a second pedalboard, as well, for his Stage One steel guitar. It goes into a Peterson StroboStomp HD, then on to a Greer Black Tiger and Goodrich Sound Company volume pedal, before hitting his Magnatone Varsity Reverb and a custom-built Fender brown-panel Deluxe clone he calls āthe Charmer.ā
PANTERAāS ZAKK WYLDE AND REX BROWN
Zakk Wyldeās Pedalboard
When Panteraās bassist Rex Brown and singer Phil Anselmo decided to fire the band up again, the choice of fellow road dog Zakk Wylde on guitar seemed perfect. Hereās what Wylde had on the floor and in the racks for the bandās February date at Nashvilleās Bridgestone Arena.
His signature arsenal of effects seen here includes a MXR Wylde Audio Overdrive, MXR Wylde Audio Phase, Wylde Audio Cry Baby wah, and a Dunlop ZW357 Zakk Wylde Signature Rotovibe. The lone box that isnāt branded Wylde is a standard fare MXR Carbon Copy. Offstage, his rack is home to a MXR Smart Gate and MXR Wylde Audio Chorus thatās always on. Both are powered by a Voodoo Lab Pedal Power 3 Plus. Another drawer holds a Radial BigShot I/O True-bypass Instrument Selector, Lehle Little Dual II Amp Switcher, and a Radial BigShot EFX Effects Loop Switcher.
Rex Brownās Pedalboard
This tour was the first time Rex Brown used a switching system. His stage board sported a Dunlop JCT95 Justin Chancellor Cry Baby Wah, a 2000s Morley Pro Series II Bass Wah, Origin Effects DCX Bass Tone Shaper & Drive, a MXR M287 Sub Octave Bass Fuzz, and a Peterson StroboStomp HD. The brain of everything in the rack and onstage is the RJM Mastermind GT. And to help āmove mountains,ā Rex has a Moog Taurus III.
MSSVāS MIKE BAGGETTA AND MIKE WATT
Mike Baggettaās Pedalboard
Mike Baggetta has some core pedals in MSSV, his indie supergroup with legendary bassist Mike Watt and drummer Stephen Hodges. His arsenal includes a Creepy Fingers Hold Tight fuzz, an Electro-Harmonix Ring Thing, a Wilson Effects Freaker Wah V2, an EHX Deluxe Memory Man, and a Red Panda Tensor. The signal flows from his Benson amp into the Tensor, which he uses for glitch sounds, harmonizing, and overdub mode, among other feats. His Memory Man adds spaceāthe final frontier.
Mike Wattās Pedalboard
Mike Watt puts his signature Reverend Wattplower bass into a Broughton Audio high-pass filter, an EarthQuaker Devices The Warden optical compressor, and a Sushi Box Effects Finally tube DI that functions as a preamp. Thereās also a TC Electronic PolyTune.
MONONEON
MonoNeonās Pedalboard
The Memphis-born avant-funk bassist keeps it simple on the road with a signature 5-string, a tried-and-true Ampeg stack, and just four stomps. Almost all of his stomps have been zhuzhed up in his eye-popping palette. Heād used a pitch shifting DigiTech Whammy for a while, but after working with Paisley Park royalty, the pedal became a bigger part of his playing. āWhen I started playing with Prince, he put the Whammy on my pedalboard,ā Thomas explains. āAfter he passed, I realized how special that moment was.ā MonoNeon also uses a Fairfield Circuitry Randyās Revenge, a Fart Pedal (in case the Fairfield ring mod isnāt weird enough, we guess), and a JAM Pedals Red Muck covers fuzz and dirt needs. A CIOKS SOL powers the whole affair.
GRACE BOWERS
Grace Bowersā Pedalboard
Grace Bowers is one of the freshest new guitar stars to emerge in the past year. She has the essential fixinās for her classic rock tones: a Dunlop Crybaby Wah, Grindstone Audio Solutions Night Shade Drive, EarthQuaker Devices Tone Job, MXR Phase 90, MXR Phase 95, and Boss DD-2. Bowers powers them with a Voodoo Labs Pedal Power ISO-5.
GREEN DAYāS JASON WHITE
Photo by Raph Pour-Hashemi
Jason Whiteās Pedalboard
Long-time touring member Jason Whiteās stable is dominated by his Gibson Les Pauls and ES-335s. A Shure wireless system sends his signal to a rack set-up with an ISP noise gate, just in case Whiteās P-90s are picking up a lot of noise. From there, it hits a Dunlop Cry Baby and DVP1XL, then a MIDI-controllable RJM Effect Gizmo, which handles Whiteās effects: an MXR Reverb and Poly Blue Octave, Strymon TimeLine and Mobius, API Select TranZformer GTR, and a Custom Audio Electronics 3+SE Guitar Preamp, which gets engaged for clean tones and small combo sounds. A Lehle Dual SGoS Switcher and Fishman Aura DI Preamp handle changes with the piezo-equipped guitars. A Strymon Zuma provides the juice.
BONES UKāS CARMEN VANDENBERG
Carmen Vandenbergās Pedalboard
Carmen Vandenberg covers a lot of ground with her Bones UK guitar sounds, and sheās got a carefully curated collection of stomps to span the territory. Her guitar first hits an Ernie Ball Cry Baby before running through the rest of the pedals: a Boss TU-3, Fulltone OCD, Supro Drive, Pigtronix Octava, EHX Micro POG, Supro Chorus, Blackstar Dept. 10 Boost, EarthQuaker Devices Dispatch Master, MXR Carbon Copy Deluxe, Catalinbread Belle Epoch, and Boss NS-2. A Live Wire Solutions ABY manages the signals on their way to her signature Blackstar CV30s.
BLACK PUMASā ADRIAN QUESADA, BRENDAN BOND, AND ERIC BURTON
Adrian Quesadaās Pedalboards
Adrian Quesada loves tremolo and reverb, and uses a Strymon Flint for both. His other main stomp is the Electro-Harmonix Holy Grail that provides a healthy dose of spring reverb. Also along for the tour: a Line 6 Echo Park, a Catalinbread Echorec, a Boss GE-7 Equalizer, a Catalinbread Belle Epoch, and an EarthQuaker Devices. The Fulltone Clyde Wah Deluxe has stepped in for a different filter sweeper. Thereās also a JAM Pedals Ripple two-stage phaser, and a TC Electronic PolyTune2 Noir keeps his guitars in check. Thatās all on board one.
His second board includes a JHS 3 Series Delay, a JHS Crayon, and an Electro-Harmonix Nano POG. Utility boxes on hereāStrymon Ojai, JHS Mini A/B, and TC Electronic PolyTuneāhandle switching, tuning, and power.Brendan Bondās Pedalboard
Three pedals get the job done for Mr. Bond: an Acme Audio Motown D.I. WB-3 passive D.I., a JHS Colour Box, and a Boss TU-3 Chromatic Tuner.
Eric Burtonās Pedalboard
Frontman and guitarist Eric Burton is the bandās lone wireless member. To accommodate his onstage prowling, tech Bryan Wilkinson uses a Radial JDI passive direct box that takes in the XLR from the audio subsnake wireless rackmount and routes it into the first pedal: a Boss TU-3 Chromatic Tuner. From there, Burton only has a couple pedalsāa DigiTech Mosaic to mimic a 12-string for āOCT 33ā and a JHS Colour Box for any required heat. A Strymon Ojai turns everything on.
JASON ISBELL AND SADLER VADEN
Jason Isbellās Pedalboards
Jason Isbell could open a huge gear shop just by clearing off his boards and racks. First off, he has a complex wet/dry/wet setup that is parsed out via a RJM Mastermind, with two Magnatone Twilight Stereo combos carrying the all-wet effects. Thereās also a Radial JX44v2, which serves as the core signal manager. Above it, on the rack, is an Echo Fix Chorus Echo EF-X3R. Moving up the rack, one drawer includes an Ibanez DML10 Modulation Delay II, EarthQuaker Devices Tentacle, and a trio of stereo-field-only effects: a Boss MD-500, Strymon Volante, and Hologram Electronics Microcosm. Another level up, youāll find a Chase Bliss Preamp Mk II, Chase Bliss Tonal Recall Delay, Chase Bliss Dark World Reverb, Chase Bliss Condor EQ/Filter, Chase Bliss Gravitas Tremolo, Chase Bliss CXM-1978 Reverb (stereo-field only), Keeley 30ms Automatic Double Tracker, gold Klon Centaur, Analog Man Sun Lion Fuzz/Treble Booster, Analog Man King of Tone with 4-jack mod, Keeley 4-knob CompROSSor, Pete Cornish OC-1 Optical Compressor, EHX Micro POG, Analog Man ARDX20 Delay, and a trio of Fishman Aura Spectrum DIs.
Sadler Vadenās Pedalboard
Isbellās 6-string sparring partner Sadler Vadenās pedalboard chain starts with a Dunlop Clyde McCoy Wah, then a Lehle volume pedal, which feeds the Gig Rig. He uses a Line 6 M5 with a Dunlop expression pedal for a lot of modulation effects. Other pedals include a Crowther Prunes & Custard, Nordvang No.1, an Analog Man Dual Analog Delay, Comp, and King of Tone, a Strymon BlueSky, and a Greer Lightspeed. Every effect is isolated into the Gig Rig. The board has four outputs, two for each side of his 3rd Power British Dream, one for a Marshall plexi, and one that goes to an aux line and splits to a Vox Pacemaker. The auxiliary line is as a backup in case Sadlerās amps go down. It consists of a Strymon Iridium into a Seymour Duncan Power Stage that goes to FOH. And finally, his acoustic pedalboard sports a Shure wireless running into an ART Tube MP/C preamp into a L.R. Baggs Venue DI, with a Radial Engineering Bigshot selector.
MICHAEL LEMMO
Michael Lemmoās Pedalboard
Rising star player Michael Lemmo relies on his stomps for tone sculpting, but he doesnāt need much to get the job done. His signal hits a Korg tuner, followed by an Xotic EP Booster, Bearfoot FX Honey Bee OD, Red Panda Context, Boss DD-7, and TC Electronic Ditto. Theyāre all juiced by a Truetone 1 Spot Pro CS7.
HELMETāS PAGE HAMILTON
Page Hamiltonās Pedalboard
Page Hamilton used to travel with a full Bradshaw rig with rack gear, but heās reduced things to a pair of Eventide H9 units and a handful of Boss boxesāa PS-5 Super Shifter, a MT-2W Metal Zone Waza Craft, a TS-2 Turbo Distortion, a NS-2 Noise Suppressor, and a FB-2 Feedbacker/Booster. A couple of Peterson Stomp Classic tuners keep his ESP Horizons ready, and a Boss ES-5 Effects Switching System organizes all his sounds and settings.
BARONESSā JOHN BAIZLEY, GINA GLEASON, AND NICK JOST
John Baizleyās Pedalboard
The Baroness frontmanās board is packed with staged dirt boxes and tasteful mod stomps, all held in check with a GigRig G2, Peterson StroboStomp, and Ernie Ball Volume Pedal. The crown drive jewels are a heavily modded EHX Big Muff and Crowther Double Hot Cake, but a Beetronics FX Overhive and Pro Co RAT add sizzle, too. A Boss DD-3, DM-2W, and TR-2, EarthQuaker Devices Dispatch Master and Tentacle, MXR Phase 90 and Dyna Comp, and EHX Deluxe Memory Man handle the rest, while a DigiTech Whammy lurks for its moment to blast off.
Gina Gleasonās Pedalboard
Gleasonās favorite drive these days is the EQD Zoar. Piling on top of that are a MXR Super Badass Distortion, MXR Timmy, modded EHX Big Muff, and a touchy Philly Fuzz Infidel prototype; an Xotic SP Compressor and UAFX 1176 Studio Compressor tighten things up when needed. Three time machinesāthe Strymon TimeLine, EQD Space Spiral, and Boss DD-3āhandle delay, and a Walrus Slo dishes out reverb. The MXR EVH Phase 90 adds some color along with another DigiTech Whammy. The Ernie Ball Volume Pedal, Peterson StroboStomp, and GigRig G2 finish the line-up.
Nick Jostās Pedalboard
The bassistās board is powered by an MXR Iso-Brick, with an Ernie Ball Volume Pedal and Boss TU-3 pulling utility duties before an Xotic Bass BB Preamp, Boss ODB-3, DOD FX69B Grunge, MXR Stereo Chorus, and Tech 21 SansAmp Bass Driver DI.
WOLFMOTHERāS ANDREW STOCKDALE
Andrew Stockdaleās Pedalboard
When we walked into Nashvilleās Eastside Bowl for this Rig Rundown with Wolfmotherās alpha canine, Andrew Stockdale, it sounded like he was playing his SG through a Marshall stack at head-ripping volume. Nope! Stockdale was blasting skulls apart with a Line 6 HX Stomp doing the heavy tonal lifting. The rest of his boardās layout is a Snark floor tuner, an EHX Micro Synth (a Wolfmother staple), an Xotic AC Booster, an EHX Micro POG, a Dunlop Cry Baby 535Q Multi-Wah, a Boss TR-2 tremolo, a CIOKS DC5 power supply, and Shure GLXDC+ wireless.
FEARLESS FLYERS' CORY WONG AND MARK LETTIERI
Cory Wongās Pedalboard
Through a Shure GLXD16 wireless system, Cory Wong flows his guitar into his Neural DSP Quad Cortex, which runs a beta version of his Archetype: Cory Wong plugin, based off of a melding of a Dumble and a Fender Twin. The signal hits an onboard envelope filter and rarely used pitch shifter, then exits out the effects loop into a Wampler Cory Wong Compressor, Jackson Audio The Optimist, and a Hotone Wong Press. The signal goes back into the Quad Cortex, where thereās a preset phaser, stereo tape delay, and modulated reverb, plus a freeze effect. Two XLR outs run to front of house, while two run to Wongās Mission Engineering Gemini 2 stereo cabinet.
Mark Lettieriās Pedalboard
Mark Lettieriās signal first hits a Keeley Monterey Custom Shop Edition, followed by an MXR Deep Phase, J. Rockett HRM, J. Rockett Melody OD (Lettieriās signature), Pigtronix Octava, and a Dunlop DVP4, all powered by a Strymon Ojai. A TC Electronic TonePrint Plethora X5 pedalboard handles coordination and switching between the devices.
SLASHāS BLUES BALL BAND
Slashās Pedalboard
āI havenāt had a pedalboard in front of my feet since the ā80s,ā Slash told us. But with the Blues Ball tour, he kept it simple, stomping his own boxes. His chain includes a Peterson StroboStomp, Dunlop Cry Baby, MXR CAE Boost/Line Driver, Ibanez TS9 Tube Screamer, MXR EVH90, BBE Soul Vibe Rotary Simulator, Boss DD-3 Digital Delay, and MXR Uni-Vibe, with everything powered by a Voodoo Lab Pedal Power 2 Plus. All pedals are taped down with their settings dialed in. When his signal leaves the board, it hits a Whirlwind Selector A/B box, where it splits off between his amps and his Talk Box rig.
Tash Nealās Pedalboard
Tash Neal keeps a modest pedalboard at his feet: a DāAddario Chromatic Pedal Tuner, Dunlop Cry Baby, XTS Custom Pedals Precision Multi-Drive, EHX Green Russian Big Muff, and a Fender Waylon Jennings Phaser, powered by a T-Rex Fuel Tank.
RANCIDāS MATT FREEMAN
Matt Freemanās Pedalboard
Bassist Matt Freemanās signal goes wireless into one of his Avalon U5 Class A Active Instrument DI and Preamps, and then through a Way Huge Pork Loin Overdrive, set to give his Bassman a good push.
CHRISTONE āKINGFISHā INGRAM
Kingfishās Pedalboard
Kingfishās signal starts with a Shure Wireless BLX4, which hits a Boss TU-3w Chromatic Tuner. From there, the route is a Dunlop Cry Baby Mini Wah, a Marshall ShredMaster, and a Boss DD-3 Delay. The pedals live on a Pedaltrain Nano board and were assembled by Barry OāNeal at XAct Tone Solutions.
DIXIE DREGSā STEVE MORSE
Steve Morseās Pedalboard
Steve plays through a pair of 3-channel Engl Steve Morse signature 100-watt ampsāone wet, one dryābut his pedal chain is relatively simple: a Keeley Compressor, two Ernie Ball volume pedals, two TC Flashbacks, a TC Electronic Polytune, and a foot controller for his Engls.
Black Sabbath to Reunite for First Time in 20 YearsāOzzy Osbourneās Final Performance
The original Sabbath lineup will reunite on July 5 in Birmingham, England, and be joined by Metallica, Pantera, Slayer, and more.
The concert will feature founding members Tony Iommi on guitar, bassist Geezer Butler, drummer Bill Ward, and singer Ozzy Osbourne. Profits from the show, called "Back to the Beginning," will be donated to charities including Cure Parkinson's.
On future Black Sabbath plans, Ozzy's wife, music manager, and TV personality Sharon Osbourne had this to say (via Reuters) about Ozzy: āWhile other bandmembers might continue to make records and perform, Black Sabbath's gig at the birthplace of the band will certainly be the 76-year-old's final performance.
"For Ozzy right now, it's definitely: 'I love you and good night'," she said.
Kepma Guitars introduces the new Fenix Series of Grand Auditorium acoustic guitars, offering premium features at an entry-level price, plus their new travel-sized FC Mini Series.
Designed for both aspiring players and seasoned musicians, the Fenix Series offers premium features typically found in higher-priced instruments, all starting at just $249.99.
āThe new Fenix models represent our commitment to making premium-quality guitars accessible to players at every level, without compromising on sound, playability, or innovation,ā said Kepma USA president Tony Moscal. āWith their torrefied solid tops, thinner neck profiles, and unparalleled playability, these guitars deliver exceptional sound and feel typically reserved for professional instrumentsāall at an entry-level price.ā
The Kepma Fenix Series features a Grand Auditorium body style with a solid torrefied Sitka spruce top, delivering exceptional tonal resonance and stability. The proprietary Kepma Torrefication Process uses a precise combination of heat and humidity to remove moisture, oils, and sap from the wood, resulting in a stronger, more stable top that enhances string vibration and ensures consistent performance in any environment.
Back and sides are crafted from layered African mahogany, providing a warm, balanced sound. The neck, made of durable nato wood, is reinforced with a two-way adjustable truss rod and finished with a smooth satin coating for effortless playability.
The Fenix Series is packed with cutting-edge features to elevate the playing experience:
- New 4-Point Bolt-On Neck Joint: Ensures unparalleled stability that allows for easy adjustments and maintenance - a first at this price point.
- Ultra-Thin Water-Based Finish: Environmentally friendly and just 0.042mm thick, this finish protects the guitar while maximizing tonal projection and preserving the natural beauty of the wood.
- Beveled Binding for Comfort: High-quality ABS beveled binding enhances durability, prevents edge damage, and ensures a comfortable playing experience.
- C-Shaped Fast Neck: A player-friendly design that reduces hand fatigue, enhances playing fluidity, and supports all playing styles.
For players seeking even more versatility, the optional AcoustiFex K-10 Pro Pickup, Preamp & FX System transforms the Fenix into an all-in-one performance and practice powerhouse. This system includes built-in reverb, delay, and chorus effects, Bluetooth audio streaming, and a companion app for rhythm looping, metronome functions, and more. Whether youāre performing on stage or practicing at home, plugged into an amp or mixer, or simply playing unplugged, the AcoustiFex system delivers unmatched sound and convenience.
The Kepma Fenixā¢ Series offers four configurations to suit every playerās preferences:
- FGA1-130 (Natural Finish): Grand Auditorium, solid torrefied spruce top, layered mahogany back and sides. MAP: $249.99
- FGA1-130A (Natural Finish with AcoustiFex): Grand Auditorium, solid torrefied spruce top, layered mahogany back and sides, AcoustiFex K-10 Pro Pickup System. MAP: $299.99
- FGA1-130SB (Sunburst Finish): Grand Auditorium, solid torrefied spruce top, layered mahogany back and sides, sunburst finish. MAP: $249.99
- FGA1-130ASB (Sunburst Finish with AcoustiFex): Grand Auditorium, solid torrefied spruce top, layered mahogany back and sides, sunburst finish, AcoustiFex K-10 Pro Pickup System. MAP: $299.99
The new Fenix models are designed to inspire beginners and seasoned musicians alike, setting a new benchmark for performance and value in the industry.
Kepma Guitars is thrilled to announce the introduction of its versatile FC Mini Series, packed with cutting-edge technology that redefines expectations for travel-sized guitars.
The new FC Mini models include a variety of configurations to suit every playerās needs. The Spruce/Rosewood and Spruce/Mahogany options feature solid torrefied spruce tops paired with layered rosewood or mahogany back and sides, available in natural and sunburst finishes. The Mahogany/Mahogany model features a solid torrefied mahogany top with layered mahogany back and sides in a natural finish. Each guitar is offered in three versions: no pickup, with the AcoustiFexĀ® K-10 Pro system, or equipped with the Elfin Sound System, and all come with a deluxe gig bag. Prices range from $399.99 to $549.99 MAP.
Big Sound in a Compact Package Traditionally, smaller guitars have been associated with compromised sound and tone. Kepmaās FC Mini Series shatters this notion by integrating advanced innovations and meticulous design to create a guitar that offers the full resonance and projection of a standard acoustic.
Premium Materials and Construction The torrefaction process removes moisture, oils, and sap from the wood, enhancing stability and delivering superior tonal richness. Back and sides crafted from high-quality mahogany or rosewood ensure durability and warmth in every note.
Technological Innovations
- Proprietary Bolt-On Neck Design: Kepmaās neck contour bolt-on neck joint ensures a perfect and stable connection between neck and body, offering ultimate playability and infinite adjustability.
- Rosewood Bracing: Solid rosewood bracing enhances top stability and reduces energy loss, resulting in superior articulation and sustain.
- Arched Back Design: A unique arched back improves resonance and eliminates the need for back bracing, allowing for harmonious vibrations and a fuller sound.
Enhanced Playability The FC Mini Series is engineered with the player in mind. The slightly thicker neck provides added stability, while the ergonomic C-shape design reduces fatigue during extended playing sessions. The sleek cutaway provides access to the higher notes on the fretboard for better playability. Lower string action, beveled binding, and redesigned precision sealed tuners further enhance comfort and ease of use.
Attention to Detail Kepmaās commitment to excellence is evident in every detail of the FC Mini Series:
- D'Addario XS Strings: Coated strings extend playing life and offer superior projection.
- Elegant Aesthetics: Features include a magnolia inlay on the fretboard, upgraded rosette, and a refined rosewood veneer headstock.
- Eco-Friendly Finish: A thin, water-based matte finish minimizes vibration damping for a clear, transparent sound.
Advanced Electronics for Modern Musicians
AcoustiFex K-10 Pro System Each new FC Mini Series model is available with the AcoustiFex K-10 Pro System, offering:
- Built-in reverb, delay, and chorus effects
- Bluetooth audio streaming for playing along with backing tracks
- An on-the-go USB interface for app connectivity, enabling looping, rhythm tracks, and practice tools like a metronome and tuner
- Whether youāre performing on stage or practicing at home, plugged into an amp or mixer, or simply playing unplugged, the AcoustiFex system delivers unmatched sound and convenience.
Elfin Sound System The FC Mini Series are also available with the new Elfin K-13 Sound System, developed collaboratively by Kepma and Double Acoustics. The system offers high sensitivity, accurate sound reproduction, strong output power, and low noise. The under-saddle piezo pickup delivers sweet treble and punchy bass, making it ideal for fingerstyle playing. Additionally, the preamp features a rechargeable battery system that can be conveniently charged using a standard USB-C phone charger cable. The Elfin K-13 Sound System was developed and voiced specifically for the Kepma Ā¾ size FC Mini Series guitars.
Complete Package Each FC Mini guitar comes with a padded deluxe gig bag and an accessory kit that includes a custom truss rod wrench, microfiber polishing cloth, bridge pins, picks, extra saddle, and string height gauge.
Purchase Options
Spruce/Rosewood, Natural Finish
- Solid Torrefied Spruce Top/Layered Rosewood Back & Sides
- No Pickup: Model FCM-SR, MAP: $449.99
- With AcoustiFex K-10 Pro: Model FCM-SRA, MAP: $549.99
- With Elfin Sound System: Model FCM-SRE, MAP: $549.99
Spruce/Rosewood, Sunburst Finish
- Solid Torrefied Spruce Top/Layered Rosewood Back & Sides, Sunburst Finish
- No Pickup: Model FCM-SR-SB, MAP: $449.99
- AcoustiFex K-10 Pro: Model FCM-SRA-SB, MAP: $549.99
- Elfin Sound System: Model FCM-SRE-SB, MAP: $549.99
Spruce/Mahogany, Natural Finish
- Solid Torrefied Spruce Top / Layered Mahogany Back & Sides, Natural Finish
- No Pickup: Model FCM-SM, MAP: $399.99
- With AcoustiFex K-10 Pro: Model FCM-SMA, MAP: $499.99
- With Elfin Sound System: Model FCM-SME, MAP: $499.99
Spruce/Mahogany, Sunburst Finish
- Solid Torrefied Spruce Top / Layered Mahogany Back & Sides, Sunburst Finish
- No Pickup: Model FCM-SM-SB, MAP: $399.99
- With AcoustiFex K-10 Pro: Model FCM-SMA-SB, MAP: $499.99
- With Elfin Sound System: Model FCM-SME-SB, MAP: $499.99
Mahogany/Mahogany, Natural Finish
- Solid Torrefied Mahogany Top / Layered Mahogany Back & Sides, Natural Finish
- No Pickup: Model FCM-MM, MAP: $399.99
- With AcoustiFex K-10 Pro: Model FCM-MMA, MAP: $499.99
- With Elfin Sound System: Model FCM-MME, MAP: $499.99
The new Kepma FC Mini Series combines portability, premium materials, and advanced technology to offer an unparalleled sound and playing experience. Whether youāre a traveling musician or a beginner seeking comfort and quality, the FC Mini Series is your perfect companion.
For more information, please visit kepmausa.com.
Shure introduces the Nexadyne line of dynamic instrument microphones.
Each Nexadyne super cardioid microphone boasts Shureās patented Revonic Dual-Engine Transducer Technology. While typical instrument microphones use a single transducer, Nexadyne microphones feature two precisely calibrated transducers working together to achieve optimal performance that delivers natural, authentic clarity while minimizing unwanted noise.
Nexadyneās combination of acoustic signal processing and exceptional polar pattern linearity, enables the microphoneline to deliver a stronger and clearer output. This output is more authentic to the performer and reduces audio engineersā need to apply typical EQ corrections.
Featuring compact industrial designs and a discreet, black finish for low-profile visibility, Nexadyne Instrument Microphones provide exceptional sound quality, industry-leading durability, and stage-friendly functionality. Each Nexadyne microphone surpasses real-world reliability requirements show after show and stands as the road-ready choice for modern touring.
Nexadyne 5 Dynamic Guitar Amp Microphone
Capture the full detail and power of your signature amplified guitar tone. The Nexadyne 5 ensures the full range of your guitar tone is captured and ready for the mix every time. The incredibly small dynamic cartridge design enables a side-address form factor for improved placement. It can be positioned by hanging off any amp or used with a standard mic clip and stand.
Nexadyne 2 Dynamic Bass Amp / Kick Drum Microphone
Kick drums will just sound bigger. The Nexadyne 2 delivers true, low-end clarity and fullness on every stage, with contoured EQ, protection from stage rumble, and improved high-frequency extension and attack definition. The microphone is designed with its swivel joint separated from the XLR output source for secure placement without strain on output cables.
Nexadyne Instrument Microphones carry these street prices: The Nexadyne 5 is available for $219. The Nexadyne 2 is available for $249.
Each microphone includes a zippered bag and brass adapter. The Nexadyne 5 includes the A25E mic clip.
For more information please visit shure.com.