Witness the gear of the pop-rock gods—from James Valentine's fully-loaded boutique board to Monte Pittman's stash of signature axes, Justin Derrico's collection of Les Pauls, the Neon Trees' custom Fender setup, and John Mayer's beat-and-battered BLACK1 Strat.
Sure, most of the magic conjured by the world’s best players is in their hands, but obviously their gear is a huge deal, too—because they’re still pretty particular about what they play. So take a break from honing your own chops for a bit, and check out what your heroes use to conjure their amazing tones. Who knows, maybe it’ll help you rethink how you approach your music and give you some ideas for how to improve your own rig. Or just sit there and lust after all the cool stuff. Either way works.
Here we’ve compiled our top Rig Rundowns with some of the most badass pop-rock heavy hitters on the road today:
Maroon 5's James Valentine
Madonna's Monte Pittman
Pink's Justin Derrico and Eva Gardner
Neon Trees
John Mayer
James Valentine
Guitars
James has been a quest to score a vintage '60s Gibson ES-335 and hasn't found the right one yet. During his seemingly never-ending search for the right hollowbody, a fellow guitarist turned him onto Collings Guitars' I-35 and he was thoroughly impressed with how the guitar plays and how warm it sounds. He used this particular 6-string on "She Will Be Loved" because it starts with a jazzy intro using the neck pickup and when the song goes into overdrive he kicks into the bridge position and cranks it up.
Mike Mogis [multi-instrumentalist for Bright Eyes], Valentine's friend from back in Nebraska, was using one and a Fano and he really dug the guitar’s vibe and feel when he was messing around with Mike's. Originally, Valentine was in New York City at 30th Street Guitars to buy the Jazzmaster-esque model [Alt de Facto JM6], but all they had at the time was the Telecaster-esque model so his first Fano was the TC6, which became one of his favorite go-to guitars. A few months had passed since he bought his first one, and now he has several JM6s, including the one in the middle that he uses for songs with big, thick, stadium-rocking choruses because he feels the P-90s sound bigger than any of his other guitars. And another custom JM6 that is a mash-up of a Jazzmaster, Firebird, and Silvertone.
The guitar on the right is a custom Hamer Talladega Pro that James uses for the heavier portions of the set.
Other guitars that were on the road with him included a Fano TC6, two Fender Custom Shop '70s Telecasters, and two Martin Performance Artist Series acoustics.
Amps
Valentine claims both amps—the Matchless Independence 35 and the Divided by 13 FTR 37 heads—are great in their own regards, but when they work together they complement each other in a very dynamic way. Generally, he has them both on—running through their own matching 2x12 extension cabs—and he has their channel switchers next to each other on his pedalboard so that he can switch them both to their dirty channels for a huge, overdriven sound or he can keep one clean and one dirty. He likes keeping each amp different—one set to clean and the other dirty—because he gets this really big, stereo effect where each amp’s tone is independent, but when they’re combined in this setup he can cover so much more ground tonally. Plus, it just sounds huge!
To Valentine, the Divided FTR 37’s tone has a vintage vibe, while the Matchless Independence head is more modern sounding… [laughs] it’s not nearly as modern as his Mesa/Boogie Mark Five, but it tends to break up earlier and has a drastically different tonal vocabulary than the Divided. It took him a number of years and experimentations with several amp combinations before he reached his current rig. Just recently, he's been getting a lot of compliments and questions about his tone during their recent tour. A lot of that credit goes to his guitar tech Mike Buffa who has helped him really dial in his setup and overall stage sound because the four heads [each head has a backup] sit offstage with Buffa and he controls the amps’ volumes and blends them directly offstage with an Ernie Ball Volume pedal.
Effects
Valentine's tech wired up his pedalboard and they experimented with the order of the signal path to avoid too much tone sucking. It has a Line 6 DL4 Delay Modeler, a Boss FV-500H Volume Pedal, a Dunlop Rotovibe, a Fulltone Full-Drive 2, a Dunlop Zakk Wylde Signature wah, a Fulltone Octvafuzz, a Keeley Katana Clean Boost, a Keeley True Bypass Looper, Providence Anadime Chorus 2, an EHX Micro POG 2 (both the chorus and the POG 2 are in a separate effects loop for the intro and main riff on “Give A Little More”), a ZVEX Effects Octane 3, a Fulltone OCD, a Menatone Blue Collar Overdrive (the Fulltone works as his ballsy, over-the-top gritty soaring solo tone, while the Blue Collar colors his tone for the crunchy rhythm parts), and a Boss NS-2 Noise Suppressor.
Madonna's Monte Pittman
PG's Rebecca Dirks is on location at the Xcel Energy Center in St. Paul, Minnesota, where she catches up with Madonna guitarist Monte Pittman. In this segment, he discusses and demonstrates how he uses his Axe-FX II with his Orange rig, why you might not always hear guitar in Madonna's songs, and shows off his signature guitars. We also learn about the setup and guitars Madonna herself uses when she plays during the set.
Guitars
His main acoustic is a Bourgeois OMS with Peruvian rosewood and Fishman electronics that's tuned down to C#. He also travels with a Bourgeois Ray LaMontagne model and an Alhambra nylon string that aren't used in the Madonna set but are used for solo shows Pittman does during the tour.
Madonna uses a 2002 Gibson Les Paul Standard with custom Seymour Duncan Alnico 2s overwound for Madonna's hands for more presence.
Amps
Madonna uses a Fractal Axe-FX II for her amps, triggered by her tech. She plays three songs, with three patches per song. "I Don't Give A" has a patch inspired by Meshuggah's Koloss album, "Turn Up the Radio" has a patch inspired by Allan Holdsworth based off a Dumble amp with volume swell chorus and doubled Mr. Mister sound, and "I'm a Sinner" has a raw, Patti Smith clean sound.
Effects
Pink's Justin Derrico & Eva Gardner
Premier Guitar's Jason Shadrick is On Location at the United Center in Chicago, Illinois, where he catches up with Justin Derrico and Eva Gardner on tour with Pink's The Truth About Love tour. In this segment, Justin and Eva detail their go-to instruments and signal chains.
Guitars
Amps and Effects
Neon Trees' Chris Allen & Branden Campbell
Guitars
Bassist Branden Campbell's number one bass is his 1961 Fender P bass. It has Hanson NeoPunch pickups, which are wired like a classic Fender-style with an additional Neodynium magnet for more hair on the note, which he likes for how they break up with a natural compression. The bass also has a new pickguard and Babicz Full Contact bridge. He uses DR Fat Beams strings, gauges .045 - .105. He also uses a '66 Guild Starfire with original Hagstrom "Mickey Mouse" pickup that's tuned to Eb for "Everybody Talks." "It is the loudest but clearest of any of my basses," Camp told us. Other basses include a Rickenbacker tuned to Drop D, a Hofner Club Bass Limited Edition, a '74 Gibson Ripper bass, and a Fender Mike Dirnt P Bass.
Amps
Campbell plugs into a Fender Super Bassman 300 with 6550s and two channels: vintage and modern.
Effects
Campbell’s pedalboard is extensive for a bassist. He says his Aguilar Tone Hammer is his bread and butter, but he’s also proud of his homemade channel switcher for his one-of-a-kind white Fender Bassman amp rig (bottom right). Starting from the top left, Campbell’s pedals include: a JHS Bass Utility, Tech 21 VT Bass pedal, Aguilar Tone Hammer, Peterson StroboStomp tuner, EBS DPhaser, EBS UniChorus, EHX Nano Holy Grail, JHS Pandamonium 4 Wheeler Fuzz, TC Electronic ND-1 Nova Delay, Z.Vex Woolly Mammoth Bass Fuzz Pedal, EHX Bass Big Muff Pi, JHS Low Drive, EHX Bass Microsynth, EBS Octabass, homemade amp switch.
John Mayer
Other guitars that Mayer keeps on hand include a relic'd white Fender Custom Shop La Cabronita, a sunburst Fender Strat, a gold Gibson Super 400 archtop, a red Gibson SG, a blonde Fender Custom Shop '52 Reissue Telecaster, a sunburst Fender John Mayer Signature, a PRS Hollowbody, a Rick Turner Model 1, a Fender Custom Shop Chris Fleming Masterbuilt Strat/Tele hybrid, a Novax Expression, a Les Paul Jr, a Les Paul Standard, and two Ernie Ball Music Man models—a 25th Anniversary and a Reflex.
Amps"Each of John's amplifiers sound great at a particular EQ setting and volume," says René Martinez, Mayer's guitar tech. "When you put all three of them together, they will obviously give you more volume because of the increased power, but each amp brings a completely different tone to the table, so when they're projected out of the speaker cabs you get three sweet-spot tones rather than just the one." All three amps go through four open-back Alessandro 2x12 cabs loaded with various Celestion speakers.
EffectsA live editor and browser for customizing Tone Models and presets.
IK Multimedia is pleased to release the TONEX Editor, a free update for TONEX Pedal and TONEX ONE users, available today through the IK Product Manager. This standalone application organizes the hardware library and enables real-time edits to Tone Models and presets with a connected TONEX pedal.
You can access your complete TONEX library, including Tone Models, presets and ToneNET, quickly load favorites to audition, and save to a designated hardware slot on IK hardware pedals. This easy-to-use application simplifies workflow, providing a streamlined experience for preparing TONEX pedals for the stage.
Fine-tune and organize your pedal presets in real time for playing live. Fully compatible with all your previous TONEX library settings and presets. Complete control over all pedal preset parameters, including Global setups. Access all Tone Models/IRs in the hardware memory, computer library, and ToneNET Export/Import entire libraries at once to back up and prepare for gigs Redesigned GUI with adaptive resize saves time and screen space Instantly audition any computer Tone Model or preset through the pedal.
Studio to Stage
Edit any onboard Tone Model or preset while hearing changes instantly through the pedal. Save new settings directly to the pedal, including global setup and performance modes (TONEX ONE), making it easy to fine-tune and customize your sound. The updated editor features a new floating window design for better screen organization and seamless browsing of Tone Models, amps, cabs, custom IRs and VIR. You can directly access Tone Models and IRs stored in the hardware memory and computer library, streamlining workflow.
A straightforward drop-down menu provides quick access to hardware-stored Tone Models conveniently sorted by type and character. Additionally, the editor offers complete control over all key parameters, including FX, Tone Model Amps, Tone Model Cabs/IR/VIR, and tempo and global setup options, delivering comprehensive, real-time control over all settings.
A Seamless Ecosystem of Tones
TONEX Editor automatically syncs with the entire TONEX user library within the Librarian tab. It provides quick access to all Tone Models, presets and ToneNET, with advanced filtering and folder organization for easy navigation. At the same time, a dedicated auto-load button lets you preview any Tone Model or preset in a designated hardware slot before committing changes.This streamlined workflow ensures quick edits, precise adjustments and the ultimate flexibility in sculpting your tone.
Get Started Today
TONEX Editor is included with TONEX 1.9.0, which was released today. Download or update the TONEX Mac/PC software from the IK Product Manager to install it. Then, launch TONEX Editor from your applications folder or Explorer.
For more information and videos about TONEX Editor, TONEX Pedal, TONEX ONE, and TONEX Cab, visit:
www.ikmultimedia.com/tonexeditor
6V6 and EL84 power sections deliver a one-two punch in a super-versatile, top-quality, low-wattage combo.
Extremely dynamic. Sounds fantastic in both EL84 and 6V6 settings. Excellent build quality.
Heavy for a 9-to-15-watt combo. Expensive.
$3,549
Divided by 13 CCC 9/15
The announcement in January 2024 that Two-Rock had acquired Divided by 13 Amplifiers (D13) was big news in the amp world. It was also good news for anyone who’d enjoyed rocking D13’s original, hand-made creations and hoped to see the brand live on. From the start of D13’s operations in the early ’90s, founder and main-man Fred Taccone did things a little differently. He eschewed existing designs, made his amps simple and tone-centric, and kept the company itself simple and small. And if that approach didn’t necessarily make him rich, it did earn him a stellar reputation for top-flight tube amps and boatloads of star endorsements.
D13’s history is not unlike Two-Rock’s. But the two companies are known for very different sounding amplifiers and very different designs. As it happens, the contrast makes the current Two-Rock company—itself purchased by long-time team members Eli Lester and Mac Skinner in 2016—a complementary new home for D13. The revived CCC 9/15 model, tested here, is from the smaller end of the reanimated range. Although, as we’ll discover, there’s little that’s truly “small” about any amp wearing the D13 badge—at least sound-wise.
Double Duty
Based on Taccone’s acclaimed dual-output-stage design, the CCC 9/15 delivers around 9 watts from a pair of 6V6GT tubes in class A mode, or 15 watts from a pair of EL84s in class AB1 mode (both configurations are cathode-biased). It’s all housed in a stylishly appointed cabinet covered in two-tone burgundy and ivory—together in perfect harmony—with the traditional D13 “widow’s peak” on a top-front panel framing an illuminated “÷13” logo plate. Measuring 22" x 211/4" x 10.5" and weighing 48 pounds, it’s chunky for a 1x12 combo of relatively diminutive wattage. But as Taccone would say, “There’s no big tone from small cabs,” and the bigging-up continues right through the rest of the design.
With a preamp stage that’s kin to the D13 CJ11, the front end of the CCC 9/15 is a little like a modified tweed Fender design. Driven by two 12AX7 twin triodes, it’s not a mile from the hallowed 5E3 Fender Deluxe, but with an EQ stage expanded to independent bass and treble knobs. Apart from those, there are volume and master volume controls with a push-pull gain/mid boost function on the former. In addition to the power and standby switches, there’s a third toggle to select between EL84 and 6V6 output, with high and low inputs at the other end of the panel. Along with two fuse sockets and an IEC power-cord receptacle, the panel on the underside of the chassis is home to four speaker-output jacks—one each for 4 ohms and 16 ohms and two for 8 ohms—plus a switch for the internal fan, acknowledging that all those output tubes can get a little toasty after a while.
“Set to 6V6 mode, the CCC 9/15 exudes ’50s-era tweed warmth and richness, with juicy compression that feels delightful under the fingertips.”
The combo cabinet is ruggedly built from Baltic birch ply and houses a Celestion G12H Creamback speaker. Construction inside is just as top notch, employing high-quality components hand-soldered into position and custom-made transformers designed to alternately handle the needs of two different sets of output tubes. In a conversation I had with Taccone several years ago discussing the original design, he noted that by supplying both sets of tubes with identical B+ levels of around 300 volts DC (courtesy of a 5AR4/GZ34 tube rectifier), the EL84s ran right in their wheelhouse—producing around 15 watts, and probably more, in cathode-biased class AB1. The 6V6s operate less efficiently, however, and can be biased hot to true class A levels, yielding just 9 to 11 watts.
Transatlantic Tone Service
Tested with a Gibson ES-355 and a Fender Telecaster, the CCC 9/15 delivers many surprises in spite of its simple controls and is toothsome and dynamic throughout its range. Between the four knobs, push-pull boost function, and 6V6/EL84 switch, the CCC 9/15 range of clean-to-grind settings is impressive regardless of volume, short of truly bedroom levels, perhaps. It also has impressive headroom and a big, robust voice for a combo that maxes out at 15 watts. Leaving the boost switch off affords the most undistorted range from the amp in either output-tube mode, though the front end will still start to push things into sweet edge-of-breakup with the volume up around 1 or 2 o’clock. Pull up that knob and kick in the boost, though, and things get thick and gutsy pretty quick.
While the power disparity between the 6V6 and EL84 settings is noticeable in the amp’s perceived output, which enhances its usefulness in different performance settings, you can also think of the function as an “era and origins” switch. Set to 6V6 mode, the CCC 9/15 exudes ’50s-era tweed warmth and richness, with juicy compression that feels delightful under the fingertips. The EL84 setting, on the other hand, ushers in ’60s-influenced voices with familiar British chime, sparkle, and a little more punch and cutting power, too.
The Verdict
If the CCC 9/15 were split into different 6V6 and EL84 amps, I’d hate to have to choose between them. Both of the amp’s tube modes offer expressive dynamics and tasty tones that make it adaptable to all kinds of venues and recording situations. From the pure, multi-dimensional tone to the surprisingly versatile and simple control set to the top-flight build quality, the CCC 9/15 is a pro-grade combo that touch-conscious players will love. It’s heavy for an amp in its power range, and certainly expensive, but the sounds and craft involved will make the cost worth it for a lot of players interested in consolidating amp collections.
The luthier’s stash.
There is more to a guitar than just the details.
A guitar is not simply a collection of wood, wire, and metal—it is an act of faith. Faith that a slab of lumber can be coaxed to sing, and that magnets and copper wire can capture something as expansive as human emotion. While it’s comforting to think that tone can be calculated like a tax return, the truth is far messier. A guitar is a living argument between its components—an uneasy alliance of materials and craftsmanship. When it works, it’s glorious.
The Uncooperative Nature of Wood
For me it all starts with the wood. Not just the species, but the piece. Despite what spec sheets and tonewood debates would have you believe, no two boards are the same. One piece of ash might have a bright, airy ring, while another from the same tree might sound like it spent a hard winter in a muddy ditch.
Builders know this, which is why you’ll occasionally catch one tapping on a rough blank, head cocked like a bird listening. They’re not crazy. They’re hunting for a lively, responsive quality that makes the wood feel awake in your hands. But wood is less than half the battle. So many guitarists make the mistake of buying the lumber instead of the luthier.
Pickups: Magnetic Hopes and Dreams
The engine of the guitar, pickups are the part that allegedly defines the electric guitar’s voice. Sure, swapping pickups will alter the tonality, to use a color metaphor, but they can only translate what’s already there, and there’s little percentage in trying to wake the dead. Yet, pickups do matter. A PAF-style might offer more harmonic complexity, or an overwound single-coil may bring some extra snarl, but here’s the thing: Two pickups made to the same specs can still sound different. The wire tension, the winding pattern, or even the temperature on the assembly line that day all add tiny variables that the spec sheet doesn’t mention. Don’t even get me started about the unrepeatability of “hand-scatter winding,” unless you’re a compulsive gambler.
“One piece of ash might have a bright, airy ring, while another from the same tree might sound like it spent a hard winter in a muddy ditch.”
Wires, Caps, and Wishful Thinking
Inside the control cavity, the pots and capacitors await, quietly shaping your tone whether you notice them or not. A potentiometer swap can make your volume taper feel like an on/off switch or smooth as an aged Tennessee whiskey. A capacitor change can make or break the tone control’s usefulness. It’s subtle, but noticeable. The kind of detail that sends people down the rabbit hole of swapping $3 capacitors for $50 “vintage-spec” caps, just to see if they can “feel” the mojo of the 1950s.
Hardware: The Unsung Saboteur
Bridges, nuts, tuners, and tailpieces are occasionally credited for their sonic contributions, but they’re quietly running the show. A steel block reflects and resonates differently than a die-cast zinc or aluminum bridge. Sloppy threads on bridge studs can weigh in, just as plate-style bridges can couple firmly to the body. Tuning machines can influence not just tuning stability, but their weight can alter the way the headstock itself vibrates.
It’s All Connected
Then there’s the neck joint—the place where sustain goes to die. A tight neck pocket allows the energy to transfer efficiently. A sloppy fit? Some credit it for creating the infamous cluck and twang of Fender guitars, so pick your poison. One of the most important specs is scale length. A longer scale not only creates more string tension, it also requires the frets to be further apart. This changes the feel and the sound. A shorter scale seems to diminish bright overtones, accentuating the lows and mids. Scale length has a definite effect on where the neck joins the body and the position of the bridge, where compromises must be made in a guitar’s overall design. There are so many choices, and just as many opportunities to miss the mark. It’s like driving without a map unless you’ve been there before.
Alchemy, Not Arithmetic
At the end of the day, a guitar’s greatness doesn’t come from its spec sheet. It’s not about the wood species or the coil-wire gauge. It’s about how it all conspires to either soar or sink. Two guitars, built to identical specs, can feel like long-lost soulmates or total strangers. All of these factors are why mix-and-match mods are a long game that can eventually pay off. But that’s the mystery of it. You can’t build magic from a parts list. You can’t buy mojo by the pound. A guitar is more than the sum of its parts—it’s a sometimes unpredictable collaboration of materials, choices, and human touch. And sometimes, whether in the hands of an experienced builder or a dedicated tinkerer, it just works.
MT 15 and Archon 50 Classic amplifiers offer fresh tones in release alongside a doubled-in-size Archon cabinet
PRS Guitars today released the updated MT 15 and the new Archon Classic amplifiers, along with a larger Archon speaker cabinet. The 15-watt, two-channel Mark Tremonti signature amp MT 15 now features a lead channel overdrive control. An addition to the Archon series, not a replacement, the 50-watt Classic offers a fresh voice by producing retro rock “classic” tones reminiscent of sound permeating the radio four and five decades ago. Now twice the size of the first Archon cabinet, the Archon 4x12 boasts four Celestion V-Type speakers.
MT 15 Amplifier Head
Balancing aggression and articulation, this 15-watt amp supplies both heavy rhythms and clear lead tones. The MT 15 revision builds off the design of the MT 100, bringing the voice of the 100’s overdrive channel into its smaller-format sibling. Updating the model, the lead channel also features a push/pull overdrive control that removes two gain stages to produce vintage, crunchier “mid gain” tones. The clean channel still features a push/pull boost control that adds a touch of overdrive crunch. A half-power switch takes the MT to 7 watts.
“Seven years ago, we released my signature MT 15 amplifier, a compact powerhouse that quickly became a go-to for players seeking both pristine cleans and crushing high-gain tones. In 2023, we took things even further with the MT 100, delivering a full-scale amplifier that carried my signature sound to the next level. That inspired us to find a way to fit the 100's third channel into the 15's lunchbox size,” said Mark Tremonti.
“Today, I’m beyond excited to introduce the next evolution of the MT15, now featuring a push/pull overdrive control on the Lead channel and a half-power switch, giving players even more tonal flexibility to shape their sound with a compact amp. Can’t wait for you all to plug in and experience it!”
Archon Classic Amplifier Head
With a refined gain structure from the original Archon, the Archon Classic’s lead channel offers a wider range of tones colored with gain, especially in the midrange. The clean channel goes from pristine all the way to the edge of breakup. This additional Archon version was developed to be a go-to tool for playing classic rock or pushing the envelope into modern territory. The Archon Classic still features the original’s bright switch, presence and depth controls. PRS continues to stock the Archon in retailers worldwide.
“The Archon Classic is not a re-issue of the original Archon, but a newly voiced circuit with the lead channel excelling in '70s and '80s rock tones and a hotter clean channel able to go into breakup. This is the answer for those wanting an Archon with a hotrod vintage lead channel gain structure without changing preamp tube types, and a juiced- up clean channel without having to use a boost pedal, all wrapped up in a retro-inspired cabinet design,” said PRS Amp Designer Doug Sewell.
Archon 4x12 Cabinet
As in the Archon 1x12 and 2x12, the mega-sized PRS Archon 4x12 speaker cabinet features Celestion V-Type speakers and a closed-back design, delivering power, punch, and tight low end. Also like its smaller brethren, the 4x12 is wrapped in durable black vinyl and adorned with a British-style black knitted-weave grill cloth. The Archon 4x12 is only the second four-speaker cabinet in the PRS lineup, next to the HDRX 4x12.
PRS Guitars continues its schedule of launching new products each month in 2025. Stay tuned to see new gear and 40 th Anniversary limited-edition guitars throughout the year. For all of the latest news, click www.prsguitars.com/40 and follow @prsguitars on Instagram, Tik Tok, Facebook, X, and YouTube.