Jam-band vets Chuck Garvey and Al Schnier of moe. discuss the art of twin guitars, their lust-inducing gear collections, and how switching up their MOs led to the tonal extravaganza on their new LP, What Happened to the La Las.
Photo by James Paddock
Whether the term ājam bandā makes you think fondly of your dresser full of tie-dyed shirts, wool socks, and hacky sacks, or it conjures painful images of endless/aimless improvs at gigs swarming with hordes of tripping hippies, 2012 has brought you a ripping, stereotype-busting new album thatās a master class in the art of dual guitars. Formed in Buffalo, New York, in 1989, veteran jammers moe. just released What Happened to the La Lasāa catchy set of 10 rocking tunes that finds guitarists Al Schnier and Chuck Garvey trading foot-stomping riffs, crystalline harmonic arpeggiations, wailing wah- and rotary-speaker-powered leads, bristling slide duels, and warm echo excursions.
We recently spoke to Garvey and Schnierāboth of whom raved about being longtime PG fansāabout the dos and donāts of jamming, live vs. studio strategies, and their enviable collections of fine vintage and boutique gear.
Fair or not, jam bands are kind of stereotyped as having very
long, rambling songs. But What Happened to the La Las keeps
the jam-band vibe but also has concise, catchy tunes. Is that
a stereotype you guys consciously try to avoid, or do you just
think itās unfair overall?
Garvey: That can definitely be a fair assessment. The whole jamband
thing is a little weird, because there are so many different styles
of bands within the supposed genre. There are a lot of live-music
fans, and for certain parts of the show people want a dance party, so
some bands have very long, danceable tunes. I donāt think we necessarily
do that, but we definitely have some sprawling, epic-length
tunes. But weāve always been very interested in making the core of
the songs very solid: We always want to have a memorable hook and
a memorable lyric, and the core of the song has to really make sense
and be memorable. If we have that, then we find that, live, we can
expand different sections or make segues between songs. And that
makes it more interesting for the band and the audience. But weāre
always very conscious about making songs that work.
Schnier: We do stretch out our stuff live, and thatās why people keep coming back again and again to see these showsābecause itās something new and different every time. Itās not going to be the same show, night after night. I think you can be a jam band and make a rock album. Weāre not necessarily going to play a threeminute version of these songs live, and theyāre going to be different when we play them live. We might stretch things out, or goof around onstage, or Chuck and I might trade the solos back and forthābecause weāre not afraid to take chances. Weāre a live band, and we didnāt just rehearse the songs like what you hear on the album and we have to play them that way or else we train wreck. I think thatās what sets the genre apart and keeps the fans excited. But an album isnāt really the place for a 20-minute guitar solo.
You guys get an amazing array of sounds on the new album.
Do you have pretty different tonal proclivities that happen to
complement each other, or are your tastes and tendencies pretty
similar and you have to work to make sure youāre both covering
different sonic territory?
Schnier: Itās a little bit of both. Itās funny, because we dance
around each other a little bit in that regard, but weāve both been
sort of carving out our own thing, and it tends to work ā¦ for the
most part. We both lean toward different things in our choices
of what weāre going to play and what weāre going to do, sonically.
But in a lot of songs we end up in the same territory, too. Itās,
like, āOhhh ā¦ you were going to use humbuckers and a fuzz
pedal and EL84s on this thing? Because thatās what I was going
to do, too.ā And itās, like, āWell, we canāt both do that, so maybe
Iāll use P-90s and not use a fuzz pedal, or use P-90s and a tweed
Deluxe kind of thing.ā
Chuck and I are very conscious of that, and if one of us is really onto somethingāreally chasing somethingāthe other one will be respectful of that and say, āI was going to do something like that, but clearly youāve got this nailed down, so Iām going to try to come up with something different.ā Or, āHey, Iām already doing something like that, and it sounds like weāre clashing, maybe ā¦ ā yāknow what I mean? Itās instinctive at this point. I mean, Iāll show up at the studio with one of every sort of guitar that I would want to have, and several crates full of pedals, and one of every amp that I would want to have. So that way, when we start playing the stuff, Iām like, āHow do I really want to approach this song?ā
But thatās speaking more about when weāre recording something. What weāre doing live just sort of happensāitās been sort of a constant evolution, and we just tend to stay out of each otherās way. I mean, how many bands have there been with two Les Pauls and Marshalls in the band, and itās not really an issue anyway? When weāre on tour, I have basically two different amps to choose from, but Iām mostly using Vox AC30sāalthough Iāve started using an old ā68 Marshall plexi when weāre playing in larger venues. But I donāt necessarily want to record every song with an AC30. Itās the same thing with guitars. I only have three or four guitars on the road, but in the studio I can bring a Rick or a [Gibson] ES-335 with me to take things a little bit further toward the tones Iām hearing in my head, instead of just approximating those things with my main stage guitars.
Al Schnier gets jangly onstage with his ā74 Gibson EDS-1275.
Garvey: I have a very specific theory about this: I think when you play in a band with someone for a long time, you influence each other a little bit. It might be unconsciously, but I think that when you hear something the other one does that you like, it sinks in and you pick it up and start doing it maybe six months or a year later. So, tonally, I think we kind of go in waves, but I know that being in a two-guitar band makes me very conscious of the frequency range that gets represented. So if Al is playing something thatās really bass-y or very clean, I might pick more of a notched frequency in the other direction, just to contrast. And in that way, itās a fuller sound, and also you get a little more clarity from both things. And if heās playing lead, Iāll strip back and play something thatās, like, really light and janglyāalmost like an acoustic sound. Youāre constantly adapting to whatās going on in order to make more clarity out of whatās going on. We do most of our playing onstage, but in the studio itās easier to figure things out.
As far as specific gear choices, when we first started, I think we both played single-coil guitars. I played a Strat for a really long time, and Al had a P-90 guitar. He started with humbuckers a lot earlier than I did, and then about eight years ago I started using humbuckers more. Then he eventually went to Telecasters for a while. So I think itās that thing where both of us want something new, and then you learn after layering the guitars what might sound better in that context. In the studio this time, I did something weirdāI got into the studio and I totally changed my operating procedure. I was making it up on the spot, and I had some things that Iām not psyched about, but on the other hand I had some happy accidents. We worked so quickly that I really didnāt have a lot of time to think about it. It was pretty much just throw and go. We were working so quickly that the guitars sounded like one thing in the room with the amp, but in the actual recording it sounded like something different when we went in to listen to it. Like, there were parts where I would have a really treble-shy toneā something that was more fuzzy and murkyāand when Al switched to a Marshall that had more headroom than his usual AC30, it ended up being very complementary.
Chuck, what do you mean when you say you changed your
operating procedure?
Garvey: Well, I have this guitar made by Dan Becker in Boston,
and it has humbuckers, but I use the coil-tap quite a bit. The
single-coil sound is pretty coolāI like it better than a lot of Strat
bridge pickups or even, like, a Telecasterās sometimes. But I use that
with a treble booster into an EL84 amp, and Iāve used that for the
past couple of years. Thatās really how I get my sound live. I have a
lot of controlāI can do everything with the volume and the tone
on the guitar. But when I got into the studio, I felt like that was
a little bit thin and lacked some of this woody midrange I wanted
to get. So I blew out all of the pedals and just started plugging
into the amp, and it was just a totally different way to go about
things. If Iād had a couple more weeks, I probably wouldāve gotten
it under control [laughs]. I shouldāve just done what Iām used to,
but I ended up convincing myself to do something different. I donāt
know if it ended up being good or not, but ā¦
It sounds great! The guitar parts really pop out of the mix, and
a lot of that seems to be because the effectsāsuch as the rotaryspeaker
partsāare really strategically applied. Do you guys hear
those effects in your head as you write the parts, or do you come
up with parts and then figure out stealthy ways to make them
pop when youāre recording?
Schnier: Itās a little bit of both. I think most guitar players have
probably had the same experience: Sometimes you sit down with
a certain effects pedalāor even just the tremolo on your amp or a
ton of reverb or delayāand you come up with a cool part because
of that soundscape youāve created. And other times the band will
be playing something and you hear a part in your head, and youāre,
like, āOkay, Iāve got to have something that goes [mimics robot-like
sound],ā and itās, like, āHow do I make that happen.ā And then
you spend a couple of minutes working on trying to come up with
these psychedelic, weird things that bounce around the room.
Chuck and I have always had a great time doing stuff like that,
but we start with that stuff when weāre composing the songs and
kind of go from there. The funny thing is, a lot of times when
weāre doing these writing sessions, he and I wonāt have much more
than maybe a delay pedal or an overdrive pedal. And a lot of times
itās just a cable into an amp, just so we can get the structure of the
songs together.
Chuck Garvey feels the vibe onstage with his P-90-outfitted Dan Becker Retro-Grad solidbody.
Garvey: A lot of that we figured out beforehand. We were doing preproduction basically in the studio. We would talk about a song and how we wanted to change the arrangement and feel, and then after we had a new arrangement, weād shake out all the details really quickly and try to get three or five good takes, and then go back and listen to them. I think this works best for us as a bandāif we donāt fuss over it too much, it sounds better. Everything really was kind of either just trying to solve the problem of what tone to use or what effect to use on the fly as a complementary or interesting addition to your basic guitar tone. On most of the tracks, we did live takes of the whole band, but for logistical reasons, I overdubbed the Leslie parts.
Was it an actual Leslie cabinet?
Garvey: Itās actually a Fender Vibratone, and I had this road case
with these side-hatch doors built for it. You can open it up and use
it like an isolation cabinet with a pair of condenser mics.
Which amps did you use to drive the Vibratone?
Garvey: I used two amps for the whole recording, and I
mightāve borrowed a third from the studio. I have a Tony Bruno
Underground 30 and a 3x10 cabinet for my main sound, and I also
have a tweed [Fender] Twin clone that Tony made. Iāve had that
since about ā97, and it sounds really great with humbuckers. At
the time, I was playing a Strat, and it sounded amazing with that
and a couple of Tube Screamers. I use one or the other to power
the Vibratoneābasically whichever one Iām not using for my main
guitar sound.
Is the tweed Twin clone one of Brunoās standard Tweedy Pie models?
Garvey: No, itās like a ā59, 80-watt, four-6L6 tweed Twin clone. The
faceplate says itās a Pony 50, which I guess is his 50-watt Marshalltype
design, but he used the chassis to build this tweed clone. It has
a floating baffle, just like the original, but itās not wideāthe speakers
are staggered in the cab. I found it at 30th Street Guitars in New
York City. We got some money from Sony when we were doing our
first album, and I said, āIām going to get myself something good
thatās not going to fall apart.ā And when I played that, it seemed like
it was game over. I played that for a really long time. It sounds great,
but it can get really loud [laughs]. So, in an effort to bring down
stage volume, I got the Underground 30.
Al, letās go back to your AC30s for a second. Are they vintage or
current models?
Schnier: Well, itās funny, because I had two vintage AC30s on the
road for a whileāone of which Iāve had for years. Itās been my baby,
my go-to amp. And then I got a second one, and I was very hesitant
to bring them out on the road for a long time. Finally, I was
just like, āYāknow what, these amps have been around for almost
50 years at this pointāātheyāre early-ā60s AC30s, and theyāre still
rocking hardāso I was, like, āIām taking these out on the road.
Theyāre going to be fine. The worst that could happen is weāll have
to replace some tubes or some speakers or whatever.ā And that was
the case. I never even blew a speaker in either of them. I had a few
tubes go down occasionally, but thatāll happen with new-old-stock
[NOS] tubes.
But then, on a whim, I decided to try one of the new Hand- Wired AC30s. After they put out the most recent version, I read a review and I saw a picture of the turret board, and it just seemed like theyād finally gotten it right. So they shipped one to me, and I brought it to soundcheck one day. It was still in the cardboard box, and we popped the staples on the box, put it up onstage, and I played it during soundcheck. We tried to match it very closely to my main amp, sonically, and it sounded great during soundcheck. I was, like, āLetās just go with it tonight and see how it goes.ā All night long, I kept looking back at it, because I couldnāt believe how good this brand-new amp with brand-new tubes and brand-new Celestion speakers sounded, and how close it sounded to the vintage amp. I was floored. Shortly after that, I contacted Vox and I was, like, āCan I get another one of these?ā I sent both my vintage amps home, and Iāve been playing those new Hand- Wired amps ever since.
Photo by James Paddock
Are you still using the stock new tubes they came with, or have
you switched to new-old-stock (NOS)?
Schnier: You know, itās funnyāI immediately brought out some
vintage speakers and some new-old-stock tubes, and I was going to
retool one of those amps to get it closer to vintage specs and make
it even better than it was. But the amp was so good that I didnāt
want to mess with it. I mess around with my gear quite a bit, and I
had a few hours before soundcheck one day, and I was, like, āOkay,
todayās the day Iām going to take this amp apart and do all this
work to it.ā But I couldnāt bring myself to do it, because it sounded
good as is. I was afraid that it would actually sound worse somehow.
I played the amp for over a year, as is, with all the stock parts
until one of my preamp tubes died. So I was, like, āAll right, nowās
the time.ā So now that amp has one vintage speaker and a bunch
of new-old-stock tubes. The other one I left totally stock. I figured,
this way, Iāll have one thatās sort of old reliable, and the other one
with vintage stuff in it. We mic the vintage speaker onstage now,
but whether it makes a difference or not, I canāt really tell because
the other speakers are broken in and sound great.
So you didnāt notice much difference in tone with the NOS tubes?
Schnier: As soon as I changed out the tubes, there was definitely
a difference. But Iād been playing those new production tubes for
over a year on the road. Those tubes got hammered. So it got a
breath of fresh life, even though they were vintage tubes. It was
really hard to compare, because Iād been listening to it in the studio
before, and then I was listening to it onstage, so it was sort of
apples to oranges. So I couldnāt really say one was better than the
other, but I know it makes me feel a lot better to have new-oldstock
tubes [laughs].
Is there a specific brand of NOS tubes you prefer, like
Mullards or RCAs?
Schnier: I have a wide variety of stuff. I keep my eye open for
stuff, and I buy a lot of it on eBay. Iāve got a whole bunch of
these GE tubes that were made by Mullard, and Iāve got some old
Siemens tubes. I literally have two huge tubs full of them at home,
and theyāre made by all these different companies. But it seems
like there were only a few companies that were actually doing the
work. Like, Telefunken, as far as I know, wasnāt actually making the
tubesāthey were just branding them. But Mullard did a lot of the
work, and some American companies were doing some of the work.
Siemens and some companies in West Germany were doing some
production, as well. Some of that stuff is fantastic, but you really
just kind of have to listen to them.
Al, you mentioned youāre using a plexi Marshall in some venues
now ā¦?
Schnier: Itās a 50-watt head and a vintage 8x10 cabinet with old
Celestions that are maybe 10 or 15 watts each. Theyāre the same
ones they used in the old Vox amps and the old Bluesbreakers.
Do you use that in the larger venues for more volume and
headroom or ā¦ ?
Schnier: I use them because I can [laughs]. Itās funny, I bought
a full stack while we were recording the album, and I fell in love
with it. That oneās 100 watts with two 4x12 cabs, and I recorded
a bunch of the tracks with that. And then when we were on tour I
came across the 50-watt head and 8x10 cab. Thatās just something
that I really like. Itād be one thing if we were playing in arenas and
stadiums, but a lot of times weāre playing in theaters and clubsā
and I just donāt want to rip off everybodyās heads in the first 10
rows, so a lot of times something like an AC30 makes a lot more
sense. But thereās something about a plexi ā¦ you get them up to
around 4 or 5, and they just sound greatāespecially with a Les
Paul. And those old plexis really clean up nicely, too. I understand
why guys like Hendrix and Jimmy Page only had a couple of pedals
on the floorāitās really all you need.
Photo by James Paddock
Letās talk about some of the other new songs. The main riff to
āPueblaā has this warm slapback that creates a fantastic vibe,
despite being pretty understated. What did you use for that?
Schnier: That was a Diamond Pedals Memory Lane delayāwhich
has been my main stage delay pedal for years. The thing I like
about those is that, of all of the tap-tempo analog delay pedals
out there, itās the one that sounds the best to me and has the features
I need readily available. I actually own a few of them, and
Iām using the second version. Iām a big fan of tape echoes, first
and foremost, and I used to use a real Echoplex on the road, and
then I switched to the Fulltone Tube Tape Echo, and the biggest
problem I had was managing all of the settings on the fly during a
song. Otherwise, Iād be using one regularly, because I like the tone
of a tape echo more than anything else. The thing is, so many of
the parts I write depend on the delay being in sync with the song,
but Iāve never really been a big fan of using a digital delay or some
kind of MIDI-based delay. The stuff that The Edge has done with
the Korg SDD-3000 is amazing, and it sounds great in the mix
with his whole rig, but itās not something Iāve ever come to terms
with. I really need something that has a more organic quality to
it. I use so much of it in the mix that I get hung up on the actual
tone of the delayed signal. The tone of the part thatās trailing
off needs to be good to me, too, because if it starts to sound too
glitchy or too digital, it starts to bum me out.
Garvey: Iāve used Echoplexes for years. I have an EP-3 and a Fulltone Tube Tape Echo. I still use that occasionally, but for a long time Iāve been using a couple of digital and analog days. I use a bunch of Analog Man stuff, including the Dual Analog Delayāwhich is really cool because you can set up two different delays and toggle between them. It also has this little sidecar pedal called the AMAZEO that you can use to add tap tempo and modulation. The Dual Analog Delay is similar to the Memory Lane, but it sounds differentāthey just have a different voice, especially if you crank up the feedback. I used that, set for Stun, for the crazy oscillating stuff on āSuck a Lemon.ā
Is that an electric 12-string driving the rhythms on āHazeā?
Schnier: It is. Thatās my Gibson EDS-1275 doubleneck.
āDownward Facing Dogā has some really nice slide parts. Who
plays those?
Schnier: Both of us play slide on that song, which is sort of a rare
thing. Iām playing a ā59 Les Paul Junior through my AC30. I also
used a wah, the Memory Lane delay, and an Analog Man Sun Face
as my fuzz pedal.
Al Schnier's Gear
Guitars
1958 Gibson Les Paul Junior, goldtop ā68 Gibson Les Paul Standard,
ā72 Gibson Les Paul Deluxe with Bigsby, ā74 Gibson EDS-1275, ā82
Gibson ES-335 reissue, 2011 Gibson Custom Shop ā55 Les Paul
reissue with original ā55 pickups, ā96 Rickenbacker 660-12, ā83
Rickenbacker 330, ā56 goldtop Gibson Les Paul Standard with PAFs,
ā55 Gibson EM-150 mandolin, ā48 Martin 000-18, ā08 Martin D-18V
with D-TAR Multi-Source pickup driving D-TAR Solstice preamp, ā56
Gibson EM-150 Mandolin, ā07 Collings/Nugget Tim OāBrien signature
mandolin.
Amps
ā69 Marshall plexi driving a vintage 8x10 cab, 1959 Fender Deluxe,
ā62 Fender Tremolux, ā63 Vox AC10 Twin, ā60 C.F. Martin/DeArmond
R15, ā69 Marshall 1959 Super Lead driving two 1960 4x12 cabs, two
2010 Vox AC30HW2Xs
Effects
ā60s Vox wah, ā68 Fuzz Face, vintage ātriangleā Big Muff, Univox
Super-Fuzz, Vox Tonebender, Colorsound Tonebender MKIII, Kay
fuzz, Maxon overdrive, Diamond Pedals Memory Lane 2, Ibanez
AD-80 analog delay, MXR Phase 100, Boss DC-2 Dimension C chorus,
Z.Vex Fuzz Probe, Z.Vex Ringtone, Kaden Effects Flutter Tone,
RonSound Trem-o-matic, Analog Man SunLion fuzz booster, Vox
wah, SIB EchoDrive
Strings, Picks, and Accessories
DāAddario EXL140 electric strings, DāAddario EJ16 acoustic
strings, DāAddario EJ70 mandolin strings, .73 mm In Tune GrippXXB
picks, Planet Waves bottleneck slide, Peterson StroboStomp,
Evidence Audio cables
Chuck Garvey's Gear
Guitars
Two Becker Retro-Grads, Terry McInturff Sportster,
Danelectro Baritone
Amps
Tony Bruno Underground 30 driving a Bruno 3x10, Tony
Bruno 80-watt tweed Twin clone, Fender Vibratone
Effects
Analog Man ARDX20 analog delay with AMAZEO
controller, Analog Man Beano Boost, Analog Man
Bi-Comprossor, Xotic EP Booster, Fulltone Tube
Tape Echo
Strings, Picks, and Accessories
DāAddario EXL110+ electric strings, DāAddario EJ16
acoustic strings, heavy In Tune celluloid picks,
Evidence Audio cables
Do you set the Juniorās action higher for slide playing?
Schnier: Most of my guitars are a little bit on the high side, just
because I really like to dig in and bend notes a lot. I donāt like my
action too low, and I like to have some meat on my frets, too. With
strings, I use a light top and a heavy bottom, and I like to have enough
there to grab onto and get under the strings and really work the neck.
Iāve never been comfortable with light strings and low action. Iāve never
been able to put a set of .009s on a guitar and play delicately [laughs].
Which other guitars are you guys using?
Garvey: I used two Dan Becker guitars. One is a Retro-Grad with
humbuckers and coil taps, and itās kind of an in-between [Strat and
Les Paul] scale. I used that a little bit, and I used another one with
P-90s. I used that quite a bit on this album. I also used a pink-sparkle
ā96 Custom Shop Strat with a Seymour Duncan Twang Banger
bridge pickup a little, and I used Alās Les Paul Junior for one song.
That guitar has a great pickup, and itās really nice and resonant. I
also have a Terry McInturff Sportster that I used for a couple of the
heavier parts. That one started out with a 5-way switch, but now it
has a 3-way switch, because some guitars get weird with germanium
effectsāyou can get these weird ghost notes when you turn your volume
down. I use the Analog Man Beano Boost, which is germanium,
so I changed the pickups and the guts quite a bit [to avoid that].
Schnier: I have a few different Gibsons on the road with me: I have a Les Paul Junior, I have the EDS-1275, I have a Les Paul with humbuckers, and another one with P-90s.
Okay, youāve given us some pretty good insights on gear usage.
Do you have any other, more general, advice on big mistakes or
oversights to avoid when youāre playing in a band with two or
three guitarists?
Schnier: I guess the biggest oversight or mistake you could make
would be to not use all of the players to their full potential.
Yāknow, relegating one of the guitarists to merely strumming
chords when there could be so much cool interplay. Even in a band
like Radiohead, for example, Thom Yorke isnāt necessarily a lead
guitar player, but thereās so much cool guitar interplay going on
between him and Jonny Greenwood and Ed OāBrien. The same
thing happens in the Grateful Dead. Bob Weir isnāt a lead guitarist,
but thereās so much great interplay.
Garvey: I think the biggest one is having three guitar playersāthereās just too much ego and baggage for anyoneās good [laughs]. Iām just kidding. The main thingāand this goes for any kind of musicianāis that you really have to be a team player and look at the song, not just what you, personally, are trying to accomplish as a guitar player. So, if you want to sound like Jimi Hendrix or Pete Townshend on Live at Leeds, you have to be conscious of what the rest of the band is doing. You should not constantly be trying to get tones that power-trio guitarists use, for example. It really comes down to doing whatās right for the song, and complementing whoever is singing and the rest of the band. If you do that, the whole thing will work a lot better and, hopefully, everyone will be happy with itāincluding the audience.
Youtube It
Garvey and Schnier strap on a McInturff Sportster
and a thinline Tele, respectively, to launch
into a 14-minute, trop-rock song complemented
by mood-enhancing lasers, fog, and lights.
Powered by an opening bass groove reminiscent
of Rushās āCygnus X-1,ā moe. rocks the Gelston
Castle Estate in Mohawk, New York, at this
September 2010 gig.
In honor of Appleās visionary late cofounder,
chairman, and CEO, the members of moe. play
a surprisingly great version of one of their tunes
entirely on iPad apps.
Watch the official video documenting the sold-out event at House of Blues in Anaheim. Join Paul Reed Smith and special guests as they toast to quality and excellence in guitar craftsmanship.
PRS Guitars today released the official video documenting the full night of performances at their 40th Anniversary celebration, held January 24th in conjunction with the 2025 NAMM (The National Association of Music Merchants) Show. The sold-out, private event took place at House of Blues in Anaheim, California and featured performances by PRS artists Randy Bowland, Curt Chambers, David Grissom, Jon Jourdan, Howard Leese, Mark Lettieri Group, Herman Li, John Mayer, Orianthi, Tim Pierce, Noah Robertson, Shantaia, Philip Sayce, and Dany Villarreal, along with Paul Reed Smith and his Eightlock band.
āWhat a night! Big thanks to everyone who came out to support us: retailers, distributors, vendors, content creators, industry friends, and especially the artists. I loved every second. We are so pleased to share the whole night now on this video,ā said Paul Reed Smith, Founder & Managing General Partner of PRS Guitars. āI couldnāt be more proud to still be here 40 years later.ā
With nearly 1,400 of the whoās who in the musical instrument industry in attendance, the night ended with a thoughtful toast from PRS Signature Artist John Mayer, who reflected on 40 years of PRS Guitars and the quality that sets the brand apart. āThe guitars are great. You canāt last 40 years if the guitars arenāt great,ā said Mayer. āMany of you started hearing about PRS the same way I did, which is you would talk about PRS and someone would say āTheyāre too nice.ā Whatās too nice for a guitar? What, you want that special vibe that only tuning every song can give you on stage? You want that grit just like your heroes ā¦ bad intonation? The product is incredible.ā
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.
The shredder and son of legendary artist Frank Zappa gives a tour of his up-to-date gear, including a complex stereo switching system, four racks of pedals, and some of his fatherās favorite guitars.
Dweezil Zappa was always going to end up being an incredible guitarist. His dad, Frank Zappa, is celebrated as one of the most talented and creative guitarists in history, and by age 12, Dweezil was recording music produced by Eddie Van Halen. (Little surprise that heās covering Van Halenās 1981 stunner āPush Comes to Shoveā lately.) Heās been a bona fide guitar star ever since, releasing seven original solo records, six tribute records, two LPs with his brother Ahmet Zappa, and guesting on recordings across the music universe.
Ahead of his gig at Memphisā Minglewood Hall on his 2024 Rox(postroph)y tour, which celebrated the 50th anniversary of Frank Zappaās Apostrophe (') and Roxy & Elsewhere records, Dweezil gave PGās John Bohlinger a boot-to-bonnet look at his current road setup. Thereās a lot of ground to cover between his and his fatherās catalogues, and Dweezil loves the challenge, which he meets with a mix of his own gear and some special vintage assists courtesy of his dad.
Brought to you by DāAddario.Shut Up ān Play Yer Les Paul
This coveted GibsonĀ Les Paul Custom, featured on the cover of Frankās 1981 record Shut Up ān Play Yer Guitar, came out on the road this tour. Dweezil says that around 1986, his dad swapped in Dan Armstrong-made ceramic pickups. At one point, Frank installed a second input to try to use the guitar as a synth controller, but it didnāt track well enough to continue the experiment.
Along with the standard controls, the guitar includes switches to turn on different parts of the onboard preamp, which boosts the signal and adds plenty of gain. A rotary knob controls a wired-in parametric EQ set up to emulate different settings along the sweep of a wah pedal. Dweezil didnāt get much of the lowdown from his father on the complex operations; it was more trial-and-error. āYou just have to turn knobs until you find something that you like,ā he says. He connects to his rig with ZZYZX SnapJack magnetic cable connectors.
Rockin' with Roxy
Also out on the Rox(postroph)y tour is Frankās iconic Roxy & Elsewhere-era Gibson SG. Like the Les Paul, itās got a preamp circuit to boost the signal, a sweepable EQ, and can achieve acoustic, piezo-adjacent sounds. The preamp configuration in this one is red-hot; it dishes out tons of gain.
Signature Shabat
For Strat-style tones, Dweezil calls on his signature Shabat Lynx DZ, which has been used to dial in his cover of āPush Comes to Shove.ā Per Shabat, it has a ābody-mounted HSS configuration with a push/pull phase shift on the middle pickup, simplified single-knob layout, custom-cut 3-ply parchment/gold pickguard, and ā¦ a Vega-Trem VT1 tremolo."
The Lynx DZ is constructed with an alder body and a quartersawn hard maple, medium-C-profile neck with a 25.5" scale length. Itās loaded with Lollar Special S and Lollar El Rayo pickups, and the middle Special S is wired for phase shift. The Lynx, as well as the SG and Les Paul, are strung with Optima Gold-Plated 2028 FZ Frank Zappa strings (.008ā.046), and struck with DāAddario .50 mm celluloid picks. (Dweezil likes them for pick slides.)
On the Ground
Zappa keeps a significant board at his feet, which he controls with a Fractal FC-12 controller. He runs his sound in stereo, with different effects going to each side, so he keeps volume pedals for each side in front of him, plus a wah and expression pedal.
The row of pedals perched atop the pedalboard includes a TC Electronic Polytune 3 Noir, a Marshall-style prototype pedal, J. Rockett Audio Designs PXO, Union Tube and Transistor Lab, SoloDallas Orbiter, a Jext Telez White Pedal (to nab a specific tone for playing āNanook Rubs Itā), and a 29 Pedals FLWR.
In the Rack
On our 2013 Rig Rundown, Dweezil was using the Fractal Axe-Fx II, and this time around, heās upgraded to the Axe-Fx III as the basis of his sound. Given the sonic territory covered in his shows, it simply became too unwieldy and expensive to tour an analog rig.
The brains of his show are held in a rack system. A couple of out-of-sight splitter boxes help with the complex stereo signal paths, as do a pair of Voodoo Lab HEX audio switchers. The Axe-Fx III lives on the top shelf, and just below it are an Eventide H90 and TC Electronic TC 2290 that go to both sides.
The next rack down runs only to the left side, and includes a BK Butler Tube Driver, DigiTech FreqOut, Red Panda Radius and Raster, Krozz Devices Airborn Analog Flanger, and a Paul Trombetta Design Tornita! fuzz.
The level below it runs to the right side, with a āClown Vomitā fuzz, Chase Bliss Warped Vinyl, Korg FLG-1 Flanger, Chase Bliss Generation Loss, Goochfx Holy Cow, and another Red Panda Raster.
Wrapping up the rig is the bottom rack, which again runs to both sides. It carries most of Zappaās exquisite dirt sounds, thanks to a Union Tube and Transistor Tsar Bomba, Chase Bliss Automatone Preamp MKII, Goochfx Dirty Hippie, Tru-Fi Two Face, Foxrox Electronics Paradox TZF2, and a Paul Trombetta Design Rotobone that ā¦ somewhat reasonably apes a trombone sound. Paul Trombetta, we salute you.
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.