Jazz guitar god Pat Metheny recently played Nashvilleâs Ryman Auditorium on his solo tour supporting his latest record, Dream Box. Ahead of the show, PGâs John Bohlinger met with Methenyâs tech Andre Cholmondeley, who pulled back the curtain on what just might be the most complex solo rig ever devised. Afterward, Cholmondeley painstakingly wrote out Methenyâs signal path to help clarify the rig. Buckle up, and keep up if you can.
Brought to you by D'Addario.
Mellow Yellow
A longtime Gibson ES-175 player, Metheny struck up a friendship with Ibanez in the 1970s when he toured Japan. In 1996, they released their first Ibanez PM100 Pat Metheny Signature. This PM100 bears a .080-gauge flatwound string tuned an octave down to a low low E. The rest are Methenyâs normal DâAddario NYXL 10s.
The axe puts out with a lone Charlie Christian single coil pickup plus a microphone inside the guitar running to a separate output. On some occasions, the Christian pumps out more noise or hum depending on the venue's electricity, or even if thereâs wifi present. When necessary, Metheny and his team use an EHX Hum Debugger, or an Ebtech Hum Eliminator.
The Axon Axe
This Ibanez PM120âdubbed the "Axon Guitar"âlives on a stand so Metheny can play it with a second guitar on his back as needed as a MIDI controller. Itâs got a Roland GK-style pickup with 13-pin output, connected to a 2007 AXON AX 50 synth controller, which drives the Orchestrion percussion instruments via Ableton. Pat can also send MIDI into any soft synth, and create loops inside Ableton, or any attached hardware besides the Orchestrion. (The Ableton 11 software runs on a MacBook Pro and through the show, itâs fed audio from three different guitars.)
Meanwhile, the normal audio output of this guitar hits an IK Multimedia TONEX, then a DI to the house and monitor systems.
Rockin' and Roland
The Roland GR-300 synth and G-303 guitar synth controller have been part of Methenyâs music since the combo was invented in 1980. The GR-300 is built around an analog polyphonic synth with oscillators that must be tuned daily.
The G-303 is strung with DâAddario NYXLs (.010-.046).
Acoustic Arsenal
Each of Methenyâs acoustic guitars has two outputs: one from a standard 1/4" internal bridge pickup, and one from a condenser microphone mounted inside the guitars with a gooseneck or rigid metal arm. Metheny uses a variety of pickups, including Fishman, Go Acoustic Audio, LR Baggs, and the gut mics include offerings from Applied Microphone Technology and DPA Microphones.
All acoustics are treated to unique mix, EQ, and effects and monitored through a pair of Meyer UM-1P and Bose L1 speakers, plus a custom âthumperâ in the Yamaha DSM100 mesh drum throne that Metheny sits on during performance.
Crazy 8
Methenyâs 8-string Taylor acoustic takes various tuning. Sometimes, it acts as a baritone with a unison in the middle. Other times, itâs tuned to F-C-D#-E-C#-A#-A#-A. Surprise, surprise: Metheny is always experimenting.
Manzer Monster
In 1984, Metheny asked Canadian luthier Linda Manzer to build an instrument with âas many strings as possible.â The resulting collaboration is the Pikasso 42-String Guitar. While fitted for internal mic as well as a hex pickup, it currently only takes the regular 1/4" output, which is an aggregate of all four neck/zone pickups. Each pickup can be switched in and out with a toggle switch, and there are independent volume pots for each neck, as well as EQ and a master volume. The volume module is powered by two 9V batteries.
Hereâs a closer look at the different angles within the Pikassoâs silhouette.
Keeping Up With Kemper
Various guitars run through a Kemper Profiler Power Rack. Each has a unique patch, but most usually use the models of a Fender Twin or a Roland JC-120, complete with verb, delay, and varying gain stages.
Hereâs where things get tricky. Metheny runs a silent plug 1/4" cable from his guitars into a Lehle 3 at 1, enabling three stereo inputsâA, B, or Câwhich can be chosen with silent footswitches or via midi. A is designated for the Ibanez guitars, B takes the Roland setup, and C is home for the Taylor 8-string.
The outputs of all three are sent to a Gamechanger Audio Plus Pedal. (The effects-send out of the Plus feeds a mini Leslie amp set to slow spin.) The Plusâ mono out feeds the âalternative inputâ of the Kemper. The Kemper sends a number of outs: the XLR heads to a pair of Yamaha DXR-10 speakers; the 1/4" goes to a Radial stereo DI, then on to the house and monitor systems; and the Kemperâs own monitor out feeds an AUDAC EPA152 rackmount power amp. This last route is programmed with a slightly different, âless wetâ FX mix than its companions. The AUDAC unit is set to run as two discrete amps, and sends audio to Methenyâs drum throne thumper and a classic Acoustic 4x10 cabinet.
The Dance
For the baritone acoustic which Metheny currently loops in this show, the looper of choice is a Pigtronix Infinity 3 (lower right). Itâs fed from the thru/send of the Radial DI for the acoustic. A mono loop send from the Infinity goes to front of house and monitors via a Countryman active DI, and Metheny keeps track of the acoustic loop in his Meyer and Bose monitors. The rest of Methenyâs colors and signal manipulation comes from these tone tools including a Source Audio Soleman MIDI Foot Controller, a pair Blackstar Live Logic 6-button MIDI Footcontrollers, an Electro-Harmonix 95000 Stereo Looper, Gamechanger Audio Plus Pedal, and the aforementioned Roland GR-300.
Accompanying the Maestro
Hereâs the percussion mechanisms backing up Metheny during his solo Dream Box tour.
Shop Pat Metheny's Rig
Ibanez PM 200
DâAddario NYXL 10s
EHX Hum Debugger
IK Multimedia TONEX Pedal Amplifier/Cabinet/Pedal Modeler
Squier Classic Vibe Bass VI
LR Baggs M1 Active Acoustic Guitar Soundhole Humbucker Pickup
Bose L1 Pro32 Portable PA System
Guild D-40 Traditional Acoustic Guitar
Kemper Profiler Power Rack
Lehle 3at1 SGoS Instrument Switcher
Gamechanger Audio Plus Pedal Piano-style Sustain Effect Pedal
Electro-Harmonix 95000 Performance Loop Laboratory 6-track Looper
Radial ProD2 2-channel Passive Instrument Direct Box
Pigtronix Infinity 3 Looper Pedal
Source Audio Soleman MIDI Controller Pedal
Blackstar Live Logic 6-button MIDI Footcontroller
Electric guitarists are constantly on a tone quest, but too often we forget to look in the most obvious place: our amp speakers.
In many ways, this oversight is totally understandable. Hey, itâs easy to obsess about a gorgeous instrument sporting a flame maple top or classic vintage vibe. And thereâs a vast array of pedals and effects out there screaming for our attention. (Yes, we used âscreamingâ intentionally. Please donât hate us.) Of course, pickups, strings, cables, amplifiers, and preamps also have a big impact on our tone.
However, itâs important to remember that every item in our signal chain eventually goes through our ampâs speakerÂâthe crucial transducer that converts electrical impulses into sound.The speaker always gets the final word in our musical conversation. It is literally the last piece of gear that we control before our playing reaches the listenerâs ears or the sound engineerâs microphone. And if weâre wondering how to upgrade our overall soundâor breathe new life into a battle-weary ampâmaybe it should be the first place we look for answers.
ToneSpeak, a newly launched speaker company based in Minnesota, aims to give you some great new options when you select that all-important piece of gear. Since the companyâs birth in 2021, their goal is to provide speakers that are clearly rooted in classic sounds, but with unique tones of their own.
Modern Speakers Saluting Iconic Predecessors
ToneSpeakâs Liverpool 1275âa 12" speaker designed to appeal to Vintage 30 usersâprovides a case study in the approach. âIn selecting what models we wanted to build,â explains Anthony Lucas, ToneSpeakâs senior transducer engineer, who designed the new speaker line, âwe started with American and British roots. We didnât want to copy anything. If you want a Vintage 30, then you should get one from Celestion. Itâs a great speaker. But we were okay with using a Vintage 30 and a Greenback as an inspiration, to provide a baseline. The first prototype sounded too much like a Vintage 30ââhe laughsââand we knew we didnât want to do that. We ended up giving the Liverpool warmer, smoother upper mids and highs, and a bit more lows.â
Lucas knows his stuff: He designed products at Eminence in the U.S. for years before departing the company in 2020 and building the new ToneSpeak line, with help from another former Eminence colleague, Josh Martin.
âAt this company, most of us are musicians and involved in music,â says Lucas, âand all of us speak the language of tone, so thatâs how ToneSpeak came about. We talked to musicians and manufacturers and asked what they liked and didnât like about various speakers. We tried to respond to them by keeping what they liked and improving on the things that they didnât.â
Plenty of 12" Optionsâand Other Sizes, Too
The Liverpool 1275 is one of five 12" speakers in the growing ToneSpeak line. Other models include the British-inspired Birmingham 1275âa natural fit for fans of the G12H Greenback, with balanced, throaty midrange and lots of articulationâand the formidable Manchester 1290. A high-powered brute, the Manchester will appeal to any player who loves the Celestion Classic Lead but seeks a bit more flexibility. âThe common complaint about high-powered speakers is that they sound sterile unless you push them pretty hard,â notes Lucas. âSo, we designed the speaker to sound very musical even at lower volume, while still being able to handle 90 watts and sound great. Itâs probably our most balanced, most transparent speaker in the whole line.â
If youâve got a 4x12 closed-back cab that could use an upgrade, ToneSpeakâs Birmingham or Liverpool models are your go-to options for classic tone bliss. And if you want to raise the aggression factor a notch or twoâwhile still sounding great at lower volumesâthe Manchester might be your cup of tea.
ToneSpeak: The Chris Condon Demos
Seeking a specially individualized tone that perfectly fits your unique style? Blending two different speakers with varying tonal characteristics in a 2x12 or 4x12 cabinet can produce amazing results. Just ask Robben Ford: Heâs using the Austin 1250 and the Manchester 1290 in his Little Walter 2x12 cabinet.
On the other hand, if youâre outfitting an open-backed combo, ToneSpeakâs 12" offerings include a pair of American-based speakers: the Austin 1250 (the same one Robben Ford usesâsee above) and New Orleans 1250.
The Austin harkens back to the classic Eminence GA-SC64 speaker. Looking to upgrade your Deluxe Reverb? This is the ticket. âThe Austin 1250 is more or less transparent, so you really hear the amp,â explains Lucas. âWe brought the mids upâbecause guitar is a mid-dominant instrumentâso theyâre more forward and clear without being harsh. The highs are really open and itâs very solid in the lows.â
ToneSpeak: The John Szetela Demos
The New Orleans is designed for players who like the smoky, subtle tone of a hemp cone. âWe felt that other hemp-cone speakers are a bit too dark,â says Lucas, âso we designed our hemp cone to have a more open sound. Itâs still warm and smooth, but it fills the room and takes to distortion really well. The high end doesnât sound like it has a blanket put on it.â
ToneSpeak also offers a range of speakers in other sizes. The companyâs four 10" models include American-inspired options (the Boston 1020 and Minneapolis 1050) and British voicings (Leeds 1020 and Glasgow 1050). And a pair of 8" models include a British-inspired Belfast 820 and American-voiced Detroit 820, with a hemp-composite cone that makes it perfect for Tweed Champ enthusiasts.
In designing the broad range of ToneSpeakâs product line, Lucas considered all of the components that go into a guitar speaker and affect its tone: cones, coils, and spider suspension. He also delved into a factor that might not be familiar to most players: edge dopingâtreating the edges of the speaker cone with a substance that works as a shock absorber, to keep the cone under control at high volumes. âWe compared a few different edge dopings, which have a big impact on defining upper mids and highs. They can sometimes roll off the highs too much if youâre not careful. We developed our own proprietary edge doping, which Iâm really proud of. It makes a big difference in the sound of the speakers and weâre using it on the entire line, except for the New Orleans hemp-cone speaker, which sounded better without any doping at all.â
If youâre wondering how a brand-new speaker company can offer so many models so quickly, the answer is simple: They are allied with the long-established builder MISCO, aka the Minneapolis Speaker Company.
An Ongoing Legacy of U.S.-Made Speakers
Launched in 1949 by Cliff Digre, a World War II veteran with a deep interest in electronics, MISCO has been led by Cliffâs son, Dan Digre, since 1990. The company builds a dizzying array of products and speakers for a variety of industriesâincluding aerospaceâmany of them far-removed from the musical instruments realm.
MISCO founder Cliff Digre tests an early speaker in his workshop.
However, MISCO has been making OEM guitar speakers for more than 60 years, and in the 1960s even had its own brand of speakers called Redline, that featured red cones. So, when MISCO partnered with Anthony Lucas to launch the ToneSpeak brand, the company possessed decades of know-how in the guitar-speaker arena. It was a perfect opportunity to fill a need in the marketplace. âAnthony had a lot of experience designing speakers when he worked at Eminence,â notes Digre. âFor decades, our core has been OEM, which by its nature means people are asking you to do things for them. ToneSpeak exists because the market was asking for some alternatives to what was out there, with an American brand behind it.â
Digre readily acknowledges that building guitar speakers presents a unique set of challengesâstarting with the end userâs tastes and preferences. âGuitarists have an amazing sensitivity to tone color. These players have fabulous earsâtheyâre very discerning, and I have a great respect for them. The philosophy of designing a guitar speaker is different from almost any other type of speaker because itâs part of the sound of the instrument. Most other speakers are designed for the signal to pass through it as uncolored as possible. But the guitar speaker requires the color of the driver to become part of the instrument. And itâs not a commodity: You need to be able to consistently, repeatedly replicate the tone color. Controlling the variables that affect tone color is very important. MISCO has the means of measuring and controlling those factors.â
The Science Behind the Speakers
MISCOâs engineering and manufacturing expertise is the secret sauce behind ToneSpeakâs rapid rise. âThereâs some serious engineering in this company used by a lot of different industries,â Digre admits. âMISCO builds the speakers for NASA. Theyâre used in the space station and the Orion spacecraft thatâs going to land on Mars one day. While those arenât musical products, they do require a very specific set of attributes. These are very demanding applications, and your quality really has to be top notch.â
Those high standards inform the entire approach behind ToneSpeak. âWhether weâre building a speaker for a spaceship or a guitar amp, weâre devoting the same attention to detail and consistency,â Digre says. âOne of our brands uses the phrase âOur Science, Your Music.â That philosophy applies equally to ToneSpeak. Weâve got the science of design, the science of manufacturing, the science of testingâbut theyâre all in the service of music. By design, I want musicians to be in this company, because a musician is going to understand a lot of things that a pure engineer is not. We need to have the musical perspective embedded into the DNA of the company.â
Digreâs outlook is perfectly aligned with Lucasâ stance on speaker design, and the satisfaction he gets when theyâve nailed the formula just right. âI get a smile when a real player gets a hold onto a tool that Iâve made and they connect with it,â Lucas says. âYou can always tell by watching and hearing them. They canât stop playing. Theyâre hooked. Itâs like they get lost in the music. That what really brings me joy as a designer. Iâve done my job.â
Ultimately, electric guitarists are the beneficiaries of this approach. Whether youâre upgrading your main gigging ampâor resuscitating a garage-sale findâyouâll find a new range of options in the ToneSpeak line. So, roll up your sleeves, have some fun, and crank it up. Great tones are waiting for you!
To find a speaker that completes your sound, head over to ToneSpeak.com