Mick Taylor, cohost of That Pedal Show, joins Zach on this episode, where they cover a whole lot of ground talking pedals, mental health, and more. The two discuss what it's like to have Mick's level of influence on the industry and how to overcome various forms of stage fright, before dipping a rig where some "shots" are fired.
Mick Taylor Goes Digital? | Dipped in Tone Podcast
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The author dials in one of his 20-watt Sonzera amps, with an extension cabinet.
Knowing how guitar amplifiers were developed and have evolved is important to understanding why they sound the way they do when you’re plugged in.
Let’s talk about guitar amp history. I think it’s important for guitar players to have a general overview of amplifiers, so the sound makes more sense when they plug in. As far as I can figure out, guitar amps originally came from radios—although I’ve never had the opportunity to interview the inventors of the original amps. Early tube amps looked like radio boxes, and once there was an AM signal, it needed to be amplified through a speaker so you could hear it. I’m reasonably certain that other people know more about this than I do.
For me, the story of guitar amps picks up with early Fenders and Marshalls. If you look at the schematics, amplifier input, and tone control layout of an early tweed Fender Bassman, it’s clear that’s where the original Marshall JTM45 amps came from. Also, I’ve heard secondhand that the early Marshall cabinets were 8x12s, and the roadies requested that Marshall cut them in half so they became 4x12s. Similarly, 8x10 SVT cabinets were cut in half to make the now-industry-standard 4x10 bass cabinets. Our amp designer Doug Sewell and I understand that, for the early Fender amps we love, the design directed the guitar signal into half a tube, into a tone stack, into another half a tube, and the reverb would join it with another half a tube, and then there would be a phase splitter and output tubes and a transformer. (All 12AX7 tubes are really two tubes in one, so when I say a half-tube, I’m saying we’re using only the first half.) The tone stack and layout of these amps is an industry standard and have a beautiful, clean way of removing low midrange to clear up the sound of the guitar. I believe all but the first Marshalls came from a high-powered tweed Twin preamp (which was a 80-watt combo amp) and a Bassman power amp. The schematic was a little different. It was one half-tube into a full-tube cathode follower, into a more midrange-y tone stack, into the phase splitter and power tubes and output transformer. Both of these circuits have different kinds of sounds. What’s interesting is Marshall kept modifying their amps for less bass, more high midrange and treble, and more gain. In addition, master volume controls started being added by Fender and Marshall around 1976. The goal was to give more gain at less volume. Understanding these circuits has been a lifelong event for Doug and me.
Then, another designer came along by the name of Alexander Dumble. He modified the tone stack in Fender amps so you could get more bass and a different kind of midrange. Then, after the preamp, he put in a distortion circuit in a switchable in and out “loop.” In this arrangement, the distortion was like putting a distortion pedal in a loop after the tone controls. In a Fender amp, most of the distortion comes from the output section, so turning the tone controls changes the sound of the guitar, not the distortion. In a Marshall, the distortion comes before the tone controls, so when you turn the tone controls, the distortion changes. The way these amps compress and add harmonics as you turn up the gain is the game. All of these designs have real merit and are the basis of our modern tube–and then modeling—amplifiers.
Everything in these amps makes a difference. The circuits, the capacitor values and types, the resistor values and types, the power and output transformers, and the power supplies—including all those capacitor values and capacitor manufacturers.
I give you this truncated, general history to let you know that the amp business is just as complicated as the guitar business. I didn’t even mention the speakers or speaker cabinets and the artform behind those. But what’s most important is: When you plug into the amp, do you like it? And how much do you like it? Most guitar players have not played through a real Dumble or even a real blackface Deluxe Reverb or a 1966 Marshall plexi head. In a way, you’re trusting the amp designers to understand all the highly complex variations from this history, and then make a product that you love playing through. It’s daunting, but I love it. There is a complicated, deep, and rich history that has influenced and shaped how amps are made today.
Sublime, fronted by Jakob Nowell, son of late Sublime singer Bradley Nowell, are in the studio writing and recording new songs for an upcoming full-length album. This marks their first new album since 1996.
When not performing at various festivals across North America in 2024, front man Jakob Nowell immersed himself in the Sublime catalog and found a deep sense of connection to his late father. The band is tapping into the 90s nostalgia, writing and recording the new songs with powerhouse producing duo Travis Barker and John Feldmann, in addition to working with producer Jon Joseph (BØRNS). The first single will be released this Summer via their newly established label Sublime Recordings.
"I grew up on Sublime. ‘40oz. to Freedom’ changed the way I listened to music. I’m so honored to be working with the guys in Sublime. Creating music for this album has been so fun and exciting. Bradley comes through his son Jakob while writing in the studio and performing. Chills every day in the studio when he sings and play guitar. This is going to be really special." – Travis Barker
“Sublime has always been a huge influence on me and to be able work with the band has been inspirational and game changing…It has been a highlight of my life to work on such a seminal record with such talented people. I’m so grateful for this opportunity and to continue the legacy and keep it authentic to what they have historically done.” – John Feldmann
After Jakob Nowell’s debut as Sublime’s new front man at Coachella 2024, he and his uncles Bud Gaugh and Eric Wilson continued the momentum of this latest chapter of the band, performing at over 20 festivals and shows across North America by the end of last year. Additional highlights from 2024 include Sublime’s late-night television debut on The Tonight Show Starring Jimmy Fallon, a 4-song set on the Howard Stern Show and the band’s first top 10 hit on alternative radio since 1997 with their single “Feel Like That,” featuring the vocals of both Bradley Nowell and his son Jakob together.
2025 is shaping up to be an even busier year for the band, with a handful of headlining shows, high-profile festival appearances to support the release of the new album.
For more information, please visit sublimelbc.com.
Sublime 2025 Tour Dates
- April 5 – LIV Golf Miami – Miami, FL
- April 18 – Red Rocks Amphitheater – Morrison, CO
- May 3 – Beachlife Festival – Redondo Beach, CA
- May 16 – Welcome To Rockville – Daytona Beach, FL
- May 23 – BottleRock Napa Valley – Napa, CA
- May 25 – Boston Calling – Boston, MA
- June 14 – Vans Warped Tour – Washington, DC
- July 12 – 89.7 The River’s 30th Anniversary Show – Omaha, NE
- July 20 – Minnesota Yacht Club Festival – Saint Paul, MN
- September 14 – Sea.Hear.Now – Asbury Park, NJ
- September 19 – Shaky Knees Festival – Atlanta, GA
A pair of Fender amps and a custom-built Baranik helped the Boston band’s guitarist come back from a broken arm.
When Brandon Hagen broke his arm a few years ago, his life changed in an instant. He’d been fronting Boston indie rock outfit Vundabar since 2013, and suddenly, he was unable to do the things he’d built his life around. Recovery came, in part, in the form of a custom guitar prototype built by Mike Baranik of Baranik Guitars. Hagen deconstructed and rehabilitated his relationship to the 6-string on that instrument, an experience that led to Vundabar’s sixth LP, Surgery and Pleasure, released on March 7.
On tour supporting the record, the band appeared at Grimey’s in Nashville for a performance on March 11, and PG’s Chris Kies caught up with Hagen to hear about his journey and learn what tools the guitarist has brought on the road. As Hagen tells it, his setup is less about expertise and received wisdom, and more about “intuitive baby mode”—going with what feels and sounds good in the moment.
Brought to you by D’Addario.
An A1 B4
Hagen’s No. 1 is this Baranik B4, a custom job that he received two days before leaving for tour. Hagen’s arm was broken when Vundabar was playing a festival in California a couple years ago, and Baranik, a fan of the band, stopped in to see them. He offered to send a custom prototype to Hagen—who was new to the field of boutique guitars—and the B4 was born, borrowing from the Baranik B3 design used for Unknown Mortal Orchestra’s Ruban Nielson and the Hofner 176 played by Jamie Hince of the Kills. The guitar helped Hagen fall back in love with guitar as his arm healed.
Hagen was searching for Strat-style clarity and jangle but with a hotter sound, so Baranik put in Lindy Fralin P-90s in the neck and bridge positions, plus a sliding, unpotted gold-foil pickup in the middle, wound by Baranik himself. A wheel control on the lower bout beside the traditional pickup selector switch lets Hagen blend the pickup signals without outright switching them on or off. Along with traditional master volume and tone controls, the red button beside the bridge activates a Klon clone pedal built into the back of the guitar. Hagen used a Klon on every track on the new Vundabar record, so it made sense to have one at his fingertips, letting him step away from the pedalboard and still create dramatic dynamic differences.
Hagen uses Ernie Ball Slinky strings (.011s), a step up from the .10s he used to use; he was chasing some more low end and low mids in his sound. His guitars stay in standard tuning.
Jazz From Japan
Hagen also loves this 2009 Japan-made Fender Jazzmaster ’62 Reissue JM66, which splits the difference between classic Fender chime and a darker, heavier tone.
Blending Fenders
Hagen’s signal gets sent to both a Fender Hot Rod Deville and a Blues Junior. He likes to crank the Junior’s single 12" speaker for a nastier midrange.
Brandon Hagen's Board
Hagen runs from his guitar into a JHS Colour Box, which adds a bit of dirt and can be used to attenuate high or low frequencies depending on which room Vundabar is playing. From there, the signal hits a Keeley Compressor, EHX 2020 Tuner, EHX Pitch Fork, EHX Micro POG (which is always on with subtle octaves up and down to beef things up), Boss Blues Driver, Way Huge Swollen Pickle, MXR Carbon Copy (which is also always on), and a Boss DD-7—Hagen loves the sound of stacked delays.
Price unveiled her new band and her new signature model at a recent performance at the Gibson Garage in Nashville.
The Grammy-nominated alt-country and Americana singer, songwriter, and bandleader tells the story behind the creation of her new guitar and talks about the role acoustic Gibson workhorses have played in her musical history—and why she loves red-tailed hawks.
The Gibson J-45 is a classic 6-string workhorse and a favorite accomplice of singer-songwriters from Bob Dylan to Jorma Kaukonen to James Taylor to Gillian Welch to Lucinda Williams to Bruce Springsteen to Noel Gallagher. Last week, alt-country and Americana artist Margo Price permanently emblazoned her name on that roster with the unveiling of her signature-model J-45. With an alluring heritage cherry sunburst finish and a red-tail-hawk-motif double pickguard, the instrument might look more like a show pony, but under the hard-touring and hard-playing Price’s hands, it is 100-percent working animal.
The 6-string was inspired by the J-45 she bought at Nashville’s Carter Vintage Guitars after she was signed to Third Man Records, where she made her 2016 ice-breaker album, Midwest Farmer’s Daughter. But her affection for Gibson acoustics predates that, going back to when she found a 1956 LG-3 in her grandmother’s home. The guitar had been abandoned there by her songwriter great uncle, Bobby Fischer.
“I played it for years before I found my J-45,” Price recounts. “At Carter Vintage, I tried a lot of guitars, but when I picked up that J-45, I loved that it was a smaller guitar but really cut through, and I was just really drawn to the sound of it. And so I went home with that guitar and I’ve been playing it ever since.”
“Having a signature model was something I had dreamed about.”
Of course, Price was also aware of the model’s history, but her demands for a guitar were rooted in the present—the requirements of the studio and road. The 1965 J-45 she acquired at Carter Vintage, which is also a cherry ’burst, was especially appealing “compared to a Martin D-21 or some of the other things that I was picking up. I have pretty small hands, and it just was so playable all up the neck. It was something that I could easily play barre chords on. I could immediately get everything that I needed out of it.”
If you’ve seen Price on TV, including stops at Saturday Night Live, The Late Show With Stephen Colbert, and Jimmy Kimmel Live!, you’ve seen her ’65. And you’ve also seen, over the years, that part of the soundhole’s top has been scraped away by her aggressive strumming. It’s experienced worse wear from an airline, though. After one unfortunate flight, Price found her guitar practically in splinters inside a badly crushed case. “It was like somebody would have had to drive over this case with a truck,” she relates. Luckily, Dave Johnson from Nashville’s Scale Model Guitars was able to put Humpty Dumpty back together again.
After that, an alternative guitar for the road seemed like a requirement. “Having a signature model was something I had dreamed about,” Price says. Friends in her songwriting circle, including Lukas Nelson and Nathaniel Rateliff, already had them. Four years ago, a tweet asking which women they thought should have signature models appeared, and one of her fans wrote “Margo Price.” Smartly, Price tagged Gibson and retweeted. Codey Allen in Gibson entertainment relations spotted the tweet and agreed.
The double pickguard was chosen for Price’s J-45 because of its symmetry, as a nod to the Hummingbird, and due to her heavy strumming hand.
Photo courtesy of Gibson
“The neck is not quite as small as my J-45, but it is just a bit smaller than many J-45s fives, and very playable no matter what size hands you have.”
“And so we began our journey of building this guitar,” Price says. “I debated whether it should be the LG-3, which I still have hanging on my wall, or the J-45. I went to Montana and visited their [acoustic] factory and sat down with Robi Johns [senior product development manager at Gibson acoustic], and we ultimately decided that the J-45 was my guitar. Then we started talking about the specs. We did pull from the LG-3 in that the body of this signature guitar is a bit smaller. It still has a really loud, clear sound that rings through. The neck is not quite as small as my 1965 J-45, but it is just a bit smaller than many J-45s, and very playable no matter what size hands that you have.”
The pickup that Price selected is a L.R. Baggs VTC Element with a preamp, and she took a prototype of the guitar on the road opening for the Tedeschi Trucks Band. “I am used to playing with a really loud band, with drums and sometimes a couple electric guitars, and I wanted to make sure that this guitar just cut through,” she says. “It was really important to me that it be loud, and it cut beautifully. It’s got a mahogany body and scalloped bracing, which makes it very sturdy. This guitar is a workhorse, just like me.”
The Margo Price J-45’s most arresting characteristic, in addition to its warm sunburst finish, is its double-sided pickguard with an etching of a quartet of red-tailed hawks in flight. It’s practical for her strumming style, but it’s also got a deeper significance.
“We talked about all sorts of things that we could put on the pickguard, and I’ve always been a big fan of the Hummingbird, so what we did is a bit of a nod to that,” Price continues. “I’ve always been drawn to red-tailed hawks. They are supposed to be divine messengers, and they have such strength. They symbolize vision and protection. I would always count them along the highway as I’d be driving home to see my family in Illinois.”
Birds of a feather: “I’ve always been drawn to red-tailed hawks,” says Price. “They are supposed to be divine messengers, and they have such strength. They symbolize vision and protection.”
Photo courtesy of Gibson
With its comfortable neck, slightly thinner body, and serious projection, Price notes, “I wanted my guitar to be something that young girls can pick up and feel comfortable in their hands and inspire songs, but I didn’t want it to be so small that it felt like a toy, and that it didn’t have the volume. This guitar has all of those things.” To get her heavy sound, Price uses D’Addario Phosphor Bronze (.012–.053) strings.
Price says she and her signature J-45, which is street priced at $3,999, have been in the studio a lot lately, “and I have a whole bunch of things I’m excited about.” In mid March, she debuted her new band—which includes Logan Ledger and Sean Thompson on guitars, bassist Alec Newman, Libby Weitnauer on fiddle, and Chris Gelb on drums—in a coming out party for the Margo Price Signature Gibson J-45 at the Gibson Garage in Nashville. “I’ve been with my previous band, the Price Tags, for more than 10 years, and it’s definitely emotional when a band reaches the end of its life cycle,” she says. “But it’s also really exciting, because now, having a fiddle in the band and incredible harmony singers … it’s a completely different vibe. I’ve got a whole bunch of festivals coming up this year. We’re playing Jazz Fest in New Orleans, and I’m so excited for everyone to hear this new iteration of what we’re doing.”
With its heritage cherry sunburst finish and other appointments, the Margo Price Signature Gibson J-45 balances classic and modern guitar design.
Photo courtesy of Gibson