Expression pedals are probably the most underutilized pedals around. With a simple rock of your foot, you can alter any number of different parameters your favorite effect units. Yeah, there might be a bit of under-the-hood tweaking needed to get the full results, but trust me—it’s worth it.
Dunlop DVP4 Volume (x) Mini
Purely on a value-per-inch basis, this volume/expression comes in heavy. At half the size of its larger counterpart, the mini offers an internal trim pot that controls minimum expression values, plus the aux output can also function as an always-on tuner output.
$139 street
Moog EP-3 Universal Polarity Expression Pedal
In some corners of the sonic-sculptor set, using a Moog pedal without an expression control is near criminal. This wildly affordable pedal is universally accepted among pedals, synths, and more thanks to a polarity switch.
$59 street
Lehle Dual Expression Pedal
What if you need to control more than one pedal? This dual expression pedal offers a ton of features that include accommodating TS, TRS, or RTS inputs, switchable polarity, momentary or latching switching, and a USB port for MIDI capabilities.
$259 street
Electro-Harmonix Expression Pedal
This lightweight, rugged design from one of the most esteemed pedal makers of all time features a polymer housing, range control, polarity switching, and a reverse switch that allows you to change the direction of the parameter you’re controlling.
$72 street
M-Audio EX-P
Crafted out of molded plastic, this expression pedal offers a slip-resistant surface, integrated TRS cable, and a polarity switch, which allows it to work with a wide range of controllers and pedals.
$29 street
Fender Tread-Light
Created around an original Fender circuit, this combo volume/expression pedal uses top-mounted jacks in order to squeeze into cramped spaces. It includes a switchable LED light and operates on
9V battery or center negative AC Adapter.
$119 street
Boss EV-1-WL Wireless MIDI Expression Pedal
If wireless is your preferred routing solution, this expression pedal uses wireless MIDI in addition to Bluetooth, USB, and TRS to control any parameter you can think of. It also uses an iOS/Android app for even deeper editing capabilities.
$169 street
Mission Engineering SP-1
The company’s most universal expression pedal is built to handle the rigors of night-after-night rocking. It’s designed to work with nearly any digital amp, effects pedal, or MIDI controllers with a single TRS cable.
$149 street
Source Audio Dual Expression Pedal
This fully customizable pedal features two TRS outputs and a 3.5mm sensor output designed for the company’s line of SoundBlox pedals. It also includes a range adjust knob that controls the sweep of the expression sent through the outputs.
$119 street
DOD Mini Expression Pedal
Space is never an issue with this pedal. It’s only 5" long and 3" wide and built from solid steel. It also has selectable output modes (TRS, TS, or RTS) to ensure it works with nearly anything you can throw at it.
$119 street
Alex LIfeson, Victor
Victor, originally released on January 9, 1996, marks Alex Lifeson’s solo debut. Lifeson took on the roles of songwriter, producer, and mixer for this album. For the first time, Victor will be available on vinyl, featuring a complete remix by Lifeson himself to enhance the audio quality. The fourth side of the album includes four instrumental tracks previously exclusive to Lifeson’s website. Guest artists include lead vocalist Edwin from I Mother Earth, Primus bassist Les Claypool, and Canadian powerhouse vocalist Lisa Dalbello. The 15-song collection is paired with striking 2024 reimagined artwork by Fantoons Animation Studios.
As a Rush Backstage exclusive, Alex Lifeson will personally autograph 1,000 lithographs to be included with the Ruby Translucent 2LPs, which are available only through the Rush Backstage web store.
Geddy Lee, My Favorite Headache
My Favourite Headache, Geddy Lee’s only solo album to date, was initially released on November 14, 2000. This reissue marks its first vinyl pressing since a limited-edition Record Store Day exclusive in 2019. The fourth side of the album features two instrumental mixes. Produced by Lee, Ben Mink, and David Leonard, the album includes contributions from Mink and drummers Matt Cameron (Soundgarden/Pearl Jam) and Jeremy Taggart (Our Lady Peace).
For more details on the Geddy Lee reissue and to preorder, visit: https://lnk.to/MyFavouriteHeadache.
Rush — bassist/keyboardist/vocalist Geddy Lee, guitarist/vocalist Alex Lifeson, and the late, great drummer/lyricist Neil Peart — maintains a massive and uniquely passionate worldwide fanbase that acknowledges and respects the band’s singular, bold, and perpetually exploratory songcraft that combines sterling musicianship, complex compositions, and distinctive lyrical flair. Rush has sold more than 30 million albums in Canada and the U.S. alone, with worldwide sales estimated at 45 million (and counting). Between Music Canada and the RIAA, Rush has been awarded 50 Gold, 30 Platinum, and 9 Multi-Platinum album distinctions (and counting). Rush has also had 5 Top 10 Billboard Canada Albums, received 7 Grammy nominations, 10 Juno Award wins with 41 Nominations, and earned an induction into the Canadian Music Hall of Fame in 1994 and the Rock and Roll Hall of Fame in 2013. Additionally, Lee, Lifeson, and Peart were made Officers of the Order of Canada on May 9, 1996.
For more information, visit: https://www.rush.com
We love “Cult of Personality” because it’s one of the hardest hitting riffs in the classic rock canon. Catch it on drivetime radio and it’ll get your heart pumping faster than an extra double-shot of espresso. But we also love it because it launched Vernon Reid’s guitar into the mainstream. We’re unpacking Reid’s playing—from his early days in the NYC jazz underground through his work with Living Colour and into supergroup superstardom—and his longstanding gear-acquisition-syndrome.
This episode is brought to you by Reverend Guitars. Visit reverendguitars.com for more info.
![Fall Out Boy Rig Rundown [2024]](https://www.premierguitar.com/media-library/fall-out-boy-rig-rundown-with-patrick-stump-joe-trohman-pete-wentz-guitar-bass-gear-tour.jpg?id=52823626&width=1245&height=700&quality=85&coordinates=0%2C0%2C0%2C0)
Back in March, Chicago’s Fall Out Boy blasted through Birmingham, Alabama, in the middle of a year-long tour supporting their 2023 release, So Much (for) Stardust. It was their first solo headline tour since 2018, and they brought along loads of new noisemakers for the occasion.
Frontman Patrick Stump has moved on from his trademark Gretsch electrics, guitarist Joe Trohman scored an Explorer that may or may not remind us of a certain purple McDonald’s character, and Pete Wentz packs some basses that bring both ice and fire to the gig. And while tube amps still reign supreme in the studio, including the recording of So Much (for) Stardust, the band goes digital and speaker-free on the road.
Brought to you by D’AddarioPaint It Red
After his love affair with Gretsch came to a close, the Guild S-60D has become Patrick Stump’s new muse. Given his intense vocal responsibilities during performances, he’s aiming for function over form these days, and the S-60D and S-300 models are fitting the bill for playability and position in the mix. “I want something that stays in tune,” he says. “I try to be as minimal as possible.”
Stump bought this S-60D with its all-over bright-red paint job, then set about sourcing red components to make it almost entirely monochrome. He also dropped a DiMarzio Super Distortion humbucker in the bridge and a Seymour Duncan Little ’59 in the neck.
Multicolor Halo
Stump commissioned this Halo guitar, which turned out radically different from what he initially pitched. It was first envisioned to help Stump out with some metal playing he was recording for a TV project, so he called for some classic touches like scalloped frets, a Floyd Rose, and a Seymour Duncan Dimebucker in the bridge. But the color ended up anything but metal. It’s not totally applicable to most Fall Out Boy material, but Stump is giving it a shot at some live play time.
Horse With Name
For slower moments, Stump goes with this Martin X Series acoustic he picked up at Guitar Center around 15 years ago. Since he had a deal with Fender, he covered the headstock Martin logo with some black tape that’s remained there ever since.
Mighty Zemaitis
First up, Trohman shows off this Japanese-made Zemaitis The Portrait Hisashi Signature Model, a model built in honor of Glay guitarist Hisashi Tonomura. While not a genuine Tony Zemaitis build, Trohman likes this one for its stability and build quality.
The Grimace
Trohman was lusting after this ’80s Gibson Custom Shop plumburst Explorer when he saw it pop up on Reverb, and when it sold, he was heartbroken. A few days later, his wife surprised him with it. It’s named Sanders, in honor of her maiden name.
Smokin' a Sig
Trohman also brings out his signature Squier Joe Trohman Telecaster, a take on the Tele Deluxe that includes a 5-position rotary selector switch to navigate the triple-pickup configuration.
Catching Rays
Tech Christian Zayas shows off this stunning custom paint job Sterling by Music Man Pete Wentz StingRay, which is outfitted with passive (rather than the typical active) pickups and a Hipshot drop tuning system. Note the signature red-eyed-loon inlay art on the 12th fret.
Winter Wonderland
This brand new, heavy-as-hell signature StingRay is full of some type of liquid (Zayas believes its anti-freeze) plus white material that turns it into a bass-shaped snowglobe. Wentz pulls it out for a fantasy sequence in the show, and it doesn’t stick around long because of its weight and more mellow tone.
Don't Sink the 8 Ball
This Pete Wentz StingRay is also a new addition, and comes out for an 8-ball-related encore.
Pete Might've Started the Fire
The last Sterling in the stable is also Wentz’s most deadly, doubling as a flamethrower during some of the show’s pyrotechnic flourishes. A primer on the upper bout preps the rear-mounted flame system, and the red-covered switch controls ignition. The pyro team tests it before each show with local fire departments to ensure its safety. “Sometimes we wanna be KISS, and we are,” says Zayas.
Farewell To Tubes
Joe Tone
Joe Trohman's tech Ben Young helped the FOB lead guitarist creep in digital modelers and here he provides additional details for what's happening inside the Axe-Fx III:
"The Fractal is set up where we have a different patch for each song, and then use scenes for each section of the songs. I have a template with all our dialed in amps and effects for everything. All the amp sounds are based off a JCM800 for our mid gain “crunch” sound, and a Dual Rectifier for our classic Fall Out Boy heavy sound. We also have a Friedman amp and a “brown sound” amp for other higher gain options that we’ve been using on newer songs and a Matchless for clean stuff."
