The death-metal nomad welcomes us into his converted-cargo-trailer home/studio to detail his extended-range rumblers and mobile recording setup.
Facing a mandatory shelter-in-place ordinance to limit the spread of COVID-19, PG enacted a hybrid approach to filming and producing Rig Rundowns. This is the 20th video in that format, and we stand behind the final product.
On the heels of releasing Enterprise Earth’s Foundation of Bones EP, Mangold virtually welcomed PG’s Chris Kies into his converted cargo trailer where he lives and records. (During the filming he was parked at the foothills of Rio Grande Gorge near the Sangre de Cristo Foothills in Taos, NM.) The vagabond guitarist opens up about creating pulverizing rhythms on 7- and 8-string beasts and using 21st century tech to create anywhere and everywhere he and his dog Jiro may roam.
Almost a decade ago, Gabe was surfing eBay and his inner ’80s shredder came out when he stumbled across a loud neon purple 1991 Ibanez RG550. He bought the radical guitar and it soon became a staple of his arsenal. The band he was in was filming a music video and he wanted to celebrate the guitar’s awesomeness by spinning it around his head via the strap. Unbeknownst to him, the strap lock wasn’t on the same page and the guitar went sailing. The body split in half and the guitar was shelved until he bought a 1987 RG550 body off eBay. To make the mashup more his own, he attempted to give it a Steve Vai-inspired “Multi Swirl” paint job seen on the icon’s JEMs. The original pickups have been swapped out for Bare Knuckles—Nailbomb humbuckers and a Trilogy Suite single-coil in the middle position. Because Enterprise Earth tunes down so low this 6-string doesn’t see much action in that group (aside from some recorded solos), but it does come out to play in his other bands, Delusions of Grandeur and The Harvest of Colour. He’s been using a droney C minor tuning a lot (C–G–C–G–C–Eb).
His other main 6-string is this early 2010s Suhr Modern that also sees studio time for soloing with Enterprise Earth and his less-aggressive bands Delusions of Grandeur and The Harvest of Colour. A big reason he continues to bond with this instrument is because “its tone is clear, crisp, and slices right through a mix.”
Here is one of his extended-range monsters—a custom made Dalbello Undici Modern 8-string that features a swamp ash body, Lundgren M8 humbuckers, and a multi-scale neck that goes from 26.75" to 28.25". It takes D’Addario NYXL (.009–.046) guitar set with an additional .066 and .094 strings. He often tunes in double drop-D (D–A–D–G–C–F–A–D).
Above you see a custom Strictly 7 String Cobra that has a 7-piece maple-walnut neck, ash body capped with a flame maple top, and an ebony fretboard. This is his backup 7-string for the road and typically is tuned to drop B.
This is nearly identical recipe to the red-and-black Strictly 7 Cobra in the previous slide, but it was built earlier in 2012 and is an example of their killer work that Mangold refers to “that’s when they were making the best extended-range instruments.” He really appreciates the craftsmanship and overall comfortability thanks to its teardrop D-profile neck that’s ergonomic and fast. It has a set of Bare Knuckle ’buckers—Nailbomb in the bridge and Aftermath in the neck.
While his converted cargo trailer allows him to record anywhere, anytime, there are times where Mangold truly goes off the grid and jams in the wilderness. To perform those solo endeavors (and for acoustic moods while recording), he trusts nothing but this Martin DCPA4. (Check out his Instagram account to see what majestic backdrop he plays in front of next.)
Whether it’s writing, recording, or even onstage performing, Gabe relies on a Kemper Profiler for his tone.
For Enterprise Earth’s brand-new EP, Foundation of Bones, Mangold used this setup to track all of the guitar tones.
Here’s Mangold’s world … all fit into this 16'x9' renovated cargo trailer.
And we’d be remised if we didn’t share this wonderful shot of all Gabe’s guitars and his travel companion Jiro.
Click below to listen wherever you get your podcasts:
D'Addario XT Strings:https://www.daddario.com/XTRR
Do you overuse vibrato? Could you survive without it?
Vibrato is a powerful tool, but it should be used intentionally. Different players have different styles—B.B. King’s shake, Clapton’s subtle touch—but the key is control. Tom Butwin suggests a few exercises to build awareness, tone, and touch.
The goal? Find a balance—don’t overdo it, but don’t avoid it completely. Try it out and see how it changes your playing!
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.
Lenny Kravitz’s lead-guitar maestro shares how his scorching hit solo came together.
Hold onto your hats—Shred With Shifty is back! This time, Chris Shiflett sits down with fellow west coaster Craig Ross, who calls in from Madrid equipped with a lawsuit-era Ibanez 2393. The two buddies kick things off commiserating over an increasingly common tragedy for guitarists: losing precious gear in natural disasters. The takeaway? Don’t leave your gear in storage! Take it on the road!
Ross started out in the Los Angeles band Broken Homes, influenced by Chuck Berry, Buddy Holly, and the Beatles, but his big break came when he auditioned for Lenny Kravitz. Kravitz phoned him up the next day to tell him to be at rehearsal that evening. In 1993, they cut one of their biggest hits ever, “Are You Gonna Go My Way?” Ross explains that it came together from a loose, improvisatory jam in the studio—testament to the magic that can be found off-leash during studio time.
Ross recalls his rig for recording the solo, which consisted of just two items: Kravitz’s goldtop Les Paul and a tiny Gibson combo. (No fuzz or drive pedals, sorry Chris.) As Ross remembers, he was going for a Cream-era Clapton sound with the solo, which jumps between pentatonic and pentatonic major scales.
Tune in to learn how he frets and plays the song’s blistering lead bits, plus learn about what amps Ross is leaning on these days.
If you’re able to help, here are some charities aimed at assisting musicians affected by the fires in L.A:
https://guitarcenterfoundation.org
https://www.cciarts.org/relief.html
https://www.musiciansfoundation.org
https://fireaidla.org
https://www.musicares.org
https://www.sweetrelief.org
Credits
Producer: Jason Shadrick
Executive Producers: Brady Sadler and Jake Brennan for Double Elvis
Engineering Support by Matt Tahaney and Matt Beaudion
Video Editor: Addison Sauvan
Graphic Design: Megan Pralle
Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.
Tobias bass guitars, beloved by bass players for nearly half a century, are back with the all-new Tobias Original Collection.
Built for unrivaled articulation, low-end punch, and exceptional ergonomics, the all-new Tobias Original Collection comprises an array of six four and five-string bass models all offered in both right and left-handed orientations. The Tobias range features Classic, Killer B, and Growler models, and each is equipped with high-quality hardware from Babicz and Gotoh, active electronics from Bartolini, and the iconic Tobias asymmetrical neck design. Crafted from the finest tonewoods, Tobias Original Collection bass guitars are now available worldwide on Gibson.com, at the Gibson Garage locations, and at authorized Gibson dealers.
The bass world has been clamoring for the return of the authentic, high-end Tobias basses, and now, Tobias has returned. Combining the look and tone of the finest exotic tonewoods, such as quilted maple, royal paulownia, purpleheart, sapele, walnut, ebony, and wenge, with the feel of the famous Tobias Asym asymmetrical neck and the eye-catching shapes of the perfectly balanced contoured bodies, Tobias basses are attractive in look and exceptional in playing feel. However, their sonic versatility is what makes them so well suited to the needs of modern bassists. The superior tone from the exotic hardwoods, premium hardware, and active Bartolini® pickups and preamps results in basses with the tonal flexibility that today’s players require. Don’t settle for less than a bass that delivers everything you want and need –the look, the feel, and the sound, Tobias.
“I’m thrilled to release Tobias basses, emphasizing the use of exotic woods, ergonomics, and authenticity to the original Tobias basses,” says Aljon Go, Product Development Manager for Tobias, Epiphone, and Kramer. “This revival is a dream come true, blending modern craftsmanship with the timeless essence of Tobias.”
“It’s amazing to see this icon of the bass world return,” adds Andrew Ladner, Brand Manager for Epiphone and Kramer. “These models are truly a bass player’s bass, and true to the DNA that makes Tobias world-class—the ace up the sleeve of bass players around the globe since 1978. Today’s players can find that unique voice and feel that only Tobias can offer.”
For more information, please visit gibson.com.