The multi-platinum pop-punk band talks about signature guitars and the latest lineup in their never-ending gear swap.

Premier Guitar met with Fall Out Boy’s Patrick Stump, Joe Trohman and their techs Brian Diaz and Josh Newton before their sold-out show at The Woods Amphitheater at Fontanel just outside of Nashville on July 13, 2014.  Each FOB member loyally plays his own signature model, but amps and pedals are in nearly constant rotation.

Patrick Stump’s Gear

Patrick Stump tours with three Gretsch Electromatic CVT Patrick Stump Signature “Stump-O-Matic” guitars strung with Dean Markley NickelSteel Signature Series LTHB .010–.052. These sexy white beauties feature MegaTron pickups, Adjusto-Matic bridge, a killswitch, rotary switch, and a middle pickup blend. Tech Brian Diaz added a Hipshot Xtender tuner and DiMarzio clip guitar straps.
When not on his signature model, Stump plays his black Martin 000CXE acoustic, which utilizes a Fishman Presys + Preamp and Pickup. Amps
Stump currently does it all with an Orange Dual Dark 100W guitar head, channel switching between the dirty A and clean B. He keeps an Orange Dark Terror as a backup, and runs the amps into an Orange PPC212 cabinet loaded with Celestion Vintage 30s. The cab is miked offstage with a Shure KSM32. This signal is combined with a direct signal that runs through a Palmer PGA-04 ADIG-LB to the front of house. Effects
Patrick Stump goes for a fairly clean signal path. His guitar runs into a Shure UR4D wireless, a Whirlwind 4-way rack selector, an Ebtech Hum Eliminator then a Boss AC-3 Acoustic Simulator into the amp. His effects loop chain in the Orange runs into a Boss NS-2 Noise Suppressor and a Boss GE-7 Equalizer that both stay on all the time. Then the signal hits a Boss OC-3 Super Octave and a Boss RV-5 Digital Reverb. The pedals are powered by a T-Rex Fuel Tank Chameleon. Guitar tech Brian Diaz put the rig together and keeps it running.

Pete Wentz’s Gear

Wentz tours with three Squier Pete Wentz Signature Precision Basses, which feature a bat/diamond 12th fret inlay and a single control for volume. Brian Diaz added Hipshot Xtender tuners, DiMarzio clip guitar straps, and Seymour Duncan Quarter Pound pickups.
One of Wentz’s Squiers has a GoPro camera built into the body with the lens mounted through the pickguard to send a live wireless video feed to FOB’s video screens. 

Wentz also uses a Fender Custom Shop Pete Wentz P/J bass featuring a Hipshot Xtender, a Seymour Duncan Quarter Pound P-bass pickup in the neck position, a Seymour Duncan QP J-bass pickup in bridge position, a mother of pearl bat/diamond 12th fret inlay, flamed maple neck, string-through body, and vintage-style “reverse wind” tuners.

Amps and Effects
Wentz plugs his bass into a Shure UR4D wireless that goes into a Tech 21 SansAmp RBI bass preamp that runs directly to the monitors and front of house. The SansAmp’s effects loop runs into a Boss OC-3 Super Octave. This gear lives in the rack that Wentz and Stump share. An abandoned Line 6 POD HD testifies to high gear turnover.

Joe Trohman’s Gear

Trohman tours with four of his Squier Joe Trohman Signature Telecasters—two are tuned standard, two are in dropped-D.
He also has a 1994 American Standard Fender Tele with a DiMarzio Fast Track in the bridge, a True Velvet in the neck, and Fender locking tuners.
When Trohman wants something feedback prone, he goes with his 2013 Fender Starcaster modded with Fender locking tuners.
Speaking of feedback, he also has a Gretsch G3150 Streamliner on the road.
And when he wants something a little more invisible, Trohman grabs his Electrical Guitar Company 2013 custom acrylic T-style with single-coils and Bigsby. Amps
Trohman switches it up between an Orange Thunderverb 200, a Rockerverb 100, or, on the day we interviewed him, a Sunn Model T reissue. Trohman also keeps three cabinet options: an Orange PPC 2x12 and/or a 4x12 cab and/or Marshall model 1990 8x10 cabs (vintage and new custom shop). Effects
Whereas Stump goes for an unaffected tone, Trohman will occasionally build trippy walls of effected sounds. The signal goes from the guitar to a Shure ULXD4Q wireless, Whirlwind MultiSelector PRO then out to the pedalboard that contains: an Ernie Ball VP JR, a Boss TU-3, an EarthQuaker Devices Rainbow Machine, an Ibanez ES2 Echo Shifter delay, and a DigiTech Whammy 5th generation—all powered with a Voodoo Lab Pedal Power 2. This board also has the RJM Mastermind GT/22 on it. The signal comes back to the rack to the Rocktron HUSH Pro and RJM Gizmo loop switcher, which is programmed as follows:
  • Loop 1: Fuzzrocious Rat King
  • Loop 2: Catalinbread Dirty Little Secret
  • Loop 3: Boss OC-3 Super Octave
  • Loop 4: Mr. Black Eterna
  • Loop 5: TC Electronic Hall of Fame Reverb
  • Loop 6: TC Electronic Flashback (slap)
  • Loop 7: Boss DD20 Giga Delay (tape 225 ms)
  • Loop 8: TC Electronic Flashback (tape 666 ms) 
  • Loop 9: MXR EVH Phase 90
  • Loop 10: EHX Stereo Pulsar tremolo
  • Loop 11: ProCo Fat Rat


Iriondo has been a member of the Italian alt-rock outfit Afterhours since 1992. Here he’s playing a custom Epiphone SG Custom at an Afterhours show in 2015.

Photo by Emanuela Bonetti

The Italian maestro talks about the spiritual inspiration he draws from his Basque roots, as well as channeling his endless guitar-tinkering passions into his latest musical project, Buñuel.

Italian guitarist and sonic adventurer Xabier Iriondo has an affinity for the Basque term, metak—which literally means, “pile”—and he often incorporates it into the names of his various projects. His custom-built experimental guitar is the Mahai Metak (or “table pile”). Some of his unconventional musical collaborations also include the term, as in PhonoMetak and PhonoMetak Labs. And Sound Metak was the name of the eclectic shop he ran for about a decade in the early 2000s, which sold everything from boutique guitar pedals to shoes. (Check out his Instagram profile, which, in addition to pictures of his amazing collection of guitars, pedals, and vintage amps, is also a showcase for his impeccable taste in footwear).

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