![Rig Rundown: The War on Drugs [2022]](https://www.premierguitar.com/media-library/rig-rundown-the-war-on-drugs-2022.jpg?id=29981353&width=1245&height=700&quality=85&coordinates=0%2C0%2C0%2C0)
For nearly two decades and across five albums, The War on Drugs’ founder and frontman Adam Granduciel has narrated our complex modern lives while his band has scored our dreams.
The captivating moods of their music, much like us, morph from dense melancholy to saturated, swirling madness and everywhere in between. Granduciel often layers his Springsteen-meets-Young proletariat prose atop a post-rock soundscape, but the heartbeat of their impressive, expansive live shows is their gear and how it is implemented.
“I could play the whole tour with two or maybe three guitars—a White Falcon, Strat, and maybe a Jazzmaster—but I bring all these out just for fun,” he says with a laugh as he considers his trove of axes.
So, let’s have some fun already! Before a full evening of The War on Drugs’ jams in support of 2021’s I Don’t Live Here Anymore, PG was invited to Nashville’s historic Ryman Auditorium. We covered Granduciel’s growing guitar collection, got the skinny on how Jerry Garcia’s monstrous setup played into the bandleader’s theatre rig, and we took in a cockpit view of his stompbox squadron full of tone ticklers, sizzlers, and wigglers. In addition, bassist David Hartley showed off a trio of Ps, an armada of Ampegs, and demo’d a fuzz that has ended his quest for razing tones.
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Keeping It in the Family
If you’re a fan of Rig Rundowns or Kurt Vile & the Violators, you’ve already seen this Strat. The above Fender American Vintage ’57 reissue was once owned by Jesse Trbovich, who’s flanked Vile for years. Trbovich landed a true-blue ’70s Olympic white Strat and needed to unload this to make room. Granduciel quickly raised his hand as a landing spot because he really enjoyed how comfortably the neck played. And since bonding with it, he likes its low-output single-coils because he can “juice it with pedals.” (It’s worth noting that Trbovich put in a Seymour Duncan Antiquity II Strat Surfer Series in the middle position, allowing him to have hum-canceling operation in the second and fourth position.) All of Granduciel’s electrics take Ernie Ball 2220 Power Slinkys (.011–.048).
It’s the One
“When this thing is in my hands, I can react with it, and it becomes this whole other animal. It can be unwieldy, but this guitar plugged into a cranked Princeton or small tweed sounds incredible,” allows Granduciel. So, as you can imagine, this 1969 Gibson SG is Adam’s right-hand when it comes to recording, but, as he explains later in the video, it doesn’t coexist pleasantly with his live setup. He scooped this gem at Rivington Guitars in New York City.
Story Time
This SG’s headstock has a library of tales it is sitting on.
Flip a Coin
Granduciel had lusted after this vintage offset for weeks when seeing it listed on Reverb by Chelsea Guitars. The listing was removed and he thought that it was gone forever. A few months later, he was in NYC and decided to stop into the shop and, low and behold, the sunburst Jazzmaster was on their bench in pieces. Apparently, the original buyer from the Reverb listing was after a birth-year model (1964, as listed on the Reverb page), but when he removed the neck its pocket revealed a 1963 date. He traded in the guitar for a proper ’64 and, fatefully, Granduciel didn’t let a second pass before offering to buy it. Alongside the SG, this is another heavy hitter for recording.
Down Under with Terry
During a 2018 tour of Australia, Granduciel scored this 1966 Fender Jazzmaster that looks swanky with a matching black headstock. He claims the rhythm circuit in this one “sounds killer,” while the lead circuit is “super bright and used on ‘Occasional Rain.’” In addition to being a remarkable instrument, he loves that it reminds him of a short span of time that included a wonderful tour of Down Under, earning a Grammy for Best Rock Album, and the Philadelphia Eagles winning the Super Bowl.
Checked Past
Cracks aren’t meant to be beautiful, especially on guitars, but looking at the ’66’s backside reveals a twisted thumbprint.
Fly, Firebird Fly
This 1965 non-reverse Firebird was upgraded by its previous owner with a set of Lollar P-90s. If you recall the last Rundown with TWOD, Granduciel added a Bigsby, but that has since been removed.
Ol’ Reliable
This Fender American Vintage ’65 Jazzmaster has been a dependable dynamo for Adam. He prefers it because he knows what he’s going to get sonically and he can throw it around without worry. The newer pickups offer a snarlier tone, so it gets used for songs like “Pain,” and the top-end sear helps him cut through the seven-piece live band.
Hummingbird Season
This new-ish Gibson Hummingbird gets busted out for C# tunes and features a LR Baggs M1 soundhole pickup.
Bastion of Tone
Not quite the famed Wall of Sound procured by the Dead and audio engineer Owsley “Bear” Stanley, but Granduciel’s evolving setup is heading in that direction.
Alembic Ace
Since our last Rundown, Adam has ditched the Hiwatts (although he admits to enjoying that era of TWOD) for the Alembic F-2B Stereo Preamp that was used by Jerry Garcia and David Gilmour. He describes its circuity as mimicking the front end of a Fender Dual Showman. “There’s just so much clean headroom and they’re so creamy. And I don’t know what it is, but single-coils and P-90s just come to life here in a way that other amps don’t, so maybe that’s why Jerry and David used them so much.” The Mesa/Boogie Stereo Simul-Class 295 powers the Alembic. He does run a direct line signal from the F-2B to FOH for a clean DI option.
Take a Guess
In the video, Granduciel challenged me to guess how many speakers are in the oversized cab, and I said four. Seemed logical but, as he quickly pointed out, the Marshall 2041 Lead Organ has only a pair of Celestion (pre-rola) 12" speakers. The Alembic runs through this pillar of power.
Fender Firepower
The other side of Adam’s grand equation is a 1960s Fender Bandmaster head that hits a Marshall 1960BV 4x12.
The Swart Solution
As we alluded earlier, his beloved 1969 SG doesn’t jive with his Alembic-Fender setup, so he incorporates its humbuckers into his live rig by plugging into the 5W Swart STR-Tremolo. The SG and Swart typically dance for “Thinking of a Place,” but Granduciel admits to kicking it on with the Fenders during the heat of battle and treating it like a tremolo pedal for parts of “Pressure” and other jams. To the right of the Swart you’ll notice a pair of Rockman Tom Scholz (yeah, the Boston legend) Power Soak attenuators throttling the Alembic and Fender.
Keeping Time in the Loop
The band uses this AKAI Professional MPC Live II for additional drum machines for the show.
User Input
They are harnessed by four Boss FV-500L Foot Volume Pedals controlled by Adam that allow him to bring the samples into the room mix. Additionally, the band syncs their modulation to it, so everyone is locked in. (The MPC clocks or syncs the pulsing of the tremolo for the band. Adam uses a Lightfoot Labs Goatkeeper 2, while bassist David Hartley uses a Malekko Goatkeeper.)
Horseshoe of Madness
Here’s a crow’s-nest view of Adam Granduciel’s massive pedal playground.
Bradshaw’s Boardroom
Most of what Adam does with his feet is simplified by this Custom Audio Electronics R-ST 24 + 2x PSS MIDI controller.
The Fun Begins
Here’s one of the sections of Granduciel’s expanding pedalboard that includes a Wren and Cuff Tri Pie 70, a MXR/Custom Audio Electronics Boost/Line Driver, an Ernie Ball Expression Tremolo, anElectro-Harmonix 1440 Stereo Looper, a Lightfoot Labs Goatkeeper 2, a Strymon TimeLine, a Boss DC-3 Digital Dimension, and a Morley ABC Pro (for switching amps). A Boss TU-3s Chromatic Tuner keeps his guitars in check.
To the Moon, Adam, to the Moon!
Here’s the meat and potatoes of Granduciel’s spreading stomp setup: (top left) a Boss FT-2 Dynamic Filter, another MXR/Custom Audio Electronics Boost/Line Driver, DigiTech Hardwire RV-7 Stereo Reverb, ADA Flanger, JHS Bun Runner, J. Rockett Audio Designs Archer, MXR Flanger, Moutainking Electronics Loud Box, Crowther Audio Prunes & Custard, a Fulltone OCD, and a trifecta of Eventides that rest on the right side—a Space, TimeFactor, and H9. Everything gets current by either a MXR Custom Audio Electronics MC403 Power System or the Eventide PowerMax.
Clovis the Rough Rider
At first glance, you’d probably mistake this for a ’60s or ’70s Fender P, but as bassist David Hartley attests, this is a 2002 Fender Precision named Clovis that he acquired brand new almost two decades ago. Part of Clovis’ charm for Hartley is that it’s the lightest P he’s ever held, making their “Evening With” shows a little easier on the back. It’s stock aside from him swapping out the standard anodized gold pickguard for the tortoiseshell. He uses La Bella 760FS Deep Talkin’ Bass Flats (.045–.105).
Jam Like Jamerson
Another 4-string that does a lot of heavy lifting for Hartley is this 1983 Fender Fullerton ’62 Reissue Precision Bass. While this one isn’t as light as the previous P, he does love how much it sustains.
Find the Note
And occasionally you’ll see Hartley put down all the guardrails and dance with this Fender Tony Franklin Fretless Precision Bass. The connection with this one came through when he heard how much vocal tonality it has. It’s a highly expressive instrument.
Ampeg Assault
The Ps come to life thanks to this boulder of bass tone: a pair of Ampeg Heritage 50th Anniversary SVT amps that hit an Ampeg Heritage SVT-810AV. The SVT on the left is a backup and Hartley plugs into the normal channels.
Simple but Not
Prior to this run, Hartley toyed with the idea of just plugging his Ps into a DI and his Ampeg. Clearly, that plan changed and he’s probably having more fun because of it. His stomp station contains a pair of Boss GE-7 Equalizers (one to help Clovis pop a bit more and the other helps brighten up the ambient drone of the Gamechanger), an Eventide H9, a Gamechanger Audio Plus Sustain Pedal, a Mountainking Electronics Megalith, a Malekko Goatkeeper, a Keeley Super Mod Workstation, and a MXR Phase 90. A Boss TU-3 Chromatic Tuner keeps his Ps sounding right.
How do we know? Easy. Our YouTube channel (youtube.com/premierguitar)—where we post our weekly Rig Rundown videos after debuting them on premierguitar.com—has 72 million views. If we had a Mickey D’s-style sign over PG headquarters, we’d have to update it almost as often as Ronald does—“Over XX million served.” Of course, you click to see all of the gear. But of all the cool stuff there, the stomps are the easiest for the average gear junky to scrimp and save for.
In years past, we’ve talked to everyone from Steve Vai to Joe Satriani, Josh Klinghoffer, Dan Auerbach, Nick Zinner, the dudes from Mastodon, Kenny Wayne Shepherd, John Scofield, Zach Myers, and hundreds more. But enough about those. We’re here to talk about the latest batch o’ boards. So dig in, lust away, and then go watch the vids to figure out how these great players make these boxes earn their keep.
The War on Drugs’ Adam Granduciel
A longtime lover of the stomp, Adam Granduciel of psych-rock outfit the War on Drugs recently took his board to the next level and employed Bob Bradshaw to bring his pedal visions to life with a loop-based setup. The command center of the rig is a Custom Audio Electronics RS-T MIDI Foot Controller that configures selections from his other pedalboard. Next to the RS-T is a Custom Audio Electronics Line Driver (which feeds his Fender ’65 Princeton Reverb reissue), a Boss TU-3 tuner, and an Ernie Ball volume pedal.
The pedalboard with all the gear being controlled by MIDI includes a JHS Bun Runner, a Wren and Cuff Tall Font Russian, a Mountainking Electronics Loud Box, a Blackstone Appliances MOSFET Overdrive, a vintage MXR Flanger, a Moog Minifooger Tremolo, a vintage Electra Phase Shifter, a Wren and Cuff Phat Phuk, a Hardwire DL-8 Delay/Looper, a Hardwire RV-7 Stereo Reverb, an Auralux King Trem, an Ibanez Echo Shifter, and two vintage Electro-Harmonix Memory Man Delays—one of which sits on the floor next to the board, while the other resides under a CAE Boost/Overdrive.
Bring Me the Horizon’s Lee Malia
Lee Malia from British metalcore quintet Bring Me the Horizon routes his Gibson and Epiphone guitars into a Bedford Audio JB1 Junction Box/Line Receiver (lower right), a Boss NS-2 Noise Suppressor, and a Free the Tone ARC-03 Audio Controller loop switcher that lets him bring desired effects in and out of his signal chain. His stompboxes include a J Rockett Audio Designs Chicken Soup Overdrive, a Fulltone OCD, a Boss DD-20 Giga Delay, a Boss DD-7 Digital Delay (paired with a Boss FS-5U tap-tempo footswitch), a Boss RV-5 Digital Reverb, and an Electro-Harmonix Cathedral Stereo Reverb. He checks his tuning with a TC Electronic PolyTune, and all the pedalboard gear is powered by an MXR Custom Audio Electronics MC403 Power System.
Brent Mason
Death from Above 1979’s Jesse Keeler
Larry Carlton
Jazz-fusion legend Larry Carlton—aka Mr. 335—has two main pedalboards, both built by his longtime friend and guitar tech, Rick Wheeler. Carlton’s fly-date board starts with a Korg Pitchblack tuner. The signal then travels to a modified Sho-Bud volume pedal, followed by a Dunlop 95Q Cry Baby Wah. Next the signal goes to a Tanabe Zenkudo Overdrive, a Visual Sound Liquid Chorus, a TC Electronic Hall of Fame Reverb, and a Providence Chrono Delay.
Carlton’s larger pedalboard works in conjunction with three rack units (not shown)—a Roland SDE-1000 digital delay, a TC Electronic TC 1210, and a Lexicon MX400 that Carlton uses for reverb. The board starts with two Hilton volume pedals—one for electric and one for acoustic—each of which has an output to send a signal to the Korg DTR-2000 tuner (top). The lead from the electric volume pedal then runs into a Dunlop 95Q Cry Baby Wah and to Carlton’s amp. The pedalboard also has a chorus on/off switch (for the TC 1210), a tap-tempo trigger (for the Roland), an A/B switch to select electric or acoustic guitar, and a channel switcher for Carlton’s Bludotone amp.
Pixies’ Charles Thompson and Joey Santiago
Pixies frontman Charles Thompson (aka Frank Black, aka Black Francis) keeps his pedalboard fairly spare. He stays in tune with a Boss TU-2, uses a Klon Centaur for overdrive, and gets some silicon-fuzz action with a 1-knob Duh pedal built by none other than Premier Guitar senior editor Joe Gore. A Boss FS-5L activates the tremolo circuit from Thompson’s Vox AC30. A Voodoo Lab Pedal Power 2 Plus powers his board, and a Lehle Dual SGoS switches between his tuner and his electric and acoustic signal paths—the latter of which uses a Radial J48 active direct box.
Joey Santiago controls his pedals primarily through his GigRig G2 switcher, which enables him to engage various combinations of pedals while keeping those that aren’t being used out of the signal path. His stompboxes include a Boss LS-2 Line Selector, Keeley Compressor (2-knob), Swart Atomic Boost OC44, Boss FZ-2 Hyper Fuzz, Fulltone OCD, Maxon AD9Pro analog delay, Empress Tremolo, a trusty and crusty old DOD FX-17 wah-volume, an Electro-Harmonix Holy Grail Nano, a TC Electronic PolyTune, and a Lehle Dual SGoS for amp switching. Hidden under the top portion of Santiago’s pedalboard are three Moog Moogerfooger pedals—an MF-104M analog delay, an MF-108M Cluster Flux, and an MF-105 MIDI MuRF—all of which are switched by a GigRig QuarterMaster. A Roland EV-5 expression pedal controls different Moog parameters, depending on which is engaged. A Boss FS-6 footswitch controls the Vibrolux’s tremolo. All pedals are powered by a GigRig Modular Power Supply setup.
Third Eye Blind’s Kryz Reid
Dave Phillips at L.A. Sound Design built two rigs for Third Eye Blind’s Kryz Reid—a main, rack-based pedal rig, and a backup pedalboard (shown) with the same pedals but simplified switching and parameter control. The main setup uses a rackmounted RJM Effect Gizmo programmable loop switcher (not shown) controlled by an RJM Mastermind GT MIDI foot controller, an A/B box, two custom Mission Engineering expression pedals, a modified Ernie Ball volume pedal, a Boss TU-2 tuner, and a TC Electronic Ditto Looper. Reid’s signal feeds a Dunlop Cry Baby Rack Wah (controlled by the white Mission pedal), then hits the RJM Effect Gizmo en route to a DigiTech Whammy DT (controlled by the red Mission pedal), a Keeley-modded Boss DS-1, a Way Huge Swollen Pickle, a Keeley 4-Knob Compressor, the Cry Baby Rack Wah’s volume feature (controlled by the modded Ernie Ball volume pedal), a Strymon Mobius (whose parameters can be controlled via the red Mission pedal), a Roger Linn Adrenalinn III, a Strymon TimeLine (also controlled by the red Mission pedal), and a Strymon blueSky Reverberator.
Brand New’s Jesse Lacey and Vincent Accardi
Jesse Lacey, vocalist/guitarist for alt-rock outfit Brand New, did all the wiring and soldering on his pedalboard. When his signal first hits the board, an L.R. Baggs Para Acoustic DI sends a signal to the front of house. Another line runs into a GigRig Pro-14 switching system, which routes the signal to a Crowther Audio Hotcake overdrive, a modded MXR Blue Box, a Fuzzrocious Zuul, a BYOC Large Beaver, a Walrus Audio Voyager, an Old Blood Noise Endeavors Black Fountain, a TC Electronic Corona, a Mr. Black DeluxePlus, a Dr. Scientist Radical Red Reverberator, a Smallsound/Bigsound Buzzz, a Boss DD-6 Digital Delay, and a Boss TU-2 tuner.
Vincent Accardi’s MKS Pedal Pad uses both built-in MKS and Walrus Audio Aetos power supplies to juice a Boss TU-2 tuner, two Boss PS-5 Super Shifters, a Gig-Fx Chopper, a Dunlop Cry Baby from Hell wah, a Catalinbread Dirty Little Secret, a Pro Co RAT, a Marshall ShredMaster, a Boss TR-2 Tremolo, a Boss CH-1 Super Chorus, a Boss PH-3 Phase Shifter, and three delays—an Old Blood Noise Endeavors Black Fountain, a Boss DD-6, and a Boss DD-7.
Jonny Lang
The Gaslight Anthem’s Alex Rosamilia
