The driving force, one-man guitar army who can single-handedly turn 2023 into 1987.
Steel: hard metal. Panther: one of the most ferocious animals. Put them together, and you have perhaps the greatest band of the 21st century. And, hot off the release of their latest, most ass-kicking album ever, Steel Panther is re-invading America. While in Nashville, before they played a blistering set for a packed crowd at Marathon Music Works, Panther’s lead guitarist Satchel invited PG’s John Bohlinger to soundcheck to show off his mighty rig.
Brought to you by D’Addario XPND Pedalboard.
Wild Tiger
Satchel’s main axe is his Charvel Satchel signature model in yellow bengal, which features a 25.5"-scale maple fretboard with a neck with a compound radius of 12"-16". This tiger also features two Fishman Fluence humbucker pickups and a Floyd Rose tremolo.
Picks of Destiny
All of his electrics are strung with Dunlop .009–.042 strings, and Satchel rips with Dunlop Tortex Flow .88 picks.
Party Like It's 1987
This custom 1987 Charvel Satchel model, made to commemorate Steel Panther's latest album, has all of the ingredients of the standard Satchel model, but features art by Ron Williams from RonzWorld Guitars. The design includes a graffiti-inspired top and back and strippers pole-dancing on the fretboard.
Falcon Folk
When Satchel wants to go acoustic, he steps up to his Gretsch G5022CWFE-12 Rancher Falcon Jumbo 12-String Acoustic-Electric guitar, which remains on a K&M acoustic guitar performer stand so he can easily switch back to his Charvel when he wants to unleash hell.
Satchel's Pedalboard
Although Satchel spent decades in front of a wall of 4x12 cabinets, he now relies on one tiny Atomic Amplifire 3 Modeler running on the “5051” model for distorted sounds and the “D-Lux” model for clean, which sends the signal in mono to the front-of-house and monitors.
Satchel runs his Charvel into a Sennheiser EW 572 G3 Wireless which sends his face-melting riffs into his TC Electronic Polytune 3 Noir Mini, followed by an All Pedals Steel Panther 1987 Distortion & Delay, a Way Huge Smalls Conspiracy Theory Professional Overdrive, and an MXR Phase 95. A Strymon Ojai provides the juice.
Here's a collection of powered guitar cabs that will help your digital rig feel more alive.
The proliferation of all-digital rigs, from arenas and stadiums to your local pub, proves that it's not a passing fad and that today's tech offers killer tone. This lineup of juiced-up cabs offers a wealth of options at a range of prices.
Atomic CLR Neo MkII
Described as a "reference monitor for the stage," this 500-watt, bi-amplified system contains two drivers, a max peak output of 130 dB, and a wealth of XLR outputs and inputs.
$999 street
DV Mark DV Powered Cab 112/60
The Italian amp gurus' solution for digital rigs is a lightweight cab with a Pearl White NEO speaker and both balanced and unbalanced inputs.
$499 street
Friedman ASC-12
Built around a class-G 500-watt power amp, this proprietary design can work as a monitor, backline, or even as a PA. Around back it has a low-cut control, ground lift, level, and single input and output.
$999 street
ISP Technologies Vector FS8
Tuned for deeper bass response and smoother high end, this compact floor monitor/guitar cabinet houses a 175-watt RMS power amp and dual XLR inputs.
$665 street
Headrush FRFR-112
This dual-input unit is stage-ready with a tilt-back design, XLR output, and a flat response 12" speaker. Bonus: It comes equipped with a contour EQ to suss out any pesky problematic frequencies.
$349 street
Laney LFR-112
This active guitar speaker offers a cab emulated XLR output along with a custom driver and LaVoce compression driver. It also has an aux in for jamming along with your computer.
$649 street
Kemper Power Kabinet
Inside this 1x12 combo sits a 200-watt setup that works exclusively with the company's popular Profiler and Stage units. It also offers 19 speaker imprints and the Celestion designed Kemper Kone, which is also available as a standalone speaker.
$789 street
Tech 21 Power Engine Deuce Deluxe
A 200-watt cab that's designed with a nod to the digital set, with a powerful 3-band EQ and a defeatable tweeter. It comes it at a manageable 29 pounds.
$449 street
Line 6 Powercab 212 Plus
Need a more elaborate setup? This 500-watt, 2x12 is loaded with MIDI, dual outputs and inputs, 12 different onboard speaker emulations, and room for up to 128 of your own impulse responses.
$1,399 street
ValveTrain PowerTrain Studio 20
Going the digital route but still want the glowing glass? This loud and portable cab uses two 6V6 power tubes and a 12AX7 preamp tube. Another great feature is the dead-simple, 1-dial control panel.
$1,199 street
The PG DSM Noisemaker Sub Atomic review.
Recorded direct with a Yamaha BBP34 using PreSonus FireStudio and PreSonus Studio One 3.
Clip 1: Master at 9 o’clock, blend at noon, dry gain at 2 o’clock, tone at 2 o’clock, drive voice in middle position (mid bump), and SUB LPF at 1 Khz
Clip 2: Master at 9 o’clock, blend at 100 percent wet, dry gain at 2 o’clock, tone at 9 o’clock, drive voice in left position (flat), and SUB LPF at 100 Hz
RatingsPros:Sharp, modern tone options. Cons: Sharp, modern tone options—if that’s not your thing. The knobs were a touch loose-feeling. Street: $159 DSM Noisemaker Sub Atomic X-Over CMOS Bass Drive dsmnoisemaker.com | Tones: Ease of Use: Build/Design: Value: |
In the most basic of setups, I need a few things to get by: a tuner, a compressor, and maybe a chorus pedal. After that, I might get to have some real fun by adding more colorful stomps. It’s especially enjoyable when we bassists get to use distortion or overdrive. Some dirt pedals try to keep everyone happy, but what if we are leaning toward a darker place and need something special? For the bass-playing population that lives a little closer to the edge, DSM Noisemaker has offered the Sub Atomic X-Over CMOS Bass Drive.
Red Skies at Night
The Sub Atomic pops out of its cloth bag (Save it for plectrums!) with one of the smallest footprints and the most control options per square inch I have seen on a pedal. I like a small pedal, as long as it does what it is supposed to do. And there is a lot of ground to cover within this little guy, so let’s get started.
First, the top half of the pedal has four dials that illuminate an ominous red when the pedal is engaged. I really like this feature over a simple indicator light, because it leaves no question whatsoever as to the operation mode. The four pots are tone, master, drive gain, and blend, which are pretty self-explanatory. There are also two mini toggles—one a sub-low-pass filter and the other for drive voicing—that are nestled between the dials, which provide some additional EQ options. These are most likely controls you won’t change on the fly that often, since they are really tightly packed into this tiny pedal.
Freq Out
I plugged the Sub Atomic directly into my DAW using a passive Yamaha BBP34, and grabbed a set of Victor headphones to get a sense of the nuances and all the tone options of the pedal. I started with everything at about noon, except the master, which found its home at 10 o’clock to match my volume when the pedal wasn’t engaged, and left the mini toggles flat. I was greeted with a Michael Anthony OD bass vibe reminiscent of the intro from “Running with the Devil.” It’s a great place to start for dirty tone, and the blend setting really helped maintain the bass’ integrity.
Keeping the controls where they were, I moved the mini toggles between their three different frequency settings, and the pedal opened up a bit (or closed off, depending on how you look at it). The low-pass frequency switch moved the bottom around enough to give me a super-modern Swedish-metal tone with weight and bite.
The drive-voicing toggle is useful as well, for it gives the mix-cutting ability we need when we dive into overdriven bass tones. I found it useful when used with the blend control sparingly, keeping just enough dirt while distinctly maintaining the low-end.
Moving around with different settings on the Sub Atomic, I found that the tones border on the higher side of the frequency spectrum overall, giving a lot of buzzy in the fuzzy. There are a lot of variables within the pedal, so finding your voice and pairing it with your amp and bass may take some doing. The pedal’s controls can be dimed, but shouldthey be? For my taste, it was a bit extreme on the high-end with the tone maxed, but everything in the universe has a place, right?
Diming the tone and drive gain, and moving the drive-voicing mini toggle to the mid-bump position got me into some guitar-player tone territory. Try this setting at home with some chords and it can certainly open things up for you musically.
The Verdict
The Sub Atomic is a very focused and specialized distortion pedal that can add some zest to a modern pedalboard. If you want a cutting drive pedal in your life, it may be a place to start. Tube lovers beware: The tones here are not the warmest, but we can all branch out and try some new fuzz cocktails every now and then.