The Southern blues guitar champion talks his touring routines, custom gear, working with Rick Rubin, and the medicine of music.
Marcus King has already been through the wringer, but he’s on the come-up. His hotly anticipated third LP, Mood Swings, drops this Friday, April 5, and on this episode of Wong Notes, the earnest, honest 28-year old South Carolinian goes deep on his career with Cory Wong.
The two shredders open by swapping notes on how touring has changed post-pandemic. Costs are way up, but they’re managing to make it work. King reveals to Wong that on his upcoming tour, he’s wrangled a few sizeable, must-have creature comforts into the trailers—tune in to find out what King brings on the road.
King walks us through his custom amp and cabinet setups, detailing why he prefers 10" speakers to 12", how he became friends with Orange Amplifiers founder Cliff Cooper, and the family history that led to his signature Gibson Marcus King 1962 ES-345, complete with sideways vibrola.
He and Wong get down to the nitty-gritty, too. Marcus talks about pressure to conform to certain genre communities, his struggles with self-medicating, and how sometimes, music feels like the only medicine we’ve got on hand.
How the Vulfpeck picker travels the funk fantastic—with a compact pedalboard, a two-amp setup, and some classic-style axes.
Theo Katzman plays with a fluency and fire that makes this guitarist, producer, singer, and songwriter an MVP of modern, funk-fueled rock and pop. At a recent gig at Nashville’s Brooklyn Bowl outpost, Katzman—who’s also a member of the formidable Vulfpeck collective—invited PG’s Rig Rundown team to soundcheck, to see the gear that makes his tone sing. And Katzman’s tech, Nick “Turk” Nagurka, provided assistance.
Brought to you by D’Addario XS Strings.
Stripped Strat
Theo Katzman’s No. 1 is a Fender 1962 reissue that he’s had since he was 16. He stripped the Strat’s finish down to the bare wood, and then added an Ilitch Back Plate Hum Canceling system, which takes the noise out of the stock single-coil pickups. The Strat stays strung with D’Addario NYXL .010 sets. When Katzman plays with a pick, he uses Strum-N-Comfort SNC-ST/EXH/6 Sharktooth 1.5 mm Heavy Pearl Celluloids.
Hole-y Moley!
Katzman’s Tele is an $800 parts guitar with TV Jones pickups that he purchased on Reverb. It lives in open Eb and also has D’Addario NYXL .010s.
Black Hat Strat
This Japan-built ’62 reissue Strat has an oddball headstock, with what looks like black epoxy or resin covering most of what’s at the top of its Mike Cornwall neck. It’s tuned in open D and is used primarily for slide. The stings? Yep, D’Addario NYXL .010s.
Princeton Grad
Katzman uses two amps, sending a dry signal to his Benson Nathan Junior and a wet signal to his 1968 Fender Princeton Reverb loaded with a Celestion Greenback 12. Both amps face 90 degrees offstage, to prevent hitting the front row with a laser beam of awesome. The Princeton gets a Beyerdynamic M88, which complements the punchy midrange of the amp with a healthy proximity effect and rounds the top end out a bit.
Benson, Benson, Benson
The Benson has a bit more grind and a more controlled tone. He uses a Sennheiser 906 for a dry, clear sound with minimal proximity effect. Both amps feed into the in-ear-monitor mix, hard panned left and right. Since there’s some degree of modulation from the pedalboard, that helps Katzman enjoy a sense of space in his sound. The front-of-house mix typically uses the Benson, too, since it has a more refined sound.
Theo Katzman's Pedalboard
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Soulive, Lettuce, Tedeschi Trucks, and most recently, Stanton Moore and Branford Marsalis—that's a short list of some of the acts Eric Krasno plays and has played with throughout his career. From one funk guitarist to another, Cory sits down with Eric to talk what it means to play the right amount of notes when jamming, what it takes for Eric to absorb and learn so many different genres, and the impact the jam band community has on its musicians. Thanks for listening to this season of Wong Notes, and be sure to catch the next!