The original Cowboys from Hell bassist reclaims his spine-rattling position as the band's charging piston, while his guitar brother brings his fleet of Wylde Audio gear and a few tone sweeteners from Dimebag Darrell's private stash.
The ’90s was a very peculiar musical decade. It entered with L.A.’s party-time hair metal and concluded with the rise of Nu metal, boy bands, and the real Slim Shady. In between those bookends saw the maturation of Metallica, a cold front moved in from the Pacific Northwest with dark clouds of morose and menace, gangsta rap from the coasts flooded the heartland and suburbs, and punk went pop with big hitters from Green Day, Offspring, and Blink 182. But Pantera proudly flew the flag of metal. Those Cowboys from Hell were Phil Anselmo (vocals), Darrell “Dimebag” Abbott (guitar), Rex Brown (bass), and Vinnie Paul Abbott (drums). They took chances and took no prisoners all while having the time of their lives.
They were originally a glam metal band fronted by Terry Glaze. That lineup put out three albums and tirelessly worked the Texas club circuit from 1981 to 1986. They replaced Glaze with New Orleans cat Phil Anselmo who continued the falsetto tradition but made the band more Priest than Stryper. They released Power Metal in 1988 with latex-laced riffs before trading the Sunset Strip for the mosh pit when they released 1990’s breakthrough marauding Cowboys from Hell. And things completely clicked for them when they chiseled out their core sound with 1992’s Vulgar Display of Power that unleashed power-groove, annihilation anthems “Mouth for War,” “Walk,” “This Love,” and “Fucking Hostile.” That set the tone for the rest of the decade and everyone else in metal was playing catch up.
When Metallica went Load and Reload, they went fiercer and forceful with 1994’s Far Beyond Driven (earning them a No. 1 record on Billboard 200). While Reznor and Manson explored techno, dissonance, and industrial sounds, the four metalheads went darker and harder with down-tuned guitars and even faster tempos creating 1996’s The Great Southern Trendkill. And as Slayer tried Nu metal with Diabolus in Musica, Pantera said hold my Crown Royal and doubled down on their demolition with 2000’s Reinventing the Steel.
Bands can burn out and friendships can become more grating than gratifying. Anselmo and Brown continued exploring their side gig with Down (started in the mid-’90s in between Pantera albums and tours) and the idle Abbott Brothers started Damageplan. A war of words filled magazine covers and airwaves making the divide wider. Then, on December 8th, 2004, while performing with Damageplan at Alrosa Villa in Columbus, Ohio, the unthinkable, agonizing, and gut-wrenching onstage murder of Dimebag occurred. (This horrific date was exactly 24 years after the shocking loss of John Lennon.) And in 2018 his brother Vinnie Paul succumbed to coronary artery disease. The idea of Pantera ever seeing the stage, in any form, seemed impossible.
But remaining members Rex Brown and Phil Anselmo tossed around the idea of finding friends to fill in for the Abbott brothers. There are indications they had a list, but anyone who knew anything about Pantera, and especially Dime, would bet their last dollar that Zakk Wylde was the only right option. And Charlie Benante of Anthrax made so many cameos in Pantera’s collection of Vulgar Videos home movies that he was the prime candidate for Vinnie Paul’s throne.
Brown has gone through so much gear. He’s lost amps and donated basses to charity. He’s fostered many fruitful friendships with companies that’s resulted in signature wares for war. His latest partnership has him riding high on a pair of namesake Thunderbirds dressed in black and gold. He still tours with old Spectors who feel like home (if home was a thunderstorm). He’s got a proper pedalboard and rack gear that’s been routed through a RJM switcher (first time ever). And he and tech Bobby Landgraf (also guitar player in Honky and Down for Down IV – Part II) detail the whole chain of tonal command. Then we have a blast chatting with Zakk Wylde who covers his toolbox of Warhammers and Master 100 heads. He ponders what it must’ve been like to have been Eddie Van Halen or Randy Rhoads who toured with their iconic instruments and not having any backups! And then his longtime tech Stephen Murillo goes over his rack gear that includes three pieces from Dimebag Darrell’s original Pantera rig.
Rattle and Shake
In recent years Rex Brown has partnered up with Gibson and two years ago saw his first signature Thunderbird take flight. It has a mahogany body, a mahogany neck (with set construction), rosewood fretboard, Hipshot Mini-clovers with Drop D Xtender, Graph Tech nut, and Gibson’s Rexbucker Thunderbird humbuckers. His touring models feature a set of EMG X active pickups for more output and attack. This one (and other 4-strings) ride with Ernie Ball 2733 Hybrid Slinky Cobalt Electric Bass strings.
Thunder Buddy
Here’s a thriftier way to rumble like Rex with his Epiphone signature Thunderbird. It has a mahogany body, 9-piece maple-and-walnut neck, Indian laurel fretboard, brass nut, Babicz FCH 3-Point bridge, and a set of Epiphone ProBucker 760 Bass humbuckers that Rex said remind him of the Bicentennial Thunderbird thumpers.
Spector Twins
This pair of ebony and ivory Spectors—one of which has been clobbering concertgoers for over 15 years. The one on the left is a 2008 Euro 4 what Rex calls “Mother Glory,” and it’s the one he always goes back to. It was originally painted white, but he darkened its exterior and brandished it in gold.
The other Spector is 2023 USA NS-5 in black-and-white gloss finish that is his “baby” and he “loves it because he just can’t beat the fucking sound of it. It just won’t go away no matter what.”
Both have EMG X pickups—the Euro 4 has the PJX Ceramic PJ Bass set and the USA NS-5 has the EMG 40DCX.
And the 5-string Spector takes Ernie Ball 5-String Slinky Cobalt Bass Strings (.45–.130).
Slugger ‘n’ Chugger
Brown has plugged into as many heads as you can think, but he’s never been happier than when he’s got a Ampeg SVT-4 Pro supporting him.
The Eich T1000 gives life to the Eich Bass Board. Their primary use was when supporting Metallica and Pantera was forced to have a clean stage, but Rex still wanted to feel the earth shake under his legs. He enjoyed the quake enough to implement on their headline run.
These boxes are tucked into the rack and are always on—an Origin Effects BassRig Super Vintage Bass Preamp, an Origin Effects Cali76 Stacked Edition Dual-stage Compressor, a Darkglass NSG Noise Gate Bass, and a Noble Preamp DI.
Lastly, his rack holds utilitarian items like the Shure AD4D Two-channel Digital Wireless Receiver, Radial JX44 V2 Concert Touring Guitar & Amp Signal Manager, and the RJM Effects Gizmo.
Moving Mesas
Rex has been on the lookout for anybody able to recast the Ampeg “fridge” 8x10. He claims Mesa/Boogie cracked the code with these custom Mesa Boogie 8x10 Traditional Powerhouse Cabinets that have custom-voiced Eminence speakers.
Rex Brown's Pedalboard
This clean configuration is the first time Rex Brown has utilized a switching system. His stage board has a Dunlop JCT95 Justin Chancellor Cry Baby Wah, a 2000s Morley Pro Series II Bass Wah, Origin Effects DCX Bass Tone Shaper & Drive, a MXR M287 Sub Octave Bass Fuzz, and a Peterson StroboStomp HD.
The brain of everything in the rack and onstage is the RJM Mastermind GT.
And to help “move mountains,” Rex has a Moog Taurus III.
Thor's Four
Zakk travels with familiar company when touring with Pantera, Zakk Sabbath or Black Label Society. It’s Wylde Audio all the time. This winter 2024 run saw him exclusively run with his Warhammer models. They’re built with a mahogany body, maple tops, 3-piece maple neck, ebony fretboard, a Floyd Rose locking tremolo, and his signature EMG 81/85 pickups. All these beasts have Dunlop DHCN1048 Heavy Core NPS strings (.010–.048).
St. Dime
Here’s a special Warhammer that approximates the iconic lightning-strike, blue-burst “Dean from Hell” that old pal Dimebag Darrell used through Pantera’s heyday. To nail the paint job, he enlisted Matt “Chewy” Dezynski, who painted Dime’s Washburn guitars in the 1990s.
Wylde and Free
Just like in our 2016 Rig Rundown with Zakk, he’s still plugging into his Wylde Audio Master 100 heads with a stereo configuration. He has another Master 100 and an old Marshall JCM800 on deck. All the heads are routed into his Wylde Audio 4x12s that are all loaded with Z-Dub’s Electro-Voice EVM12L Black Label Zakk Wylde 300W speakers.
Dime's Delights
Dimebag Darrell’s right-hand man and tonal technician Grady Champion was on the tour and brought some of his old friend’s secret sauce. Here you’ll see fixtures in Dime’s live and studio sound that include an Aphex Aural Exciter Type C2 Model 104 with Big Bottom, MXR M126 Flanger/Doubler, and a Rocktron Hush Guitar Silencer.
Zakk Wylde's Pedalboard
Out front Zakk sees nothing but Dunlop bullseyes. His signature arsenal of effects seen here include a MXR Wylde Audio Overdrive, a MXR Wylde Audio Phase, a Wylde Audio Cry Baby wah, and a Dunlop ZW357 Zakk Wylde Signature Rotovibe. The lone box that isn’t branded Wylde is a standard fare MXR Carbon Copy.
His offstage rack is home to a MXR Smart Gate and a MXR Wylde Audio Chorus (that’s always on). Both are powered by a Voodoo Lab Pedal Power 3 Plus. Another drawer holds Radial BigShot I/O True-bypass Instrument Selector, Lehle Little Dual II Amp Switcher, and a Radial BigShot EFX Effects Loop Switcher.
Gibson Rex Brown Thunderbird Signature Bass Ebony
Epiphone Rex Brown Thunderbird Bass
Spector Bantam 5 Bass
Spector Euro 4
EMG PJX Set Active Ceramic PJ Bass Pickup Set Black
Ampeg SVT 4-Pro
Dunlop JCT95 Justin Chancellor Cry Baby Wah Pedal
Origin Effects BassRig Super Vintage Bass Preamp Pedal
Origin Effects Cali76 Stacked Edition Dual-stage Compressor Pedal
Darkglass NSG Noise Gate Bass Pedal
Origin Effects DCX Bass Tone Shaper & Drive Pedal
MXR M287 Sub Octave Bass Fuzz Pedal
MXR Carbon Copy
Electro-Voice EVM12L Black Label Zakk Wylde Signature 12-inch 300-watt Guitar Speaker - 8 Ohms
EMG ZW Zakk Wylde Active Signature Humbucker 2-piece Pickup Set - Black
MXR Wylde Audio Overdrive Pedal
MXR Wylde Audio Phase Pedal
MXR Wylde Audio Chorus Pedal
Dunlop DHCN1048 Heavy Core NPS Electric Guitar Strings - .010-.048 Heavy
Lehle Little Dual II Amp Switcher
Radial BigShot I/O True-bypass Instrument Selector
Radial BigShot EFX Effects Loop Switcher
Roland JC-120 Jazz Chorus 2 x 12-inch 120-watt Stereo Combo Amp
MXR M135 Smart Gate Pedal
Voodoo Lab Pedal Power 3 High Current 8-output Isolated Power Supply
Shure AD4D Two-channel Digital Wireless Receiver
Radial JX44 V2 Concert Touring Guitar & Amp Signal Manager
Ernie Ball 2733 Hybrid Slinky Cobalt Electric Bass Guitar Strings - .045-.105
Ernie Ball 5 String Slinky Cobalt Bass Strings
Funky custom Js and punchy Ps help this low-end maven earn gigs and nail tones from Motown to Miley and all points in between.
The Musician’s Institute grad—who’s backed up the likes of Miley Cyrus, Fat Joe, Ty Dollar Sign, Dallas Austin, Remy Ma, Aussie Troye Sivan, and (normally) touring with Panic at the Disco—bassist Nicole Row carved out some time just before releasing her debut solo single “Headspace,” to virtually welcome PG’s Chris Kies into her Cali tone retreat. In this Rig Rundown, she goes through her stable of Ps, Js, and custom basses, details how the neck profile dictated her connection to the Jazz model, and details her powerful pedalboard that amps up the snarl, bite, and oomph.
Possibly Nicole’s freshest bass is this custom Marco Bass Guitars TFL 4 model that she scored during quarantine and has yet to gig with it. While luthier Marco Cortes does have base models he builds off, he doesn’t produce the same instrument twice so some notable highlights on this model are the handwound single-coils, 34.5" scale, maple neck and fretboard with large block inlays, and its relic’d forest green finish. She plays exclusively with her fingers and uses Thomastik-Infeld strings in 4- or 5-string sets.
“If it’s my choice and my sound, it’s this bass.” Nicole’s sweet baby is this 1990s Fender Marcus Miller Signature Jazz Bass outfitted with an onboard Sadowsky preamp that “bumps and is really funky and bright” (probably why she only plays it in active mode). She’s owned this one the longest so she feels most comfortable playing when it’s in her hands making it her fly bass, her session bass, and her show bass.
“This bass would sit well with Vulfpeck because it’s bright and excels at staccato funky parts,” says Row about the above Fender American Performer Jazz Bass in the popping satin surf green.
Here is Nicole’s contemporary Fender P that’s been upgraded with a set of passive Bartolini P-bass pickups.
If you’ve seen Nicole Row onstage supporting Brandon Urie and the rest of Panic at the Disco, you’ve seen her thumping on this Fender American Elite Jazz 5-string. “I’ve started to really rely on it with Panic because it cut through (the mix) and has more high range than most of my basses.”
Nicole met luthier L. Ellis Hahn at NAMM while she was still apprenticing under bass-building legend Roger Sadowsky. She’s since navigated her own career and started designing under the L.E.H. Guitars banner. So far she has one model (available in 4- or 5-string) called the Offset and features a 34" scale, 21 frets, a weight-reduced body with chambers towards the neck for improved balance, a Nordstrand 3-band preamp custom wired to “boost only” with graphic fader EQ, and Nordstrand BigRig5 (bridge) and NP5 (neck) pickups.
Typically, on tour with Panic, Nicole would be rocking the 1000-watt Eich T-1000, but for at-home (and most non-arena gigs) she’s happy playing the above T-500.
Again, on tour she cranks her Eich heads through cabs stacked with 10" and 15" speakers, but for home jams like this Rundown, she’s been bonding with their 112XS cab outfitted with a ceramic speaker.
By bass standards, this is a massive board! However, these half-dozen pedals allow Nicole to cover all her bases (pun intended) for any gig, session, or audition. For her Panic days, two of her most-kicked pedals are the Aguilar Fuzzistor and Darkglass Vintage Microtubes for band’s nasty, snarling indie-rock anthems. She uses the EBS OctaBass for its lower-voiced grumbles and when stacked with other pedals can mimic a vintage synth. For silkier, underwater tones, she’ll engage the EBS DPhaser and when it’s popping off in funkytown she’ll hit the MXR Bass Envelope Filter. And at the behest of her bass-playing homies, she recently acquired the Noble Dual Vacuum Tube Preamp/DI Box.
[Updated 1/20/22]
With beefy, splittable ’buckers and a Darkglass pre, this decidedly modern bass also commands cool vintage vibes. The PG Balaguer Monoceros review.
Recorded direct to an Mbox and running with Logic X.
Clip 1: Rear pickup split into single-coil. Bass at 1 o'clock, treble at 11 o'clock, mid flat.
Clip 2: Both pickups equal blend. Bass and treble at 1 o'clock. Midrange at 11 o'clock.
Clip 3: Neck pickup split into single-coil. Pickups 70/30 ratio favoring neck pickup. EQ flat.
RatingsPros:Versatile. Original design. Splittable pickups. Cons: Significant volume difference with pickup split. No passive option. Street: $1,769 street (as tested) Balaguer Monoceros balaguerguitars.com | Tones: Playability: Build/Design: Value: |
Pennsylvania-based Balaguer Guitars is an intriguing company that borrows from designs of the past, but without leaning too heavily on history to create their own niche in the marketplace. The outfit offers three different lines of instruments built in either their China, South Korea, or U.S. facilities, and, impressively, provides loads of customization options through their online configurators. Balaguer also incorporates much of their own in-house-produced hardware and pickup designs—something that seems increasingly uncommon for brands where custom building makes up part of the business. I was admittedly not that familiar with Balaguer before receiving the company’s eye-catching Monoceros bass, but I couldn’t wait to get my hands on this new design in their Select Custom series, built-to-order in their South Korea shop.
Unicorns Are Real!
Monoceros translates to unicorn in Greek, and when I unpacked the bass, the choice of model name became quite clear. The Monoceros undoubtedly has influences not often seen together on the same instrument, but the modern design cues and practical solutions appeared to go hand-in-hand with the subtle nods to history that many players look for.
Once I had the bass in my grip, my impression was that the satin finish on the back of the 5-piece maple/walnut neck is an absolute home run. The Monoceros simply begged to be played right away. I did, however, have to tweak the truss rod somewhat significantly after its transport. Luckily, one of its impressive design features made easy work of it. The truss rod is operated by a wheel located at the base of the neck in a square cutout at what would be the 23rd fret.
Once the truss tweaking was complete, I tuned up with the Balaguer-produced machines, which have an 18:1 ratio and a sleek, minimalistic design. Two other big design features also stood out right away. The first is the neck/body joint, which is rounded off just enough to where it feels quite a bit more comfortable than a traditional block-plate setup.
The second is the very deep cutaway that’s matched with a very short horn. This makes the upper horn appear extra-long, and, in my eyes, it gives the entire instrument the look of an Italian sports car. For players used to traditional body shapes, the design may take some getting used to, but I think it’s a cool move for a trifecta of ease-of-use, brand identity, and balance.
Under the Hood
For electronics, the Monoceros is equipped with the company’s own Marracobucker pickups and a Darkglass Tone Capsule preamp. The 3-band onboard EQ is interestingly positioned in that the treble boost/cut is located down close to the input jack, while the bass boost/cut control resides up by the two volume pots—a reverse from most active basses I’ve played. Regardless, just looking at the double humbuckers and their large pole pieces had me poised to get this racer into pole position and out on the track.
At the Starting Line
I’ve found that some Music Man-style humbuckers can be a little click-y sounding in the highs for my personal taste. The first sounds coming out of the Balaguer with all the controls set flat were reminiscent of a StingRay, but with a smoother top-end and a deeper bottom. The sound is definitely modern, but not too stiff in the low-end. There is still enough looseness present to where one could get through a song where more vintage warmth is needed. But with all the horsepower in the Monoceros at my disposal, it was time to move away from the flat starting point and hear what level of flexibility the bass possessed.
First, I pulled out the push/pull volume control for the bridge pickup to run it in single-coil mode to see if I could get a little more growl out of the instrument. A familiar Jazz bridge-pickup tone was easy to get, and it paired surprisingly well with the huge, humbucker warmth of the front pickup. I then cut the treble control slightly, boosted the bass a click, and reached a fingerstyle tone I’d gladly use for any pop- or Latin-style-leaning gig. The tone was clear, but not too pretty, and had ample amounts of growl while still maintaining a nice fundamental.
Home Base
In my opinion, even the most versatile instrument will have a specific lane where it likes to be driven. In the case of the Monoceros, it is definitely with both the bass and treble controls boosted slightly, the mid control cut a touch, and played slap style. Slapping this bass brought out the tone of the maple in the neck beautifully, and with the two pickups combined in humbucking mode, it delivered an impressive punch in the gut, much like a car accelerating rapidly. The slap tone of the Monoceros is distinctly different from many other basses, and that’s thanks to its vintage punch and personality mixed with modern sweetness in the top end. I think many smooth-jazz slappers would find this tone quite close to a sonic utopia.
But Can It Rock?
For my last test drive with the Monoceros, I split the front pickup to see if it could provide me a convincing P-bass-like sonic footprint while playing with a pick. Splitting the front pickup did result in quite a bit of volume loss from humbucking mode—a little more so than other splittable humbuckers pickups I’ve experienced. With the active EQ untouched and favoring the neck pickup 70/30, this modern bass surprisingly revealed a pretty convincing rock ’n’ roll voice. All that said, I would have liked to have been able to disengage the active circuit in this scenario, which would have been a good asset for pick-style rock as well, but that’s not an option with this bass.
The Verdict
It’s glaringly obvious the Monoceros is a very well-made instrument, from the incredibly smooth and solid neck to the beautiful sparkle grey/black finish. The bass has so many versatile qualities, and I applaud the forward thinking behind the instrument. Between the splittable pickups and the 3-band Darkglass pre, the Monoceros begs to be investigated thoroughly and applied to diverse musical situations. Who doesn’t like a fast car that can also 4-wheel around the countryside?