![Rig Rundown: Eric Gales [2023]](https://www.premierguitar.com/media-library/rig-rundown-eric-gales-2023.jpg?id=33375134&width=1245&height=700&quality=85&coordinates=0%2C0%2C0%2C0)
Eric Gales is back again. Since last chatting with John Bohlinger in 2017, the blues maestro’s rig has transitioned to include more signature Raw Dawg gear pieces—including pedals, amps, and, of course, his signature Magneto guitars. Just last year, the lefty slinger released the Grammy-nominated, Crown, which features collabs with his pal Joe Bonamassa. Gales was touring in support of that record when he rolled through Nashville.
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Eric Gales' Guitars
For over a decade, Magneto Guitars has collaborated with Gales on his signature guitars, and he tours with a pair of them. This Magneto Sonnet RawDawg III features a basswood body, roasted maple neck, rosewood fingerboard, a righthanded Gotoh tremolo (flipped, naturally) and tuners. It’s loaded with a set of Magneto Metro-Poles EG1 pickups, and a gold-mirror pickguard keeps things flashy.
Gales’ Sonnet RawDawg II—one of his longtime standbys for both stage and studio—is outfitted with an alder body, maple neck and fingerboard, and Lollar S-style pickups. Gales strings both signature guitars with Dunlop .010–.046 strings.
Once again, Gales relies upon his signature gear for his amp needs. When he and DV Mark designed his Raw Dawg EG 250-watt head, they decided upon a one-channel design with a tube preamp and solid-state power amp to achieve a super-clean tone, which is delivered to a pair of DV Mark DV Gold 212V 2x12 Vertical cabinets.
Eric Gales' Pedalboard
After leaving his guitar, Gales’ signal hits a Shure GLXD6+ Digital Wireless and goes straight into a pair of expression-controlled pedals—a Dunlop Bob Bradshaw-designed CAE wah with a gold-plated enclosure and a DigiTech Whammy. Then, he heats things up with a host of drive units: an E.W.S. Eric Gales Signature Brute Drive, and MXR Eric Gales Signature Raw Dawg (which includes the image of Gales’ late pitbull), a Mojo Hand FX Colossus Fuzz, and an MXR Hendrix Octavio Fuzz. Those hit a lone always-on delay— a Tech 21 Boost DLA—and a groove-filled Boss Loop Station RC-5.
- 9VDC or 18VDC Operating Power Options
- Hi-Gain and Normal (Clean Boost) Modes
- Volume, Gain, Bass, Mid, Treble and Frequency Controls
- Bass frequency toggle adjustments 40Hz or 80Hz
- Treble frequency toggle adjustments 4HKz or 8HKz
- Frequency adjustment 250Hz to 3KHz with +-10db Mid Boost adjustment
- Normal or Padded operating mode
- True Bypass
- External Power Source: 9VDC negative-tip
$168 street
EWS Effects announces the newly updated EWS Bass Mid Control 2. The new BMC2 introduces a new gain boost function that provides +10db of gain at the input stage. Working in tandem, the Frequency adjustment gives the player control of the frequency range between160Hz to 2.5KHZ. While the Middle control allows the user to boost or cut those frequencies by +-12db. The new BMC2 can also operate at 9VDC or 18VDC by simple adjusting an internal dipswitch.
Features:
- 9VDC or 18VDC Operating Power Options
- Gain Boost Mode
- Volume, Mid and Frequency Controls
- Frequency adjustments 160HKz to 2.5KHz
- Frequency adjustment 250Hz to 3KHz with +-10db Mid Boost adjustment
- True Bypass
- External Power Source: 9VDC negative-tip
$144 street
For more information:
EWS
The Little Fuzzy Drive packs a lot into its board-friendly package: A fat-/regular-mode toggle, a standard-sized gain knob, and mini pots for volume and tone—and there’s still space for a 9V battery. There’s a ton of dB and op-amp-driven fuzz on tap, too. Even at lower fuzz settings, unity gain is just a tad above the volume knob’s minimum setting. Fat mode adds a gritty midrange bump, and the tone control can add a lot of clarity in its upper throw.
If you like spitty, semi-unpredictable fuzz, LFD might feel a bit conventional, but classic rockers will dig the bristling articulation at low- to medium-gain settings, and wailers will appreciate the quasi-octave effect and endlessly sustaining, classic-metal mayhem at higher gain settings. Lots of in-between flavors, and even a little fizz, are available via your guitar’s volume knob. The LFD is really responsive to dynamics, too, provided the gain isn’t too raging.
Test Gear: Squier Classic Vibe ’50s Telecaster with Nordstrand NVT A3 pickups, Schecter PT Fastback II B, Jaguar HC50 and Goodsell Valpreaux 21 amps
Ratings
Pros:
Lots of flexibility in a compact box. Excellent clarity at moderate settings.
Cons:
Leans toward the conventional end of the fuzz spectrum.
Street:
$130
EWS Little Fuzzy Drive
ews-us.com
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