In just seven years since meeting based on a recommendation, Eric Burton and Adrian Quesada formed the Black Pumas, released two albums, and have already been nominated for seven Grammys. However, this fruitful friendship was almost never developed.
Quesada was enrolled at the University of Texas but flunking out due to his dedication to guitar over textbooks. His parents gave him a proposition: Either stay home in Laredo, or return to Austin without a guitar in hand to focus on studying. He went with option B and headed back for school in Austin—or so his parents thought. Quesada took his remaining book money (about $200) and headed to Ray Hennig’s Heart of Texas, where he snagged a Squier Telecaster Thinline. His parents eventually figured out the switcheroo, but Quesada was determined and hasn’t looked back. (Side note: The family obviously sees and supports his musical talents, and attended Black Pumas’ Ryman show the night before the filming of this Rig Rundown.)
That matador move pulled off by Quesada allowed him to become a longtime fixture in the Austin music scene with bands Brownout, Ocote Soul Sound, Spanish Gold, Echocentrics, and Grupo Fantasma (with whom he played for over 15 years, earning a 2011 Grammy for Best Latin Rock or Alternative Album). He started to explore new ideas that didn’t fit the mold for Grupo, and needed someone to narrate his musical vistas. A friend recommended he link up with Austin newcomer Eric Burton, who traded his busking spot on the Santa Monica pier for the bright lights of Sixth Street. The duo met up, and as the results prove, the rest is history.
Before the Black Pumas’ second headlining show at the Ryman Auditorium in downtown Nashville, bandleader Adrian Quesada, bassist Brendan Bond, and band tech Bryan Wilkinson invited PG’s Chris Kies into the hallowed grounds for a chill conversation about their tonal tools. During our time with the Black Pumas, we learned about Quesada’s love for tremolo (he even included it as a secret weapon in a semi-hollow Jazzmaster), Bond’s fateful trip to the Wilco Loft in Chicago, and why a ’59 ES-125 is Wilkinson’s perfect pairing with Burton’s expressive and emotive voice.Brought to you by D'Addario:
https://ddar.io/wykyk-rr
https://www.daddario.com/XPNDRR
The Custom Shop Cracks the Code
Black Pumas’ 2019 self-titled debut was like a drug—it soothed, it hypnotized, it recalled the past, it burned slow, and it was an addictive listen. It helped the band tally four Grammy nominations. But in addition to all that attention, it caught the collective ear of the Fender Custom Shop squad, who wore it out for months—so much so, that the team built the above Telecaster. Their aim was to create a guitar that nailed Quesada’s tones on the album, and they surprised the Texan with it. He’s been in love ever since, and mentioned that he’s collaborated on two other Teles—having some input on specs and design—but neither sound as stellar as this one. This one-off Tele is a pairing of a ’60s-style T (sunburst finish with a maple fretboard, standard-sized headstock, small pickguard, and barrel knobs), and a ’72 Telecaster Custom (single-coil-and-humbucker pickup configuration). Since acquiring it, this Tele has been Quesada’s main guitar onstage. He puts D’Addario EXL125 XLs (.009 –.046) on all his guitars, and uses Dunlop Tortex picks with custom printed Black Pumas graphics.
Lucky Loaner
The guitar that Quesada used the most prior to Black Pumas was a Gibson ES-446 that marries a 335 with a Les Paul. He loved its woody core tone and its humbuckers’ ability to lasso fuzz in a musical way. He’s retired the steed to the sanctuary of the studio, but stills requires sinewy sounds, so he checked in with Gibson to borrow a 335. They didn’t have one available but gave him this 345, which has proven a dependable sidekick punching in for time onstage and in the studio. Quesada mentions that the Varitone switch is useful for the studio, but he leaves it in position one (bypass) for Black Pumas’ sets.
A Puma and Jaguar Walk Into the Ryman...
And they sell it out two nights in a row! This fresh feline is the result of another partnership between Quesada and the Fender Custom Shop. He wanted another thinline instrument, but already designed a Tele, so he gravitated to the popular offset body style. The alder body with a natural finish is a nod to his first Squier Tele. The pickups are a custom gold-foil (adorned with a coy puma hood) in the bridge and a covered ShawBucker. It features a Fender American Vintage Jazzmaster bridge and tremolo. A striking bound rosewood fretboard with block inlays sits atop a maple neck that is capped with a blacked-out headstock. The 4-bolt neck plate honors Quesada’s Electric Deluxe with the recording space’s logo.
The real magic in this cunning cat is where the Jazzmaster’s rhythm circuit is supposed to reside. In its place is a tremolo circuit because Quesada cooks his tone in that effect like it’s salt and pepper. In 2022, he confessed to PG, “I love everything with tremolo. I put tremolo on everything,” so we should’ve seen this coming. The rocker switch toggles the tremolo on and off, and the two rollers control speed and depth.You're My Boy, Blue!
Adrian adores Fender amps. His Austin-based recording studio is loaded with noteworthy models from the company’s golden years, yet he proudly tours with a Fender Limited Edition Electric Blue ’68 Custom Deluxe Reverb reissue. (It’s worth stating that a proper ’72 silver-panel Deluxe Reverb was in a road case.) The bright tolex covers an otherwise standard circuit, however the stock combo did have a Celestion Creamback in it. But when Quesada’s tech Bryan Wilkinson found and landed the score for his boss off Craigslist, it had been modded with an Electro Voice SRO Alnico 12" speaker. Adrian loved how it sounded, so it stayed in, and he’s been using the combo on tour ever since.
Adrian Quesada's Pedalboard
We’ve established that Quesada lays on some tremolo any time his guitar is plugged in, but another stompbox spice he rarely avoids is reverb. He does acknowledge that amp reverb, especially from Fender combos, is tasty, but having it in a pedal format allows fine-tuning from gig to gig and room to room. Doing the heavy lifting for both effects is the Strymon Flint. (Adrian mentions that he turned Alejandro and Estevan of Hermanos Gutiérrez onto this staple, found on both of their boards.)
The other stomp stalwart has been the Electro-Harmonix Holy Grail that provides a healthy dose of spring reverb. Both ’verbs are engaged for drippy songs like “Fire.” He has a pair of delays: a Line 6 Echo Park used for its tap tempo function, and a Catalinbread Echorec for longer, dreamier repeats. The Boss GE-7 Equalizer works to match the different outputs between his three main instruments. A Catalinbread Belle Epoch preamp/buffer pedal replaced an Xotic EP Booster because it has a second knob for preamp for more detailed contouring.
Any growl or sizzle Quesada needs for his Tele and Jazzmaster, the EarthQuaker Devices Park Fuzz handles it. The Fulltone Clyde Wah Deluxe has stepped in for a different filter sweeper because Adrian digs its full-sounding throw that stays warm from heel to toe. A Jam Pedals Ripple two-stage phaser gets used on a track from Chronicles of a Diamond, and a TC Electronic PolyTune2 Noir keeps his guitars in check.
His second board (bottom) bypasses the amp and was specifically built to play roughly with Quesada’s 345, recreating a guitar-into-console overdrive sound that gets pumped into the onstage monitors and PA. To capture that crackly goodness, he runs the 345 into a combination of pedals including a JHS 3 Series Delay, a JHS Crayon, and an Electro-Harmonix Nano POG. Utility boxes on here—Strymon Ojai, JHS Mini A/B, and TC Electronic PolyTune—handle switching, tuning, and power.
P for B
Black Pumas bassist Brendan Bond had the good fortune to hang out at the Wilco Loft in the Irving Park neighborhood of Chicago. He quickly bonded with an old P bass that preoccupied most of his time in the space. Up to that point, his fingers have mostly danced around newer basses, so the allure of vintage gear never tempted him. That all instantly changed (“It was like I was playing a different instrument,” he commented), and when he landed back in Austin, Texas, he took a car right to Austin Vintage Guitars, where he landed this 1974 Fender Precision bass. It’s been his main sweetheart ever since. He puts D’Addario ECB81 Chromes Flatwounds (.045 –.100) on it, and always plays with his fingers in Black Pumas.
Tube Time
Bond has toured with lightweight, class-D bass amps, but now given the opportunity that his own back doesn’t have to lug the gear, he’s bringing out the big guns in the shape of an all-tube, 6550-powered Fender Super Bassman that hits a matching Bassman 410 Neo cab.
Brendan Bond's Pedalboard
Three pedals get the job done for Bond: an Acme Audio Motown D.I. WB-3 Passive D.I., a JHS Colour Box, and a Boss TU-3 Chromatic Tuner.
A '59, But Not That '59
Black Pumas’ singer/guitarist Eric Burton started his career busking in Santa Monica. He’s always accompanied himself with an acoustic guitar, but as the Black Pumas formed and took off, he needed something louder, which pushed him into the hollowbody and semi-hollowbody realm. His main collaborator has been this 1959 ES-125 that is all original and still has its purring P-90. He uses it for the Pumas’ songs “Colors,” “Stay Gold,” “Fast Car,” and “Tomorrow.” Burton’s guitars take D’Addario NYXL1149 Nickel Wounds (.011 –.049).
Stealth Cat
For songs needing more gas and go, Burton will dance with this stock ES-335.
Regal Prince
This prototype was born from conversations with the Fender Custom Shop, who took inspiration from Eric’s connection with hollow and semi-hollow instruments. The Telecaster Thinline has a few special appointments, including a sparkle-purple finish offset with gold hardware and an anodized gold pickguard, conjuring thoughts of the president of Paisley Park. The other interesting bit is the hot P-90 in the neck position.
Mighty Mate
Burton plugs all his guitars into an off-the-shelf Fender ’65 Princeton Reverb.
Eric Burton's Pedalboard
Burton is the band’s lone wireless member. To accommodate his onstage prowling, tech Bryan Wilkinson uses a Radial JDI passive direct box that takes in the XLR from the audio subsnake wireless rackmount and routes it into the first pedal Boss TU-3 Chromatic Tuner. From there, Burton only has a couple pedals—a DigiTech Mosaic to mimic a 12-string for “OCT 33” and a JHS Colour Box for any required heat. A Strymon Ojai turns everything on.
Shop Black Pumas' Rig
Gibson ES-345
Fender ’68 Custom Deluxe Reverb
Strymon Flint
EHX Holy Grail
Catalinbread Echorec
Boss GE-7 Equalizer
Catalinbread Belle Epoch
EarthQuaker Devices Park Fuzz
Fulltone Clyde Deluxe Wah Pedal
JHS 3 Series Delay
JHS Crayon
Electro-Harmonix Nano POG
Strymon Ojai
JHS Mini A/B
TC Electronic PolyTune
TC Electronic PolyTune 3 Noir Mini Polyphonic Tuning Pedal
D’Addario EXL125 XLs (.009 –.046)
D’Addario ECB81 Chromes Flatwounds (.045 –.100)
Fender Super Bassman
Bassman 410 Neo Cab
Acme Audio Motown DI WB-3 Passive DI Box
JHS Colour Box
Boss TU-3
D’Addario NYXL1149 NYXLs (.011 –.049)
Gibson ES-335
Fender Telecaster Thinline
Fender ’65 Princeton Reverb
Radial JDI Passive Direct Box
DigiTech Mosaic
Since joining alt-rock duo Cairo Knife Fight in 2015, George Pajon Jr. has applied his meticulous gear-tinkering toward creating layered, complex guitar and bass parts for the duo.
That obsession is also a big part of his writing process with Cairo Knife Fight, his duo with New Zealand-based drummer, vocalist, keyboardist, and kindred-tonal-spirit Nick Gaffaney. “When Nick and I decided we were going to start writing, I started stockpiling sounds,” Pajon says. “I am lucky enough to own my own studio, so I hired an engineer to mic my whole rig and then literally nailed down those mics into the floor so they wouldn’t be touched.” As he experiments with pedals, he runs Pro Tools. “If I stumble on something I like, I scream in the mics, ‘This sounds like a chorus,’ or ‘This sounds like a bridge.’ I mark the session, put it into a notepad on my phone, write the number, and then describe what the sound says to me. There are 72 hours of that.”
Once he has ideas and the skeleton of a Cairo Knife Fight song, he goes back to the cave and starts programming, which takes about one week per tune. He also does everything—each nuance, layer, or quirk—with the understanding that he has to be able to duplicate it onstage, and that also informs the design of his ever-evolving and ever-growing rig.
Cairo Knife Fight has been around since 2004, with two full-length albums and a handful of singles to their name. Since Pajon joined in 2015, they’ve released “Churn,” a single which came out earlier this year. “The first songs we wrote, we will release in the coming years,” he says. “We have 22 finished songs.” On “Churn,” Pajon’s guitar burns with intermittent bursts of djent, thrashing rhythm parts, and incisive melodic lines, while decorated with impressively exact, pop-infused vocals by Gaffaney. His playing, at its most torqued, sounds like sonic flashcards quickly overturned in series—disparate tones tail one another, and yet each somehow seems to fit the tune at hand with surprising logic.
Pajon joined the Black Eyed Peas in 1998. It’s his Dick Dale-style riffing and tone sculpting you hear on the pop outfit’s hit, “Pump It.”
Photo by Sterling Hampton
With Cairo Knife Fight, Pajon approaches arranging like a classical composer. His songs do often have verses and choruses that repeat themselves, but he always makes some kind of variation—be that a tonal shift, an additional riff, a harmony, or taking something out—in order to challenge the listener and keep the song moving. “When you listen to ‘Churn’ from beginning to end, the parts never repeat themselves,” he says. “If you really listen to what the guitars are doing, there’s no cut-and-paste on that song. When I record the guitar parts, it’s a full take. When I double the parts, it’s a full take. I believe that when you listen to a song it should be a ride. The beginning should take you to a different place by the time you get to the end. There’s constant movement in the way I approach writing. That’s why I have all those tools.”
Given Pajon’s passion and dedication to those tools, it’s fortunate that he’s also close with amp legend and tonal wizard Dave Friedman. “I sit with Dave and brainstorm,” Pajon says. “I am really a tech nerd, so I create a PowerPoint spreadsheet with the pedals laid out and how I want the signal flow to be. Dave then tells me, ‘There’s no way we can do this, so we’re going to have to invent something to create what you’re trying to do.’”
Pajon’s rig—the one he uses with Cairo Knife Fight—is already in its 17th iteration, and that doesn’t include the refrigerator-sized unit he has that’s loaded with more than 60 pedals (Friedman wired that up, too). For his work with the Black Eyed Peas, he uses a Fractal Axe-Fx amp modeler and effects processor, which he never stops tinkering with. Pajon is the son of Cuban immigrants and came of age as a guitarist in late-’80s Los Angeles. He hung out on the Sunset Strip when hair metal was the rage, and made the shift in the early ’90s when hair abruptly became grunge. His first loves were Black Sabbath and Iron Maiden, but he discovered a broad range of artists and styles thanks to an open-minded uncle who turned him onto the great guitar-centric acts from the ’60s and ’70s, as well as artists like Marvin Gaye, Stevie Wonder, and many others.
With Kiwi drummer Nick Gaffaney, Pajon writes guitar and bass parts that he can perform live, loop, and trigger. The duo doesn’t play to backing tracks—everything is done in the moment.
Photo by Michell Shiers
That deep listening exploration came in handy when he first met the Black Eyed Peas. He was with them in the studio for a one-off session, but that quickly morphed into what’s now a 25-years-and-counting relationship.
“I first joined the Black Eyed Peas in October 1998,” Pajon says. “Will [William James Adams, Jr., better known as will.i.am] asked me to come in and play guitar on a song. He was sampling a rock record, and I said ‘Why are you sampling that?’ He said, ‘It’s cool, why not?’ I said, ‘But you’re going to give away all the publishing to that other band. Let me come up with a part that’s similar to that.’ He said, ‘You can play stuff like this?’ I essentially mimicked that style, and he threw away the sample. Then he was like, ‘Do that again,’ and he would give me directions, ‘Change it here, change that chord there.’ That was our relationship.”
That versatility, as not just a player but a master of feels and tones, played a big part in creating “Pump It,” one of the band’s biggest hits. “We were in Japan on tour,” Pajon says. “Will bought a bunch of CDs and he was listening to Dick Dale’s ‘Misirlou.’ I was one of the first guys in the band who had a mobile recording studio—I had the first [Avid] MBOX. At the time I was signed to EMI as a writer, and I would write with different people all over the world. Will knew I had the studio with me, and we were on the bullet train, and he said, ‘George! I need to use the Pro Tools.’ I gave it to him. He samples that Dick Dale song and creates the song ‘Pump It.’
“Fast forward, and we’re finishing that record, Monkey Business, and during that time, it was common for the label to sync one of the songs with a movie or a TV show or a commercial as promotion for the new album. One of the songs they picked was ‘Pump It.’ They had to get clearance from Dick Dale, and he said ‘no.’ Will calls me and says, ‘We have to rerecord Dick Dale’s part.’ I was like, ‘You want me to recreate that?’ I told him, ‘Call Lon Cohen [of Lon Cohen Backline in L.A.], get the same guitar Dick played and the same amp from that time. I’ll do the research.’ We rented those amps and that guitar and I replayed the whole thing. It’s not a sample. It came out so good. Will’s ears are really fine-tuned and he got the EQ just right. But when you listen to that, it’s me. It’s not Dick Dale. We redid those parts for that commercial. In the end, what got released has all the parts that I created for the commercial.”
Cairo Knife Fight sounds nothing like the Black Eyed Peas. It’s heavy and layered, and sits somewhere between progressive metal and grunge. For Pajon, who tells tales of watching the Mars Volta every night with Fergie and members of Metallica while touring with them in Australia in the early 2000s, it’s the perfect sound.
George Pajon Jr's Gear
Pajon has developed a sophisticated system for testing and cataloging new tones and sounds. He spends his days off playing his pedals on every setting possible, then makes a note of how each setting could be used in the future.
Photo by Michell Shiers
Guitars
- Grosh Retro Classic with Evertune Bridge
- Grosh Retro Classic Vintage TKnaggs Severn X with Floyd Rose
- Fender Custom Shop Lush Closet Classic Telecaster with Evertune Bridge
- PRS SC245 with Evertune Bridge
Amps
- Friedman Dirty Shirley Mini
- Friedman BE-100 Deluxe
- Two Rock Custom Reverb Signature V3
- 3 Monkeys Orangutan
- Custom Morgan GP 70R
- Ronin Audio Research K7 GT4-P88
- Form Factor Audio Bi 1000Di
- Form Factor Audio 1B15L-8 cabinet
Pedalboard 1
- Pigtronix Infinity 3
- Devi Ever FX Ruiner
- HexeFX reVOLVER DX
- RJM Mastermind PBC/10 loop switcher
- HexeFX VarioFree The Tone PA-1QB
- Strymon TimeLine
- G-Lab PB-1 power supply
- Midiman Thru 1x4
Pedalboard 2
- Strymon BigSky
- Strymon Mobius
- Pigtronix Infinity 3
- Friedman Buxom Boost
- Friedman Buffer Bay
- Dirty Boy Pedals Fuzzy Boy
- Red Panda Tensor
- HexeFX reVOLVER IV
- EarthQuaker Devices Arpanoid
- ZVEX Fuzz Factory Vexter
- Beetronics Swarm
- Friedman Fuzz Fiend
- CostaLab Booster Plus
- Malekko Downer
- Fortin Mini Zuul
- EarthQuaker Devices Bit Commander
- RJM Music Mini Effect Gizmo X
- Strymon Zuma
- Strymon Ojai
Bass Amps Pedalboard
- JHS Little Black Amp Box
- Voodoo Lab Control Switcher
- Boss BB-1X Bass Driver
- Electro-Harmonix B9
- Disaster Area Designs DMC.micro
- Chase Bliss Blooper
- Darkglass Alpha Omega Ultra
- Source Audio C4 Synth
- RJM Music Mini Effect Gizmo X
- Strymon Zuma
Strings & Picks
- D’Addario, various gauges
- V-Picks Nexus
Since the band is just a duo, loopers are essential when playing live. “On my current pedalboard, I have 10 loopers, if you count all the pedals that actually have a looping function. But I am only looping with three of them,” he says.
Pajon also has a wall of amps, and a guitar tuned to A–D–G–C–E–A to cover the bass parts, which are run through a separate bass amp and pedalboard. “When I am writing a part, it has to be a layer that I can trigger later,” explains Pajon. “It can’t be a 10-bar layer or a long layer that plays through the whole song. It has to be something that only happens for a bar because I need to be able to trigger it live. We don’t do anything to playback. Everything is done live. When we record, I do minimal overdubs to create more of a sonic landscape, but when I do those overdubs I am very conscious that I have to recreate that sound live, whether it’s putting it in a looper or me actually playing it.”
Pajon’s attention to detail, dedication to finding the correct sound, and innate compositional sense—regardless of the genre or project he’s working on—help explain his longevity in the industry and his ongoing working relationships with a variety of artists. His Grammy wins and other awards testify to those qualities.
“I am not a side guy with the band,” he says about his longtime association with the Black Eyed Peas. “Those are my parts. The reason I’ve been in the band so long is I’ve been playing my parts this whole time, that I wrote, that I played on those records. I was in the studio with them creating this music. And that all started from my knowledge, from my uncle turning me on to a whole new flavor of styles.”The Violence of Action Live at Kingsize Soundlabs
At this live studio session with Cairo Knife Fight, watch Pajon’s right foot as he almost constantly loops and triggers parts.
![Rig Rundown: Lindsay Ell [2023]](https://www.premierguitar.com/media-library/rig-rundown-lindsay-ell-2023.jpg?id=33771387&width=1245&height=700&quality=85&coordinates=0%2C0%2C0%2C0)
Two months ago, Lindsay Ell released her latest single, “Sweet Spot,” plus she’s on the way to issuing a new album, following up 2020’s Heart Theory. And for the tour leading into her next record, she’s also got a passel of updated gear since her 2018 Rig Rundown. No surprise, since there’s always something new happening with Ell—whether it’s touring under her own banner or with Shania Twain, scooping up Canadian Country Music Association awards, or serving as a judge on Canada’s Got Talent.
When it comes to guitars, Ell’s 6-string tastes run to the classics and custom-builds, and she’s got her signature OD aboard, so let’s take a look.
Brought to you by D’Addario XS Strings.
Play Mary Kaye
“I’m a Strat girl,” Lindsay Ell attests. And this one, a Fender Custom Shop ’56 Strat in aged shell pink, was a gift from Keith Urban. It’s got jumbo frets and has become a studio and road favorite.
Stitched-Up Heart
On her last Rig Rundown, Lindsay was touring with several Strats that she had handpainted. This tour, she’s continuing the tradition with this funky-beautiful Fender Standard Strat she calls “Just Another Girl.” Note the humbucker-and-two-single-coils combination, and, of course, the stitched-up heart.
Paint It, Blue
The backside of Ell's Fender Standard Strat that wears the title of popular track from her 2017 album, The Project.
High-Flying Strat
Ell was asked by John Mayer to play in the video that announced the release of his PRS SE Silver Sky, the lower-priced version of his signature Paul Reed Smith model. This is the guitar she played in that video.
Lil’ Red
This vintage, all-stock Gibson Melody Maker from the 1960s was also a gift from Keith Urban—a thank you for opening dates on his spring 2023 tour.
Ultra, Man
This Fender Ultra Strat, in an aged ash natural finish, is currently Lindsay’s main go-to onstage. This hot rod is outfitted with Fender’s noiseless single-coil pickups. Elle’s guitars are strung with a variety of sets, including green DR Strings (.010–.048s0, Stringjoys (.095–.048), and D’Addario .010–.052s and .011–.052s. Her picks are D’Addario heavies.
Mahogany Marvel
Ell’s main acoustic is a custom-built Rockbridge OOO made of mahogany by Brian Calhoun in Charlottesville, Virginia. It’s a major switch for this longtime Martin player.
Amp Duo
Ell plays through a pair of amps: a Vox AC30 head and a Ceriatone Overtone Special. That’s a Furman power conditioner beneath the pair of heads.
Cute Cabs
The AC30 hits a 2x12 with Celestion Greenbacks and the Ceriatone slams a 1x12 Dr. Z cab with a Celestion Gold speaker.
Lindsay Ell's Pedalboard
Lindsay’s pedalboard contains a PolyTune 3 Noir, a Wampler Ego Compressor, a Ceriatone Centura Professional Overdrive, a signature Siren Etana drive, Vertex Ultraphonix OD, an MU-FX Micro-Tron III filter, an Arion Stereo Chorus, a Providence Chrono Delay, a HardWire RV-7 Stereo Reverb, and a Strymon Zuma power supply.
Dabbling with Digital
In addition to her trad tube amp-and-pedalboard combo, Lindsay also has a Neural DSP Quad Cortex on tap that has modeled tones of her amps.
