Little Feat’s Fred Tackett and Scott Sharrard take PG through their 2023 touring rigs.
Formed in 1969 by slide guitar juggernaut Lowell George, disbanded after his death in ’79, then revitalized in 1987, Little Feet combines George’s bandmate and co-writer Fred Tackett along with virtuoso Scott Sharrard in their new recording and touring lineup. Tackett and Sharrard invited PG’s John Bohlinger to their soundcheck at Nashville’s Ryman Auditorium to talk gear and tell classic stories from Little Feet’s early days.
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Fred Tacket's Gear:
Tackett’s maple neck 1984 Red Strat Ultra is set up higher for slide.
Tackett’s 1964 Fender Deluxe was modified years ago by Paul Rivera.
Tackett’s pedal board features a Boss TU-2 Tuner, Dunlop Cry Baby, JHS Pulp ’N Peel V3, Boss Tremolo TR-2, MXR Phase 90, Boss DD-5 Delay with Boss FS-5U tap, Ibanez TS9, and a tiny mystery M boost.
Scott Sharrard's Gear:
This Gibson CS-336 is Sharrard’s #1. It features Wizz pickups, as well as custom wiring and work by Paul Schwartz.
Sharrard tours with three amps, and runs either one or two depending on the size of the venue. On this show, he ran a Two Rock Classic Reverb 100/50-watt head with a 2x12 vertical closed back cabinet, loaded with Celestion Heritage G12-65 speakers
Sharrard’s second touring amp is his vintage 1966 Fender Vibrolux Reverb 2x10 combo amp, with Celestion G10 vintage speakers
Sharrard’s pedalboard contains a TC Electronic PolyTune, Analog Man Bi-CompROSSor, custom Klon made by Charlie Martinez, Strymon Lex Rotary Speaker Simulator, Strymon Flint, Radial Switchbone for when both amps are in use, a backup PCE-FX Aluminum Falcon, and Radial DI for acoustic guitar.
The 26-year-old roots guitar titan shows off his prime stage axes, including his signature ES-345 and a vintage parts Les Paul, plus he reveals the secrets of his personal MK Ultra.
Since Marcus King’s previous Rig Rundown in 2017, he’s made two albums—produced by the Black Keys’ Dan Auerbach—and scored a Grammy nomination. He’s also busted out his own signature Orange amp with an allusive name, and upped his profile, stepping from clubs to big halls. Not bad for a South Carolina kid with blues in his bloodline.
And, really, not entirely unexpected. King hit the scene in his teens as a full-blown virtuoso, playing club gigs at night and going to high school by day. He was initially championed by Warren Haynes, who was so impressed that he released the Marcus King Band’s 2015 debut, Soul Insight, on his Evil Teen Records label. And then the hard-playing young roots genre-blender rode that wind under his wings.
Before his September 29 gig at Nashville’s Ryman Auditorium, touring behind his recent release Young Blood, he entertained PG’s John Bohlinger—with some help with the details from guitar tech Cody Bates—with a close-up look at his current touring rig. Dig in!
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If you’ve seen Marcus King play, you’ve noticed this beautiful all-stock 1962 Gibson ES-345. The model debuted in 1958 and was immediately used by Chuck Berry, Freddie King, and, later, B.B. King (pre-ES-355) and Eric Clapton, among others. This particular guitar was purchased new by King’s grandfather and it’s been Marcus’ No. 1 since the family put it in his hands. The big red rocker and all of King’s electric guitars stay strung with Elixir Optiweb Nickel Plated Steel mediums, .011-.049.
The New Red Rider of the Playful Stage
In order to save wear and tear on his grandfather’s ES-345, King usually leaves that one at home and tours with the No. 1 prototype of his Gibson Marcus King Signature ES- 345 Custom, which was unveiled in early 2021. But since he lives in Nashville now, both attended the Ryman show.
Back in Black
King picked this 1962 Fender Strat up at Nashville’s Carter Vintage Guitars. He describes the neck as “sweet as pie.” After he took it home, he sent it to Matt Hughes at Banker Fine Handcrafted Guitars in Atlanta for some work: a refin and a swap of the original 3-way switch for a 5-way.
Not Quite a Beauty …
But a beautiful instrument. This weathered 1958 Gibson Les Paul Custom is a vintage parts guitar, featuring a ’58 body merged with a 1970s neck and hardware. Dig the tone in the video!
Here’s another beauty—a 1939 Martin D-18 shade top that was a gift from Zac Brown. Body crack repairs in the top display in the photo, as does the wear of many miles over the years. This exceptional vintage working-player’s acoustic stays strung with Elixir Nanoweb Phosphor Bronze mediums, gauged .013–.056.
These Three King’s
Unveiled by Orange in 2021, King’s signature heads bear the name MK Ultra—maybe … or maybe not named after a top-secret government experiment with LSD and other substances. (Insert smiley emoji!) It’s a rad amp, with 30 watts output from 6L6s, one volume control, a treble dial marked SING and a bass knob tagged DEEP. Each of his two MK Ultra heads runs into its own Orange slanted 8x10 with Celestion Vintage 30s. In between those citrus commandos sits a 1968 Fender Bandmaster TFL5005D powering up a Fender Bassman cab with two Celestion 15s—the company’s G15B-100 speakers, which hone in on the deep end.
Marcus King's Pedalboard
King runs his guitar’s cable into a Dunlop Volume (X) 8, and then his signal hits a Dunlop Cry Baby wah, an MXR Booster, an Ibanez TS9 Tube Screamer, a Tru-Fi Two Face fuzz, MXR Micro Chorus, Dunlop Rotovibe chorus/vibrato, MXR Phase 100, Tru-Fi Ultra Tremolo, Dunlop Echoplex Delay, MXR reverb, and a Radial Shotgun signal splitter and buffer. Juice? That comes from a Voodoo Lab Pedal Power 3 plus.
In the debut episode of our Helmer’s How-Tos DIY series, guitar-guru Dave Helmer shows you how to dial-in whammy-bar action with a few everyday tools, a set of precision-milled blocks, and a little help from gravity.