Buffalo Nichols believes in the power of acoustic country blues. He also believes it’s not a fossil, trapped in amber, but a living, breathing musical genre. Which is why he blends elements of the tradition—slide guitar, resonator, open tunings, themes of loss, redemption, and struggle—with loops, samples, drum machines, myriad effects, and modern-day narratives. His new album, The Fatalist, is the culmination of his art to date. Listening to its echoes of Skip James, John Hurt, Pink Floyd, and Dr. Dre is an even stranger experience when you know Nichols started his career in the thundering, downstroke-chiseled trenches of the Midwest metal scene.
When you watch this Rig Rundown, Nichols will explain, and play, it all—it's a fascinating story. And the gear! Get ready for a feast, full of the trad and the rad.
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Adirondack Rose
Those two woods dominate this Recording King RO-328, with its solid Adirondack spruce top, solid rosewood back and sides, rosewood fretboard, and herringbone purfling in classic rosette. In fact, this guitar would not look out of place in a photo from the early ’50s, and the brand itself has been available since the ’30s. Nichols keeps this 6-string tuned to open C# minor, a Skip James tuning, with a Seymour Duncan Mac Mic pickup. His preferred sting gauge is .016 to .056.
Sweet 'n' Elite
Nichols’ parlor guitar is a Recording King Tonewood Reserve Elite Single 0, with a spruce top, rosewood back and sides, a mahogany neck, and an ebony fretboard. Note the inlays and distinctive binding. It also has the Duncan pickup system. Nichols keeps this guitar tuned in standard with a medium string set (.013s).
Steel and Gold
This Gold Tone GRS Paul Beard metal-body Resonator puts a brushed aluminum cone and biscuits inside an all-steel body with a 19-fret maple neck. With a stock lipstick pickup, Nichols uses it as one of his essential electrics. He prefers it to the more traditional thick resonator body, for ease of performance and weight relief.
Get Behind the Mule
Nichols’ tunings include C#m, open F, and standard, tuned down a half-step. This guitar is a Mavis model, by Mule Resophonic Guitars—an open tuning classic. Dig that pickguard and the warm patina on the body. “It’s taken on a life of its own,” says Nichols. “Some people will show up at my gigs just to look at it.” The mini humbucker sounds sweet, with its basic volume control. The neck isn't too thick or too thin. "Kind of in the middle,” Nichols says. And it mostly gets played clean, or with a nice flavoring of delay.
Banjo
The banjo is one of the oldest African-American instruments, and this one is a Recording King, with a scooped fretboard and two pickups (a K&K and a Fishman) that he sometimes uses to split the signal. Without a resonating back, Nichols notes that it caters more to old-school music, with its bright, ringing tone.
Travelin' Amp
These days Nichols’ road amp of choice is a Fender Tone Master Super Reverb. He likes the compression he gets from its four 10" speakers, as well as its back-saving weight. He also points out that he uses so many effects that his guitars sound the same regardless of his amp choices.
The Board's Big Brain
Nichols jokingly describes his pedalboard as "very confusing,” but, running through his chain, he starts at a TC Electronic PolyTune to an Origin Effects Cali76 compressor—"and after that’s where it gets pretty weird.” But also onboard, for drive, are a Wampler Tumnus and Belle, and a Fuzzlord Octave Master (“for my Jimi Hendrix kind of tones”). To control various effects and chains, there’s a Boss GT-1000 Core. Those are involved in the guitar-to-amp signal, versus the acoustic.
But the “weird stuff,” as he puts it, starts with an Old Blood Noise Endeavors Signal Blender for switching between the acoustic, banjo, or amp. While the Fuzzlord can color everything, a cluster of his boxes are used to conjure pads and other ethereal sounds. These include the EHX Superego, a Fishman Aura, a Hologram Electronics Microcosm Granular Looper and Glitch Pedal (he calls it his red herring), an EHX Mel9 Tape Replay Machine, a TC Electronic Death Rax3, and a lot more. Listen while Nichols displays his entire array of delays in the Rundown. There’s an SPD-ONE Kick for stomping, and drum machines—an Akai Professional MPC Live II and an Elektron Analog Rytm MKII—too!
Shop Buffalo Nichols' Rig
Recording King RO-328
Recording King Tonewood Reserve Elite Single 0
Recording King RK-R20 Banjo
Fender Tone Master Super Reverb
TC Electronic PolyTune
Origin Effects Cali76 Compressor
Wampler Tumnus
Wampler Belle
Boss GT-1000 Core
EHX Superego
Fishman Aura
EHX Mel9 Tape Replay Machine
SPD-ONE Kick
Akai Professional MPC Live II
Elektron Analog Rytm MKII
As a result of their skyrocketing success, the quintet went from opening dive bars to selling out arenas in eight fast years. 2002's debut for Eyeball Records, I Brought You My Bullets, You Brought Me Your Love, was a scorcher (and sold over 3 million copies). The follow up, Three Cheers for Sweet Revenge, had the fist-pumping hooks for TRL, but still retained the edge for the pits. 2006's soaring anthemic concept album, The Black Parade, learned from past classics (A Night at the Opera, Sgt. Pepper, Mellon Collie and the Infinite Sadness), became a triple-platinum smash with the title track perching them on top of two charts (Billboard's U.S. Alternative and U.K. Singles Chart). And 2010's Danger Days: The True Lives of the Fabulous Killjoys dialed back the rage and ramped up the fun producing a rushing ride.
While the band did release new music (collection of singles eventually becoming a compilation, Conventional Weapons), they took a hiatus. Iero took this an opportunity to step out from just rhythm duties and added frontman to his resume.
First releasing Stomachaches as frnkiero and the cellabration in 2014. He followed that up by forming Frank Iero and the Patience who produced Parachutes (LP) in 2016 and Keep The Coffins Coming (EP) in 2017. After surviving a harrowing accident where he was drug approximately 10 feet by a passenger bus in Australia, he found catharsis in music and created Frank Iero and the Future Violents. So far, they've dropped Barriers (LP) in 2019 and earlier this year Heaven is a Place, This is a Place (EP).
Just after putting out his offbeat, stirring 4-song collection (complete with a ghostly cover or R.E.M.'s “Losing My Religion"), the good-time guitarist virtually welcomed PG's Chris Kies into his Jersey-based home and gear haven.
In this episode, Iero introduces us to his oddball offsets and sentimental single-cuts, he explains how unusual tunings and pinky rings give his “broken" riffs an extra off-kilter sound and extra gunk, and we witness how a pandemic turned his basement into a pedal warehouse.
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One of Iero’s newest guitars is this Fender American Professional II Jazzmaster finished in dark knight. (Iero calls this 6-string “Batman.”) His two favorite appointments are slight tweaks on the classic design—the responsive Panorama Tremolo and the sculpted neck heel improving access and comfortability.
Depending on the instrument and tuning, Frank will go with Ernie Ball Slinkys in various configurations of .011s to compensate for lower tunings and looser tension.
For My Chemical Romance, they’re typically tuned to standard for Future Violents stuff he rides in Eb standard.
Here’s a signature guitar owned by Iero, but it’s not his namesake instrument. He and Gary Holt become fast friends and the thrasher for Slayer and Exodus offered a guitar swap. So Iero got Holt’s ESP LTD GH-600 sig and Holt requested his Ampeg Dan Armstrong AMG100 BK reissue featured in the video for Iero and the Future Violents’ rollercoaster “Young and Doomed”.
When touring with his first solo band (Frank Iero and the Celebration), they visited a guitar boutique in a Canadian mall. He picked up a Squier Vintage Modified Baritone Jazzmaster and quickly began coming up with fresh ideas on the spot. Not wanting to deal with customs, he went online, ordered his own Antigua model and it showed up to his New Jersey doorstep before he finished the tour. Tuned to A#, the baritone was workhorse for his last full-length release, Barriers, and his just-released EP.
Always on the lookout for something unusual and different, Iero was on tour in Cincinnati scooped this Frankenstein Fender offset that has a ’50s body matched with a ’90s neck.
During My Chemical Romance’s rise, Iero’s main guitar was a white Epiphone Les Paul nicknamed “Pansy.” He’s since retired it from the road and was tired of playing similar same single-cut, humbucker-loaded guitars. As seen in this Rundown, he’s got instruments of many shapes, sizes, and configurations, but he’s always loved a white Les Paul. Wanting to bring one back into the fold, a serendipitous phone call from Thunder Road Guitars’ owner Frank Gross put this 1992 Gibson Les Paul Custom into Iero’s growing collection.
“If you’re looking for something affordable that you can rip on, I don’t think you can beat this one,” says Iero when playing this 2020 reissue of the Epiphone Coronet.
With touring plans still up in the air for 2021, Iero is unsure if he’ll go fully digital, full tube, or a hybrid approach, but he did admit that this Fender Twin Reverb will for sure be the clean tone. (And for those keeping track at home, this is the amp he played during the Rundown.)
The last Future Violents tour saw Iero bring out the aforementioned Twin Reverb and the above Supro Black Magick.
Like most of us, during the pandemic, pedalboards became fluid and tone hunting was a mind-saving pastime. Iero was no exception as you’ll see in the next few slides he has some mainstays, but nothing is permanent.
Here’s his closest gig-ready stomp station that has time-based effects and modulation on the left side (Fender Marine Layer Reverb, vintage Pearl CH-02 Chorus, old Boss DM-2 Delay, Ibanez CF7 Chorus/Flanger, and Electro-Harmonix Holy Grail). The right side is home to menace (Marshall Blues Breaker, SNK Pedals VHD Distortion/Preamp, Keeley-modded Boss BD-2 Blues Driver, and Klon Centaur). Everything is controlled by the Carl Martin Octa-Switch MkII. Utilitarian units include a TC Electronic PolyTune 2 Mini, Ernie Ball VPJR volume pedal, and a Strymon Zuma power supply.
Here’s his mess-around-the-house board (with a fine tribute to EVH) that has a pair of Strymons (BigSky and Volante), an Ibanez DE7 Delay/Echo, gold Klon Centaur, Fuzzlord Effects Drone Master, Bowman Audio Endeavors The Bowman (company ran by Rig Rundown alumnus and Against Me! guitarist James Bowman), and a Ernie Ball VPJR Tuner Pedal.
His recording board is made up of versatile staples including a 4-pack of Strymons (Ola, Flint, El Capistan, and Iridium), Bowman Audio Endeavors Fortune and Glory, and a Templo Devices Model 33 Supa vibrato.