The Aristocrats’ Bryan Beller
Photo by Manuela HäuBler
Starting at top right, Bryan Beller’s board has a pair of Xotic EP Boosters to bring up the output of his two passive instruments to match his Lull bass. Next comes a Demeter COMP-1 Opto Compulator that’s always on, followed by a TC Electronic Hall of Fame Reverb, Boss CE-2B Bass Chorus, Boss DD-3 Digital Delay, and a TC Electronic Flashback Delay/Looper. Moving to the bottom left, there’s a Boss OC-2 Octave and an Xotic Bass BB Preamp (Beller’s main overdrive). The Darkglass Electronics Vintage Microtubes and MXR M109S Six Band EQ are used for a beefier, RAT-like sound. Then there’s an EHX Micro POG set to an octave up and an old DigiTech X-Series Bass Driver that pushes the BB Preamp and runs into the Dunlop 105Q Cry Baby Bass Wah pedal (white), giving vocal-like sweeps more definition. Beller also has a Dunlop DVP3 Volume (X) Volume and Expression pedal and a Boss TU-2 Chromatic Tuner. Beller has incorporated the Behringer FCB1010 MIDI controller into his rig so he can provide some “low-rent Geddy Lee” moments in the set via a Roland JV-1010 64-Voice Synth Module.
Beller has incorporated the Behringer FCB1010 MIDI controller into his rig so he can provide some “low-rent Geddy Lee” moments in the set via a Roland JV-1010 64-Voice Synth Module.
Using the Raven Labs MDB-1 Mixer/Direct Box/Buffer for his pedals and running the Roland JV-1010 into his amps allows Beller to employ both his bass and the synth module at the same time.
Rig Rundown: The Aristocrats' Guthrie Govan & Bryan Beller [2022]
Nitty Gritty Dirt Band’s Jeff and Jaime Hanna
Jeff Hanna
Jeff Hanna, who co-founded the Nitty Gritty Dirt Band in 1966, runs his acoustic guitars through a Fishman Aura Spectrum DI and a Boss TU-3 Chromatic Tuner. The electric side of his board includes another Boss TU-3, a Paul Cochrane Tim V3 Overdrive, a Keeley Katana Clean Boost, a J. Rockett GTO, a Keeley-modded Boss TR-2 Tremolo, and a Keeley Mag Echo.
Jaime Hanna
His son Jaime combines acoustic and electric pedals on one board. The acoustic side features a Fishman Aura Spectrum DI, Boss TU-3 Chromatic Tuner, and a Radial JDI direct box as a back-up. For electric, there’s an Ernie Ball volume pedal that feeds a TC Electronic tuner. The main out hits a Mesa/Boogie Stowaway Class-A Input Buffer, a Keeley Compressor, a Paul Cochrane Tim Overdrive, a J. Rockett Archer, an MXR Super Badass Distortion, a Boss GE-7 Equalizer modded by Nashville’s XTS, and a Line 6 M9 Stompbox Modeler Multi-Effects pedal. A Truetone 1 SPOT PRO CS12 provides the juice.
Rig Rundown: The Nitty Gritty Dirt Band’s Jeff and Jaime Hanna
Tetrarch’s Diamond Rowe
Photo by Amy Harris
Shredder Diamond Rowe keeps things succinct. Her stage setup features an always-on Ibanez TS9 Tube Screamer and a DigiTech Whammy for pure fun and note obliterating. A pair of utilitarian Boss stomps—an NS-2 Noise Suppressor and TU-3 Chromatic Tuner—keep her strings clean and accurate. There’s also a Voodoo Lab Pedal Power ISO-5 and Ground Control Pro MIDI Foot Controller.
In a separate rack, Rowe hides her “freak tone” patch. There lurks a Boss RV-6 Reverb, Boss DD-7 Digital Delay, Boss CE-5 Chorus Ensemble, and a MXR Uni-Vibe Chorus/Vibrato, plus a pair of tucked-away MXR Carbon Copy Analog Delays. The rack toys are fired by a Voodoo Lab Pedal Power 2 Plus.
Rig Rundown: Tetrarch's Diamond Rowe & Josh Fore
Marcus King
Roots powerhouse MarcusKing runs his guitar’s cable into a Dunlop Volume (X) 8. 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’s via a Voodoo Lab Pedal Power 3 Plus.
Marcus King's Pedalboard
Foo Fighters’ Chris Shiflett
The mega-rockers’ Chris Shiflett starts his pedalboard with an EHX Micro POG, followed by a JHS Muffuletta, an MXR Flanger and EVH Phase 90, an EHX Holy Grail reverb, a Strymon Deco, and a Klon KTR. The next row sports a Boss CE-2W Waza Craft Chorus, a couple of Strymon TimeLines (one for each amp), and down below is a trio of Xotics—an EP Booster, SP Compressor, and an XW-1 Wah. Utilitarian boxes include a Lehle Little Dual II Amp Switcher, a Palmer PLI-05 Line Isolation Box, a Boss FS-5L Foot Switch (to toggle between clean and dirty on his Friedman Brown Eye), and a TC Electronic PolyTune.
Chris Shiflett's Pedalboard
Mammoth WVH's Wolf Van Halen
Wolf Van Halen brought every EVH pedal (aside from the 5150 Overdrive) for his band’s 2022 tour. The Dunlop EVH95 Cry Baby Wah gets a workout for the solo of “You’ll Be the One.” The MXR EVH 5150 Chorus and the MXR EVH Phase 90 have become interchangeable for him. The MXR EVH117 Flanger gets sprinkled in, and for the solo on “Distance,” he always uses the Boss DD-3 Digital Delay and the EarthQuaker Devices Afterneath. An acoustic DI and tuner consume the rest of the real estate.
Wolf Van Halen's Pedalboard
Full Rig Rundown: https://bit.ly/MammothWVHRRSubscribe to PG's Channel: https://bit.ly/SubscribePGYouTubeMammoth WVH's leader details and demos the series of ...Mammoth WVH’s Ronnie Ficarro
Ronnie Ficarro
Ronnie Ficarro’s bass stomp station hosts a trio of EVH-inspired pedals: an MXR EVH 5150 Chorus, a MXR EVH 5150 Overdrive, and the MXR EVH Phase 90—plus an EHX Pitch Fork for approximating the low B roar that Wolf recorded on the song “Epiphany.” The nondescript silver box is a channel switcher for his Fender Super Bassman, and a Peterson StroboStomp HD does the tuning.
Rig Rundown: Mammoth WVH
El Ten Eleven’s Kristian Dunn
As half of this bass and drums duo, Kristian Dunn used to use three pedalboards, crouching down and manipulating settings all night. Today, he depends primarily on a Line 6 M9 Stompbox Modeler, although it’s two Boomerang III Phrase Samplers that make an El Ten Eleven show happen. In line, they’re separated by the DigiTech Bass Whammy. Dunn routes his signal this way so he can use the Whammy to shift octaves or keys on entire loops in Phrase Sampler one. The second Phrase Sampler, after the Whammy, allows him to pitch-shift specific loops without impacting the whole song or other loops. The Strymon TimeLine conjures precise repeats and specific delay settings not in the M9. The EHX Superego Synth Engine is a secret weapon, for reverse-sound passages. When he holds down the freeze function and plays the next note, it’s not audible until he releases the switch, and then the ongoing audible note blends into the second note. Cool, right? The remaining two pedals are a Nu-X NFB-2 Lacerate FET Boost and a Marshall GV-2 Guv’nor Plus. His tuner: a Boss TU-3 Chromatic. A Custom Audio Electronics RS-T MIDI Foot Controller makes Dunn’s scene changes easier, talking with the M9 and Strymon to alleviate some tap dancing.
Rig Rundown: El Ten Eleven's Kristian Dunn
Shinedown’s Zach Myers
For the Shinedown guitarist, everything starts at the Fractal Audio Axe-Fx IIIs—a main and a backup. There are four channels of Shure UR4D+ wireless units (three for electric and one for acoustic). An AES digital out runs to an Antelope Audio Trinity Master Clock and Antelope Audio 10MX Rubidium Atomic Clock. This helps fatten the fully stereo, digital rig by converting it to analog. After that, IRs off the Axe-Fx (left and right) channel into a pair of Neve DIs that then feed a Fryette G-2502-S Two/Fifty/Two Stereo Power Amplifier. (There’s another for backup.) And finally, parallel signals go to two ISO cabs and two Universal Audio OX Amp Top Box reactive load boxes. Altogether, there are eight channels of guitar.
While tech Drew Foppe handles the racks, Zach still has some control at his toes via a Dunlop MC404 CAE Wah, DigiTech Whammy 5, Ernie Ball 40th Anniversary Volume Pedal, and the Fractal Audio FC-6 Foot Controller. A Voodoo Lab Pedal Power 2 Plus gives life to these pedals.
Rig Rundown: Shinedown's Zach Myers & Eric Bass [2022]
Shinedown's Eric Bass
Eric Bass’ Prestige basses hit the Shure UR4D+ wireless units (similar to Myers, he has three channels for electric and a channel for acoustic), then a Neve DI, and then a Radial JX44 signal manager that feeds into an Ampeg SVT-7 Pro for clean tone (with an extra for backup).
His onstage pedalboard includes a Dunlop 105Q Cry Baby Bass Wah, a DigiTech Bass Whammy, and an MXR M299 Carbon Copy Mini Analog Delay. The ‘Gas’ switch engages a Mojotone Deacon, and a Radial SGI-44 1-channel Studio Guitar Interface connects with his rackmount JX44, while a Boss TU-3W Waza Craft Chromatic Tuner and Voodoo Lab Pedal Power 2 Plus complete the lineup.
Hannah Wicklund
Photo by John VandeMergel
Blueser Hannah Wicklund’s pedalboard is stacked for bruising. Once the signal gets past her MXR Talk Box and Dunlop JC95 Jerry Cantrell Signature Cry Baby, it hits the channel switch for her Orange head. That stays in overdrive mode for about 75 percent of her set, which she says gives her sound its grizzly-bear lows. Next up is a classic—a Boss BD-2 Blues Driver. But this one has a Keeley mod that opens up the low end and keeps mids and highs better defined. The BD-2 gets some atmospheric help via a Dunlop EP103 Echoplex Delay, and the J. Rockett Archer also pairs with the BD-2. There’s an MXR Micro Flanger and an EHX Nano POG, a T. Rex Room-Mate Tube Reverb (on a hall setting), and a Peterson StroboStomp HD, plus an MXR Carbon Copy and a Keeley Rotten Apple OpAmp Fuzz.
Rig Rundown: Hannah Wicklund
Code Orange’s Reba Meyers
Reba Meyers’ tone starts with her signature ESP LTD RM-600 guitar and her 5150 head, but from there her sound is processed via a Fractal Audio Axe-Fx III run through the effects loop of her amp and used to coordinate channel switching. Meyers notes that for some songs she uses it only as a gate, while for others she adds in precise modulation, delay, reverbs, and “noise.” The rest of the rack features a Two-Notes Torpedo Captor X that she uses for cab sims and sending a pure, direct signal to FOH so they can mix that with the SM57 mic on the 4x12s. A Shure GLXD4 Wireless unit keeps her untethered and a RJM Mini Amp Gizmo uses MIDI to switch the amp via the Axe-Fx III.
Her actual board has two always-on pedals: the ISP Decimator II Noise Reduction and the Ibanez TS9 Tube Screamer. They’re joined by a Moog MF Ring Mod, a Boss PS-6 Harmonist, an AMT Electronics WH-1 Japanese Girl Optical Wah, and an Universal Audio Astra Modulation Machine. Everything is controlled by the RJM Mastermind PBC/10.
Reba Meyers' Pedalboard [Code Orange]
Joe Bonamassa
For his 2022 tour, Joe Bonamassa kept his pedalboard stocked with a Way Huge Smalls Overrated Special Overdrive, a Tone Mechanics/Racksystems Loop Box, a Tone Mechanics/Racksystems Splitter, a Fulltone Supa-Trem, a Hughes & Kettner Rotosphere, a Boss DD-2 Digital Delay, an MXR Micro Flanger, an Ibanez TS808 Tube Screamer, an EHX Micro POG, a Dunlop Joe Bonamassa Fuzz Face, a Lehle A/B/C Switcher, a Dunlop Joe Bonamassa Signature Cry Baby Wah in Pelham blue, and an on/off/fast/slow dual switch for his Mesa/Boogie Revolver rotating speaker cabinet. Juice came from a Voodoo Lab Pedal Power 2 Plus.
Joe Bonamassa's "Boomer" Pedalboard
Exodus’ Gary Holt
Thrash-metallurgist Gary Holt trusts most of his switching to his tech, Steve Brogdon, who triggers everything with a rack-mounted Voodoo Lab GCX Guitar Audio Switcher that coordinates with a Voodoo Lab Ground Control Pro MIDI Foot Controller. The pedals in Brogdon’s care include a Boss SD-1 Super Overdrive, Pro Tone Pedals Gary Holt Signature Mid Boost, Maxon OD-9, MXR Bass Octave Deluxe, Maxon FL-9 Flanger, TC Electronic Corona Chorus, Boss NS-2 Noise Suppressor, and a Darta Effects Bonded by Delay. A BBE Supa-Charger provides juice.
Holt still stomps these boxes himself: a Does It Doom Doomsaw, Mooer Tender Octaver, Mooer Green Mile, and a Dunlop JC95SE Jerry Cantrell Special Edition Crybaby Wah. A Shure GLXD16 Digital Wireless Guitar Pedal System lets him rock untethered.
Rig Rundown: Exodus' Gary Holt [2022]
Dinosaur Jr.’s J Mascis
For at least 10-plus years, J Mascis has used a Bob Bradshaw-built Custom Audio Electronics switcher as his mission control. His longtime stomps include a Tone Bender MkI/Rangemaster-clone combo pedal made by Built to Spill’s Jim Roth (bottom right corner), Mascis’ first EHX Ram’s Head Big Muff Pi (top right), a vintage EHX Deluxe Electric Mistress, an MC-FX clone of a Univox Super Fuzz (lower right, blue box), a pair of ZVEX pedals—a Double Rock (two Box of Rock stomps in one) and a Lo-Fi Loop Junky (both bottom left), a Tube Works Real Tube Overdrive, a Moog Minifooger MF Delay, and a Boss TU-3S Tuner. His recently added pedals are a Homebrew Electronics Germania 44 Treble Booster (lower right), a JAM Pedals RetroVibe MkII, an Xotic SL Drive, a Suhr Jack Rabbit Tremolo, a Dr. Scientist Frazz Dazzler fuzz, an EHX Oceans 11, and a Dunlop Jimi Hendrix ’69 Psych Series Uni-Vibe Chorus/Vibrato. Everything receives juice from an MXR MC403 Power System or an MXR M237 DC Brick.
J Mascis' Dinosaur Jr. Pedalboard
Kikagaku Moyo are (left to right) bassist Kotsuguy, guitarists Daoud Popal and Tomo Katsurada, drummer Go Kurosawa, and sitarist Ryu Kurosawa.
“It’s a lot of eye contact and a lot of concentration,” Tomo Katsurada, one of the band’s two guitarists, explains while discussing the group’s approach to “instant composition,” a term borrowed from one of their primary influences, Krautrock pioneers Can. Although, in his telling, the emphasis is on the concentration. “I smoke so much weed before the show—we all smoke so much weed and we go so high. But it’s crazy. We’ll have a long improvisation—maybe that’ll even be 25 minutes on one song—and I’ll use up all my THC from my brain and I’ll be completely sober. It’s crazy to realize how much concentration goes into instant composing on the stage. There’s a lot of control that we have by way of concentration while improvising.”
But that intense hyperfocus—the byproduct of relentless touring and rehearsing—took a forced hiatus once the pandemic brought the world to a halt. That pause was particularly difficult for Kikagaku Moyo. By the time Covid hit, two members of the band had relocated from the Tokyo area to Amsterdam; a third would soon follow. So, the recording of Kumoyo Island, the group’s latest and final release (more about that in a minute), was particularly hampered because of the lockdown. They couldn’t travel to jam, let alone get together in a studio, which meant that a lot of the album was done piecemeal—either via swapping files online or by one member taking the lead producing a particular track.
Kikagaku Moyo - Kumoyo Island (Full Album-2022)
That approach comes out in the record’s overall sound. For example, “Cardboard Pile,” which is still very much a trippy, psych-type groove, is cut up and self-sampled in a style that’s more reminiscent of DJ Shadow than anything normally associated with the psychedelic canon. “Gomugomu” takes a complete left turn and oozes a warbly, off-kilter country music vibe. There’s also the more atmospheric, ambient feel of songs like “Daydream Soda” and “Maison Silk Road.” Not that the album is lacking for Kikagaku Moyo signature bangers. “Field of Tiger Lilies” and the almost—should we call it “funk?”—“Dancing Blue” leave a lot of room to blossom when played in front of an audience, which may be the craziest thing about Kumoyo Island.
When the band finally reconvened to tour in support of the new album, the soundcheck—which took place three hours before their first performance—was the first time they played any of these new songs together.
Not that it mattered.
“It worked,” Katsurada says, unfazed. “We’ve been playing music together for so long that it’s really fast for us to create the groove or find the vibe of the song. And the rest of the parts we can improvise.”
“I love to stomp a red-color pedal when I engage the fuzz and overdrive. Visually it makes me feel like I am ready to fuzz out.”—Tomo Katsurada
“We always value that first energy, that primitive energy,” Daoud Popal, Kikagaku Moyo’s other guitarist, says about those early 2022 soundchecks. “Those first few times, we had no idea how the songs go. Of course, now we can play them better, but those early primitive versions of those songs were also great.”
In a sense, for the members of Kikagaku Moyo, recording a song in the studio isn’t so much about creating a completed, final product as much as it is about bringing it into the world. From that point forward, how it evolves is anyone’s guess.
“Songs get older and grow up,” Katsurada says. “They grow up together with how we grow up. After we record a song, we bring it on tour, and it grows as we tour. We still have so many ideas from inside the song, and that makes it not boring when playing shows every day. It’s always challenging, and it’s always growing.”
“A song [when it was recorded] may have been a version that was very true to ourselves a few years ago,” Popal adds. “But now, a few years later, it maybe sounds unnatural to us, like we don’t have that kind of feeling anymore. But when we add some jamming parts, that always updates the songs to our current feelings.”
Kikagaku Moyo’s twin guitar lineup is augmented with an electric sitar that’s played by Ryu Kurosawa (his brother, Go, is the band’s drummer). His background is in Indian classical music, and he’s had to adjust his thinking and approach to better define his role and place in the band. That was particularly important, because while the group wanted the colors and broad palette the instrument offered, they didn’t want it to become a gimmick.
Tomo Katsurada's Gear
Tomo Katsurada, like Daoud Popal, plays just one guitar: a Gibson Les Paul Junior Special with two P-90 pickups.
Photo by Sara Amroussi Gilissen
Guitars
Amp
- Fender Twin Reverb
Effects
- Boss PV-1 Rocker Volume
- Xotic XW-1 Wah
- Xotic Super Clean
- Electro-Harmonix Big Muff Pi V4 (Op Amp)
- Carlin Compressor
- Carlin Phaser
- Catalinbread Pareidolia
- ZVEX Octane 3
- Lovetone Big Cheese Clone by Thomas Graham
- Dawner Prince Boonar Multi-Head Drum Echo
- Danelectro Back Talk Reverse Delay (V1)
- Fairfield Circuitry Shallow Water
- Electro-Harmonix Holy Grail Nano
- TC Electronic PolyTune 3
Strings
- Unknown brand of strings that have been on his guitar since early 2022
Picks
- Dunlop Tortex .60 mm
“Once he customized his acoustic sitar to electric sitar, he had more opportunity to explore the electric sounds with the pedals,” Katsurada adds. “Me and Daoud are always experimenting with pedals, but sometimes guitar pedals don’t work with sitar. Some fuzz pedals don’t sound as good. It was trial and error until he found a good fuzz pedal for the sitar.”
When it comes to sculpting tones—and, judging from the array of awesome sounds they’ve concocted over the years, both guitarists are bonafide tone fiends—pedals are where the action is. They don’t vary their guitars. Katsurada plays a Gibson Les Paul Junior, and Popal plays a Vox Mirage II, and that’s basically it. Their arsenal of amps is similarly one-dimensional: They have six Fender Twin Reverbs in Amsterdam that everyone uses (except bass), and another three in the U.S.
The band’s final album was also the first they recorded via file sharing and distanced production, due to Covid.
Katsurada relies on an assortment of vintage tape echoes, like a 1970s-era Japanese-made Kastam and an aged Binson Echorec, although these days he won’t take either of those on the road. “I am too scared to carry that,” he says. Nowadays, he uses a digital copy of the Binson. “It’s not the same, but that’s more for myself. It’s a micro-difference for the audience, but it is different. The right echo unit makes me feel so much better when I play.” He also uses a variety of fuzz boxes, like a Big Muff and a Carlin Compressor overdrive, and he’s particular about the color, too, which helps with the live show, both in terms of practicality as well as the vibe. “I love to stomp a red color pedal when I engage the fuzz and overdrive,” he says. “Visually it makes me feel like I am ready to fuzz out.”
Popal isn’t as picky. “I use a Fuzz War by Death by Audio, but to be honest, I am not a gear geek. Many times, I use pedals and have no idea what they are. Tomo gives me something and says, ‘You should use this.’ I say, ‘Okay,’ and I use it. For example, the Foxx Tone Machine is a pedal I got it from Tomo.”
“We’ll have a long improvisation—maybe that’ll even be 25 minutes on one song—and I’ll use up all my THC from my brain and I’ll be completely sober.”—Tomo Katsurada
He does, however, have a penchant for expression pedals. “I love to play with my feet, like wah—I like that a lot. Usually, the guitar is played with two hands only, and the wah is a very unique addition. With a foot pedal, it’s like playing guitar with three hands. I use other expression pedals connected to two of my pedals. One is delay—a Roland Space Echo—and I change the delay time with my expression pedal. That same pedal—it has two outputs—is also connected to the tremolo, so, again, I can change the tremolo’s BPM with my foot.”
But great tones and incredible chemistry aside, after a decade together—and five full-length albums in the can, plus many other releases—Kikagaku Moyo has called it quits. They spent most of 2022 on the road, and their final show was in Tokyo on December 3.
Daoud Popal's Gear
Daoud Popal is transported by his band’s “instant composition” at the 2022 Desert Daze festival, held in Riverside County, California, in late September.
Photo by Debi Del Grande
Guitar
- Vox Mirage II
Amps
- Fender Twin Reverb
Effects
- TC Electronic PolyTune 3
- Xotic EP Booster
- Electro-Harmonix Holy Grail Nano
- Catalinbread Belle Epoch
- JAM Pedals Big Chill
- Boss AC-2 Acoustic Simulator
- Boss RE-20 Space Echo
- Electro-Harmonix Stereo Clone Theory Analog Chorus/Vibrato
- J. Rockett Archer Ikon Boost/Overdrive
- ZVEX Instant Lo-Fi Junky
- Dunlop MC404 CAE Wah
- Death by Audio Fuzz War
- Foxx Tone Machine
- Two Boss Expression Pedals
Strings
- Ernie Ball (.010 sets)
Picks
- Dunlop Tortex .60 mm
“We decided at the end of 2021, after we came back from a West Coast tour, that this tour is going to be the last one,” Katsurada says. “It is better for us to finish up this project and to archive our project together. That’s the healthiest way for us to keep a good relationship, and friendship. I am going to keep playing music. I have a radio program that I am doing with my partner, and I have many music projects that I am interested in doing. Maybe I’ll make my solo music and just keep making music, but not as a band. Now, I am interested in working with people I’ve never worked with, and I want to explore my creativity in music. It is really good to collaborate with other people I have never worked with. I feel I can find myself more.”
“The last two years, since Covid, two of us—and now three—were already separated and living in Amsterdam,” Popal adds. “Naturally, under Covid we couldn’t do much touring, and so I started my own projects in Japan. I believe I will continue with those.”
To drive the point home, and as a special gesture for the final tour, Katsurada was attempting to play every show throughout 2022 on the same set of strings. “I still haven’t broken any yet,” he says, somewhat amazed. “We’ve never missed a show in 10 years, never canceled; so we don’t want to cancel any shows and I don’t want to break any strings. That’s the goal.”幾何学模様 (Kikagaku Moyo) - Green Suger @ SHIBUYA全感覚祭
Kikagaku Moyo play “Green Sugar” for the Japanese channel Space Shower TV at Tokyo’s Shibuya Public Hall. Note how the tune evolves and shifts gears rhythmically and sonically as the performance unreels.
