![Rig Rundown: Steve Vai [2023]](https://www.premierguitar.com/media-library/rig-rundown-steve-vai-2023.jpg?id=38640211&width=1245&height=700&quality=85&coordinates=0%2C0%2C0%2C0)
Steve Vai is much more than a great guitarist. The American guitarist has established himself as a key figure in guitar culture, and one of the world’s leading masters of shred. Vai broke on the scene in 1980 as Frank Zappa’s transcriptionist, until Zappa hired Vai, age 20, to join his touring band—Zappa allegedly called Vai his “little Italian virtuoso.”
Bolstering his guitar theatrics with sharp songwriting and producing, Vai went on to conquer the world of guitar music, winning three Grammys and selling 15 million records. PG was lucky to be invited to Vai’s recent show at the Country Music Hall of Fame’s CMA Theatre in Nashville, where his tech, Doug MacArthur, took John Bohlinger through Vai’s jaw-dropping current touring rig.
Special thanks to Doug MacArthur for explaining this incredibly complex rig.
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Evo
Currently on its fifth neck, Vai’s trusty axe has been a constant for touring and recording since roughly 1992. It sports DiMarzio “Evolution Bridge” pickups in both the neck and bridge position, “EVO gold” Jumbo frets, and a cosmo black Ibanez LO-PRO tremolo. Vai keeps this one in standard tuning, courtesy of .009-.042 Ernie Ball Super Slinkies.
Flo III
Flo III has been Vai’s main guitar since the late 2000s. This Jem was assembled at the Ibanez Los Angeles Custom Shop, where it was fitted with a Fernandes Sustainer, and modified with a lightly scalloped fretboard. It’s outfitted with EVO gold jumbo frets, a DiMarzio Evolution Bridge pickup, and an Ibanez LO-PRO tremolo. This one also lives in standard tuning, with .009-.042 Ernie Ball Super Slinkies.
Bo
A truly unique aesthetic. Circa 2001, BO was the prototype for the “Jem 77BRMR” model. You’ll notice the mirror crazing under the finish, on the forearm contour. This was worked out for production models, but Vai fell in love with the sound of this particular prototype, and has kept it in the touring lineup since the early 2000s. The neck boasts blue LED front and side dot markers, which were done by Martin Sims. It’s equipped with Jumbo Jescar nickel silver frets, a Fernandes Sustainer, a DiMarzio Evolution bridge pickup, and a LO-PRO Ibanez tremolo. This one rides in drop C tuning, with a set of .010-.052 Ernie Ball Skinny Top Heavy Bottoms.
Little Pretty
This one is a production model Ibanez John Schofield JSM, outfitted in a loud Bonvillain Dip, with gold leaf binding and unique pin-striping on the back. The electronics are stock, although the tone controls have been disconnected. Little Pretty sports locking Grover tuners, and a Tusq nut. Doug MacArthur has also re-radiused the fretboard to 16” throughout, and re-fretted it with Jumbo EVO gold fretwire, giving this guitar a very familiar feel to Vai. Plus, it’s gussied up with a very well-loved fluffy white strap!
Zeus
Zeus is a 1998 one-off prototype for the Hoshino 90th anniversary Jem model. Only one 7-string with this aesthetic was made, and it has remained stored away in Steve’s collection until recently, when pulled into touring duty in early 2023. It’s got custom chrome-topped DiMarzio Blaze pickups, and abalone dot inlays, mods made by MacArthur to get it ready for its first tour. It has jumbo nickel-silver frets, and hangs in standard tuning with a low A, thanks to .009-.056 Ernie Balls.
Candle
Made in the early 2000s by the Ibanez Custom Shop, this unique Jem/Strat hybrid boasts a classic sound while still maintaining the Vai aesthetic. It’s loaded with Fender Fat 50s single coils, a Wilkinson tremolo, and EVO gold jumbo frets over 21 frets with a custom 12” radius.
The Beast With Three Necks
This Frankenstein monster, known as the Hydra, has one body, two headstocks, and three necks, accommodating both seven- and 12-string guitars as well as a four-string bass and half-fretless neck. Pickup combinations include a sustainer, humbuckers, single-coils, and a piezo. Oh, and did we mention there’s also a harp onboard?
The Beast With Three Necks
The Hydra has two outputs. One is an ethernet cable, and the other is midi.
The ethernet plugs into a custom Hydra Brain built by Ibanez, which is mounted in the middle of the rack. The ethernet input distributes the signal for each individual instrument on the hydra, and the brain gives each instrument its own 1/4” output, as well as a master level control for each instrument. The harp, bass, and 12-string 1/4” brain outputs go into individual inputs of the AXE FX III TURBO, for the Hydra Song Patch. These three instruments utilize effects and amp modeling in the Fractal, and come out stereo to the front-of-house mixing console. The 7-string, however, doesn’t utilize modeling at all. Its output from the brain goes into the Little Lehle III A/B pedal on Vai’s pedalboard, which gets routed into his pedalboard and normal amplifier signal path. In other words, the 7-string runs through Steve’s rig just like his normal guitars.
There are 3 small MIDI trigger buttons hidden in various locations on the Hydra’s body, which trigger sound effects featured in the song. The MIDI cable goes into a small custom-built splitter box, which feeds each trigger button into a Roland TD-27 drum module, hard-mounted in the middle of the rack and routed to front-of-house.
Rack 'Em Up
Vai runs a neon green, 60-foot-long custom DiMarzio instrument cable from his guitar to his board. The first pedal in the chain is a Little Lehle III A/B switch, that allows Vai’s team to switch between the Hydra and his regular guitars.
From there, the signal hits Vai’s Dunlop 95Q automatic wah, modded by MacArthur to remove the gain switch and add a volume and Q control on the left side of the wah. Vai runs the volume pot all the way up, and the Q around 95 percent of the way up.
From there the signal hits an Ibanez Jemini Distortion then a Digitech Whammy DT. Vai always has the right side of the pedal set to jump 7 semitones up from the moment the switch is stepped on. He uses this constantly, and its work can be heard on songs like “Weeping China Doll,” “Lights Are On,” and “Greenish Blues.”
Then the guitar goes into the input of the rack unit. There’s a Morningstar Effects ML5 MIDI looper, which has an Ibanez Jemini (seen on top of the rack) in a loop, that only comes on during various points during the Hydra performance, via MIDI.
After the ML5, the signal flows into two Synergy SYN-2 preamps, which are daisy-chained together to allow Vai full use of all four modules that are loaded into them: two Synergy VAI modules, and two Synergy B-MAN modules. The 2 Vai modules are set fairly similar—the first is his main tone, and the second one is set virtually identical, but with the gain backed down a bit. The B-MAN modules are used mainly for their beautiful clean channels, but also for their great ’70s overdriven channels, which Vai occasionally uses throughout the night. The module channels are controlled via the Mastermind LT MIDI footswitch on Vai’s pedalboard.
Shred Synergy
From the Synergys, the signal exits into the input of a Fractal Axe FX III Turbo. This unit is controlled simultaneously by the FC-12 switcher on Steve’s pedalboard, and a second FC-12, at MacArthur’s guitar boat. Each song in the set has its own patch in the Fractal, mainly utilizing different digital delays, chorusing, and reverbs for each song. Vai runs his rig in stereo, so the signal exits the Fractal’s outputs via left and right.
From the stereo output of the fractal, the left and right outputs now go into the left and right inputs of the Fryette LX-2 Stereo Tube Power amp. This power amp is 50 watts per-side, and both left and right are controlled via one single volume control, which allows Vai’s team to maintain even levels between the left and right guitar cabinets. Vai usually rides the volume around 1 or 2 o’clock (depending on the venue), with the depth control pushed in. A second LX2 powers Vai’s front-stage 1x12 stereo guitar monitors, which were custom-built by CARVIN.)
The main Fryette sends its output to the Carvin Legacy 4x12 cabinets on stage left and stage right. These cabs are each loaded with a quartet of Celestion Vintage 30s, and feature unique “Inviolate” artwork grill cloth, which MacArthur had custom-made by NoiseyHammer. These cabs have been with Vai for a long time, and can be seen in the Where The Wild Things Are DVD, when they were fitted with custom grill cloths from the Sound Theories album artwork.
![Rig Rundown: Periphery [2023]](https://www.premierguitar.com/media-library/rig-rundown-periphery-s-jake-bowen-mark-holcomb-misha-mansoor-2023.jpg?id=33635214&width=1245&height=700&quality=85&coordinates=0%2C0%2C0%2C0)
Our third Rig Rundown with Periphery’s Jake Bowen, Mark Holcomb, and Misha Mansoor—at Nashville’s Marathon Music Works on April 2—caught the band on their final tour stop for a spring run in support of the brand-spankin’-new Periphery V: Djent Is Not a Genre. Our time with the triumvirate of tone reminded us that these fellas never rest their ears. They know gear and how to make it work for them. That’s why each of them has spent extensive time in several R&D collaborations with some of the biggest, most influential companies in guitardom. This time Bowen, Holcomb, and Mansoor all dish on the evolutions of their signature gear and how everything meshes and molds together for the greater, Transformer-like machine that is Periphery. Whether it’s going up to 27 frets, utilizing Alnico 8 magnets, or adding an Evertune bridge to compensate for deeply dropped tunings, this trio of tone hounds will sniff it out. Let’s dig in!
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Final Fantasy 27
Jake Bowen busted out this blue belle first because it’s his most-recent signature—an Ibanez JBM9999 that features a basswood body in their RGA shape, a 5-piece maple-walnut neck, a bound-ebony fretboard, a 25.5" scale that crams in 27 frets, Gotoh MG-T locking tuners, and Ibanez’s Gibraltar Elite bridge, plus it comes loaded with a fresh set of Bowen’s latest signature DiMarzio Mirage humbuckers. The neck model is a custom-voiced, Strat-style, single-coil-sized humbucker that incorporates some finessed tones via the 5-way. Position one and five are standard and individually engage the bridge and neck humbuckers (respectively). Position four puts the neck humbucker into parallel mode. The center slot gets both humbuckers involved, while position two selects the bridge side of the neck humbucker and the neck side of the bridge humbucker. The reason Jake opted for the single-coil-sized humbucker was to inspire fans who want to swap in their favorite single-coil pickups without any extra routing.
Ibanez is known for their wild combinations of letters and numbers for product cataloging, but the 9999s have a significance to Bowen … beyond sounding like an injury law firm’s phone number. He’s a superfan of the Final Fantasy world and 9999 is the max damage you can get in the earlier games, so Bowen requested that gamer Easter egg and they obliged. All his 6-string signatures take Horizon Devices Progressive Tension Heavy 6 strings (.010–.014–.019–.030–.042–.058).
Back in Black
Bowen commissioned this sleek JBM9999 from Ibanez’s L.A. Custom Shop. It matches all the previous model’s accoutrements but shakes it up by including an Evertune bridge. That appointment means it comfortably rides in G–G–C–F–A–D tuning and sees the stage for “Reptile” and “Zagreus.”
The Mojo Machine
This JBM9999 has a few different wrinkles than the previous two. It has a roasted-maple neck and fretboard, and while the single-coil-sized neck humbucker looks like another Mirage model, it’s actually DiMarzio’s The Chopper. That pickup worked as a starting point when Bowen was testing out their rail hum-canceling Strat pickups, and that ultimately led him to the voicing of his signature Mirage version.
Knight in White Satin
Lastly, here’s Jake’s signature Ibanez JBM100 7-string, stocked with his original signature DiMarzio Titan ’buckers, that was shown off in the 2017 Rundown. His first standard sig model was generally done in a matte black finish, but he wanted something special and felt the gold pickup covers would really pop with a white finish. The JBM100s have a mahogany body/maple top configuration.
A $200 Private Stock PRS?!
Back in 2016, Mark Holcomb ordered this 7-string custom from PRS’ Private Stock team. It’s based on his 2015 signature model, but with all of Paul Reed Smith’s bells and whistles. A few things make this guitar unique to PRS’ signature artist roster in that it has a 26.5" scale length, a flat 20" radius on the fretboard, and Holcomb’s first signature Seymour Duncan Alpha & Omega humbuckers.
When it was built, PRS sent the special instrument via FedEx (signature required), and it was left by the delivery person without Holcomb’s John Hancock outside his Austin, Texas home. It was swiped by a porch pirate and assumed to be gone forever. Mark rallied his online followers to get the word out and a fan recognized it in a flea market 60 miles south of Austin. The kicker: It was being sold for $200! The fan bought the guitar and returned it to Mark. The best part, Holcomb didn’t let the sloppy bandit deter him from touring with it as he uses it on “Ragnarok” and other low-tuned riffers. He laces all his 7-strings with Progressive Tension Heavy 7 (.010–.014–.018–.028–.039–.050–.065).
Holcomb Burst
For any Periphery songs that only require a standard 6-string attack, he shoulders his brand-new 2023 PRS SE Mark Holcomb that is off-the-shelf stock. Ingredients include a mahogany body topped with a quilted maple top that incorporates an elegant violin carve, a satin maple neck with 24 frets, an ebony fretboard with a flat 20" radius, a 25.5" scale length, and this one leaves the factory with Holcomb’s just-released Seymour Duncan Scarlet & Scourge humbuckers. Controls are just a 3-way pickup selector, master volume, and push/pull tone knob for coil splitting. Holcomb puts Horizon Devices Progressive Tension Heavy 6 strings on all standard guitars.
7th Heaven
This is Holcomb’s PRS SE SVN signature that is identical to its little brother, but has the added string and a 26.5" scale.
Evertune Eviscerater
For the set opener “Reptile,” Holcomb enlists this PRS SE SVN signature that was modded with an Evertune bridge to accommodate “the stupid-low G tuning” that Mark stumbled upon while riffing away on vacation in Spain.
Reptilian Rocker
For the band’s rumbling G–G–C–F–A–D tuning, Misha Mansoor grabs this Jackson USA Misha Mansoor Signature Juggernaut HT6. Its DNA starts with a caramelized basswood body, caramelized quartersawn maple neck and fretboard, 24 jumbo stainless-steel frets, a Graph Tech TUSQ XL nut, a 25.5" scale, Hipshot open-gear locking tuners, and Misha’s signature Bare Knuckle Ragnarok humbuckers. He puts Horizon Devices Progressive Tension Heavy 6 strings on it. And it has a retro-fitted Evertune to keep things tight, prompting Mansoor to commented that “this tour is the most in-tune ‘Reptile’ has ever sounded. It’s been wonderful.” He notes that he recorded nearly all his parts for Periphery’s last two albums with this silver siren.
Orange You Glad
A few years back, Mansoor listed a bunch of gear on Reverb during an equipment purge. He almost listed this one but had second thoughts and is very glad he didn’t. His tech Vinnie gave it some serious TLC and it’s back in the rotation. A cool tidbit about this first-generation Jackson USA Misha Mansoor Signature Juggernaut HT7 is that it has a stunning quilted maple cap sitting over a roasted basswood body. There was a slight blemish on its top, so to salvage the build Misha suggested painting over the quilt, but leaving the edges exposed for a quilted binding effect. It sees work for “Ragnarok,” in their unique variation of drop-A-flat tuning (F#–D#–G#–C#–F#–A#–D#).
Snobs Need Not Apply
Another staple for Mansoor during Periphery’s live set is this import Jackson Pro Series Signature Misha Mansoor Juggernaut HT7 in shimmery blue sky burst. Many of the same appointments are here: a basswood body and a caramelized maple neck and fretboard. The stock models roar with a set of Jackson MM1 humbuckers, but Mansoor opted to upgrade with a set of Bare Knuckle Ragnaroks.
Easy Peasy
“This thing just shreds, man. It’s just so easy to play and it doesn’t fight me for the little note-y bits in ‘Marigold.’” The set closer puts this matte Jackson USA Misha Mansoor Signature Juggernaut HT6 into drop-C tuning. Mansoor is a mega car enthusiast and Formula 1 fan, so he had Jackson put this one in matte red to match Ferrari finishes.
Pass the Scalpel, Please
This might look yet another Jackson USA Misha Mansoor Signature Juggernaut HT6 with a basswood core and quilted maple top, but it has a mahogany body and flame maple cap for a darker sound and heftier weight. Misha’s signature Bare Knuckle Juggernauts give this baby a bite. Mansoor says the Ragnaroks are a sledgehammer, whereas the Juggernauts are a precision tool.
All in the Family
Misha and Jake have nearly identical setups and patches when it comes to amps and effects. Both are using Peavey Invective120 heads—a design alliance with Mansoor—that each run their own Fractal Audio Axe-Fx II XL+ units through a Peavey Invective 412 and out to FOH. The cabinets are loaded with two pairs of Celestion speakers: Vintage 30s and Creambacks. Mark uses a Fractal Audio Axe-Fx II XL+, but his is juiced by a Seymour Duncan PowerStage 700. He also has a Peavey Invective 412 cabinet onstage. In addition to live stage audio via 4x12s, each guitarist relies on Sennheiser EW IEM G4 Wireless In-Ear Monitor and side fills for a complete sound. And the three amigos plug their shred sticks into Shure ULXD4Q Wireless Units.
![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.
