The Texas-bred band has released five records since 2008. (They're currently working on their sixth.) Through those handful of albums, the country-leaning rockers refined their from-the-gut songwriting and heartfelt performances eventually earning them a No. 1 record on both Billboard's U.S. Country and Indie charts with 2019's Whiskey Myers.
During the recording process of the forthcoming album, Whiskey Myers' cofounding guitarist John Jeffers virtually welcomed PG's Perry Bean into his Texas-based tone bunker.
In this episode, the self-taught guitarist shows off his main Gibsons (including some rare finds and classic reissues), breaks down his Vox pillars, and details the smattering of stomps he kicks on for a wide-range of tones covering the rock and the roll.
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1994 Gibson Les Paul Standard
Pro players typically graduate from their first love. In John Jeffers' case, one of his main axes—the above 1994 Gibson Les Paul Standard—was the electric that started it all. It was a gift from bandmate Cody Tate's uncle. Before it became his sweet baby, the stock pickups were swapped out for a Seymour Duncan SH-4 JB (neck) and DiMarzio Super Distortion (bridge). All of double-J's guitars take Ernie Ball Power Slinkys (.011–.048).
2011 Gibson Les Paul Custom Blonde Beauty
A key backup would be this 2011 Gibson Les Paul Custom Blonde Beauty that Jeffers says is rare because only a few hundred were made. This was a gift from one of the band's longtime fans that used to help fill up their gas tank to ensure they could make it to the next gig.
Gibson ES-339
No your eyes aren't deceiving you, this Gibson ES-339 looks like a 335, but is actually comparable in size to a Les Paul. Other differences from its big brother is the implementation of the Memphis Tone Circuit that reverts back to simplified '50s-style wiring where the tone control is connected to the volume control rather than the pickup. It results in a less-obvious tone-control sweep.
2004 Gibson Les Paul Junior
Now he'll play slide on anything you hand him, but Jeffers does prefer to get greasy with this 2004 Gibson Les Paul Junior because it rides well in modal-G tuning for songs like "Home" and "On the River."
1992 Gibson 1967 Reissue SG Custom
Here's something Jeffers' had been lusting over for a long time—a 1992 Gibson 1967 Reissue SG Custom. He's always wanted an original '61 Les Paul (the first year of the SG shape), but this wonderful reissue will suffice until that day comes.
Handwired Vox AC30HWHD Heads & Matching Cabinets
All those Gibsons bark and growl through a pair of handwired Vox AC30HWHD heads and matching 2x12 cabs (all loaded with Celestion Alnico Blue speakers). In a typical live setup, Jeffers will run the left stack as a rhythm tone (mic'd with a Sennheiser MK4) and right stack is for lead tone.
John Jeffers' Pedalboard
Jeffers is a man of many tones requiring only a few pedals. Currently in his arsenal is a Hermida Audio Reverb, Skreddy Pedals Echo, Menatone Red Snapper Overdrive, Union Tube & Transistor More, Analog Man Sun Face Fuzz NKT 275, and a Dunlop SW-95 Slash Signature Cry Baby wah. Managing his AC30s are a pair of Lehle Mono Volume pedals, keeping the guitars in check is a Vox VXT-1 Strobe Tuner, and powering all the pedals is a Cioks DC7.
“This is one is special to me,” admits Bones Owens. “It’s been my main touring guitar for the last few years because it’s a Swiss-Army knife.” Above you’ll see his 2002 Gibson ES-355. If you recognize it from a previous Rig Rundown, you’re not wrong because it belonged to Guster’s Luke Reynolds before Owens bought it off him. Reynolds upgraded the 355 with Lollar pickups—an Imperial humbucker in the bridge, and a Charlie Christian in the neck—replaced the nut, added a Tune-o-matic bridge, a Bigsby, and swapped in Grover Vintage Deluxe tuners. Since purchasing it, Owens hasn’t done anything to the instrument and even hesitates to re-string it. Speaking of strings, Owens used to beat himself up with .012s but now loosens up with Ernie Ball Slinky .010s for most of his instruments.
A close-up of Owens' 2002 Gibson ES-355.
Owens’ favorite over quarantine has become this 2018 Gibson ES-355 “Black Beauty” that he picked up at Nashville guitar store Rumble Seat Music. It was aged by Rock N Roll Relics and was enhanced with Monty’s PAF pickups.
A close-up of Owen's 2018 Gibson ES-355 “Black Beauty”.
Here is Bones’ cherry 2015 Gibson Custom Collector’s Choice 1959 Les Paul Standard R9. While he mostly sticks to the bridge pickup, Owens says this ’burst begs to be in the neck position thanks to its warm alnico-III Custom Buckers.
A close-up of Bones' 2015 Gibson Custom Collector’s Choice 1959 Les Paul Standard R9.
For the oddball lovers, Owens busted out his 1972 Gibson Les Paul Recording singlecut. Before he bought the weirdo from J Gravity Strings in St. Louis, someone gave it the Ace Frehley treatment and dropped in three DiMarzio Super Distortions and stripped out all the crazy original wiring.
A close-up of his 1972 Gibson Les Paul Recording singlecut.
Meet “Ashtray,” Owens’ beloved 2000s Gibson Firebird non-reverse reissue (similar to the original run from mid-’65 through 1969) that is loaded with three mini-humbuckers. The nickname stems from the cigarette stench caked into the guitar when he bought it off a fine southern gentleman at an Alabama truck stop.
A close-up of Bones' 2000s Gibson Firebird non-reverse reissue.
The only non-Gibson in Owens’ Rundown is actually a licensed Gibson copy. Banker Custom Guitars is one of select few luthier shops that have been handpicked and authorized by Gibson to faithfully recreate their iconic instruments. Above is Banker’s ’58 V that has a period-correct two-piece korina body and neck, Indian rosewood fretboard, vintage-specific brass string plate, brad nails, and ferrules, and it came loaded with a set of OX4 Hot Duane PAFs.
A close-up of his Banker ’58 V.
For most of today’s Rundown, we were hearing this Echopark Vibramatic 4T5A. Owens mentions it is loosely based on a brown-panel Fender, but it does have a voice switch that kicks it into an earlier JTM45-style tone. This is supposedly one of 10 4T5A heads ever built.
The Vibramatic head runs into a matching Echopark cab that has three ceramic Warehouse Speakers—two 10" up top and a 12" on the bottom.
For a “bass” tone during his gritty blues-rock duo gigs, Owens will run this ’90s (Audio Brothers) Hiwatt Custom 100 DR103 alongside the Vibramatic. The DR103 rocks through an early ’70s Marshall 2034 cabinet. In a previous life, the 2034 was an 8x10 but now it’s home to two 15s.
Just a fraction of Bones' immense amp collection.
Owens’ signal out of the guitar hits his first board that’s dedicated to his “bass” sound that colors the DR103. The Spaceman Effects Saturn V Harmonic Booster is an always-on, no-matter-what pedal. Then it hits the Pete Cornish A/B/C amp splitter box. Out of that it runs into the Electro-Harmonix Micro POG (just for octave down) and then goes through a “tall font” EHX Big Muff that was rehoused by Mike Hill. From there, he has the Tech 21 SansAmp Bass Driver/DI. If things are cooking onstage, Owens will leave the Saturn V, Micro POG, Big Muff, and SansAmp all on, all the time.
The B signal path is much shorter—it incorporates the Echopark Echodriver that awakens the Echopark Vibramatic 4T5A.
(Typically, the C patch would hit a third amp and handle the bulk of effects, but for at-home-recording purposes, Owens routed all the stomps through the Echopark head.) Before jumping over to the second board on the left, the C path routes through the Cornish TB-83 Extra Treble Booster. Then we have plethora of Pete Cornish pedals—NG-3 (“imminent amp death” fuzz), a SS-3 (overdrive/distortion) & P-2 (distortion) housed together, CC-1 (boost/overdrive) that uses two fixed, low-gain, soft-clipping stages, and a NB-3 (linear boost). The other noisemakers and rebel rousers at Owens’ feet include a silver Klon Centaur, Endangered Audio Research AD4096 Analog Delay, a Skreddy Pedals Skreddy Echo, a JHS-modded Boss TR-2 Tremolo (rehoused by PG columnist Barry O’Neal over at XTS—XACT Tone Solutions), and in the top left is a Toneczar Effects Halophaze.
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