From Robin Trower to Eric Johnson to Tom Morello, Joe Bonamassa, the Edge, Green Day, Eric Clapton, and more—10 S-Styles that’ll give you 6-on-a-side envy!
Here’s PG’s stats on Strats—the top 10 Rig Rundowns featuring Fender Stratocasters and other Strat-style guitars. We’re not giving away who’s number one, but you’re welcome to guess—or simply watch the compelling show-and-tells in this video. You’ll see a slew of signature models close up, with guided tours from Robin Trower and Eric Johnson (who also show off vintage Marshalls), and by Eric Clapton and the Edge’s stalwart techs. Meet the 1958 Fender Strat that John Oates played on virtually all of Hall & Oates’ smash hits. (Can you go for that?) Plus, get the lowdown on Doyle Bramhall II’s hard-played 1964 Stratocaster and the left-of-center pickup configuration employed by Khruangbin’s Mark Speer.
Still want more? How about the super strat rocked by Green Day’s Billie Joe Armstrong, or a demonstration by Tom Morello of his famed scratching technique—with a slide. (Hint: It’s not a kill switch, and he’s an inventive badass.) And Joe Bonamassa tells you why he bought a guitar that was presented to him as the “best Stratocaster” ever, and makes a compelling case for exactly why it’s that, by a good 5 percent. Spoiler alert: There’s a lot more great gear details you’ll pick up along the way. F’rinstance, does Clapton really never change his strings unless they break? How funky do flatwounds needs to get until they’re perfect? How many Flying V’s does the Edge use during a concert? What pickup settings yielded the sounds you’re heard on classic recordings? How many marmots does it take to fill a VW bug? (Just seeing if you’re playing attention.) Sure, the Stratocaster and its variants have been around since 1954, and we’ve heard them played on countless recordings, but you won’t leave this Top 10 Rig Rundown without learning something new about Leo Fender’s greatest hit!
Strats, Explorers, Les Pauls, AC30s, and a healthy amount of delay help form some of the most iconic tones ever recorded. Famed tech Dallas Schoo walks us through the ins and outs of The Edge’s expansive setup.
This past June, PG traveled to the Wells Fargo Center in Philadelphia to catch U2’s eXPERIENCE & iNNOCENCE Tour. Before the band’s soundcheck, John Bohlinger hung with Dallas Schoo, who has been taking care of The Edge’s ever-changing collection for over 30 years.
The Edge tours with 45 guitars. He performs with 18 to 20 different guitars every show and has a backup for every one of them. The Edge does not endorse any string company but has Dallas Schoo constantly experimenting with different brands and gauges for each guitar and tuning.
In 1978, on a trip to the United States with his family, a seventeen-year-old Edge bought this 1976 Gibson Explorer. This guitar was there for the birth of U2 and has been part of nearly every tour and session since. Edge now owns eleven ’76 Explorers and currently tours with three of them. They are all stock and nearly identical. And to be clear, Dallas Schoo is always on the look for more.
Fender approached The Edge about a signature model based on some of his old favorite Strats. This namesake model features a large headstock, a Dimarzio FS-1 bridge pickup, and two custom staggered Fat ’50s Fender single-coil pickups. The strap on was designed by The Edge.
The Edge’s 1971 Fender Telecaster is totally stock with the exception of the mysterious numbers etched into the pickguard.
Although he mostly plays vintage guitars, this 1988 Gibson Gold Top ’57 reissue remains one of the Edge’s favorites.
Edge’s 1966 Gibson SG is all stock and even includes the patent-sticker pickups.
Edge carries two Gibson Music Rising Les Pauls. These guitars were part of a fundraiser to help New Orleans musicians get new instruments to replace those that were lost in Hurricane Katrina. Each guitar features Mardi Gras-influenced artwork to celebrate NOLA’s rich musical heritage.
Here is Edge’s 1964 Epiphone Casino that is completely stock.
Like most of Edge’s vintage guitars on this tour, this 1967 Rickenbacker 330/12 is all stock.
Edge’s new Taylor prototype features a second Sunrise S-1 LW/J sound-hole pickup placed at an angle and is used with the standard Taylor electronics.
This Takamine EF341SC was a gift to Edge from Bruce Springsteen.
The Edge’s tone comes from combining various vintage and new amps. Under the stage sits Amp Alley, which houses a baffled row of glowing tubes and cranked speakers. Of course, each amp has a spare standing by.
Vintage Vox AC30s have been a cornerstone of Edge’s tone since his earliest days. On this tour he takes out two 2015 Vox AC30TB combos handwired by Dave Clarke and two 2016 Vox AC30s that Clarke tweaked.
Three tweed-style amps round out Edge’s stash. From the top we have a Fender Edge Deluxe, a 1957 Fender Tweed Deluxe, and finally a 1957 Fender Harvard.
The only amp onstage is a lone 2017 Fender The Edge Signature Deluxe Combo.
The Edge has worked with Bob Bradshaw for years to help create his live rigs. The effects are controlled by two Bradshaw RS40 controllers: one is onstage, and a second unit sits with Dallas. In addition to the RS40, Edge has a DigiTech WH-1 Whammy, a Boss 500V Expression Pedal for his Custom Audio remote wah, two Dunlop Volume X pedals (one for reverb, one for delay), and a Dunlop Mini Volume X, which is used for quick octave pitch shifting.
Edge’s racks hold Furman PL-PRO DM C E power conditioners, three Fractal Audio Axe-Fx II XL units, a Korg Pitchblack Rack Tuner, a custom Line 6 DM-4, a Line 6 Pod Pro, a Korg SDD-3000, an Ibanez TS-9 Tube Screamer, a Boss FA-1 FET boost, a Boss CS-2 Compression Sustainer, a Boss OC-3 Super Octave, a prototype Fender distortion pedal, a Diamond VIB1 Vibrato, an Electro-Harmonix B9, a DigiTech SynthWah, a Voodoo Lab Pedal Power Mondo, four MIDI Solutions Mergers, a Line 6 M5, three Boss SD-1 Super Overdrives, a JHS Crayon, a sobbat DB-2 Drive Breaker, and several Bradshaw-designed Custom Audio Electronics splitters, loop boxes, and interfaces.
Click to subscribe to our weekly Rig Rundown podcast:
Warwick brings a less-expensive version of their Adam Clayton Custom Shop signature model bass to the table.
Clip 2: Bass rolled off 25 percent, treble rolled off 75 percent
Warwick’s Adam Clayton Rockbass model is the younger, less expensive sibling of the U2 bassist’s upscale Custom Shop model. The bass is made in Warwick’s facility in Asia and includes variations on many of the accouterments sported by its higher-priced relative. Just like the Custom Shop model, the Clayton Rockbass is designed for generating P-bass flavored tones with a decidedly modern edge—but at a price point that’s less likely to make jaws drop.
Kith and Kin
To the casual observer, Clayton’s Rockbass looks virtually identical to his high-end bass produced in Warwick’s Custom Shop. And despite the changes to help keep its price affordable, it still manages to deliver much of the original’s versatility, smooth playability, and vintage thump. The instrument’s curvy P-bass-meets-Dalí body is made of alder, which was chosen as a price-conscious alternative to the costly lightweight swamp ash used for the Custom Shop model. Its white crème finish has just enough yellow tint to give it a classy aged look while retaining a nice hint of sparkle. Both the single-ply black pickguard and small, wooden thumb rest of our review model looked flawless from a distance, but close inspection revealed frayed edges along the pickguard and a stripped screwhead in the thumb rest—minor issues, but ones you don’t want to see on an $800 bass.
Its raw, 3-piece maple neck (versus a 1-piece on the Custom Shop model) is bolted onto the body using a 4-bolt design and rounded joint, and features a 34" scale length, 21 jumbo bronze frets, and a modern 9.5" radius maple fretboard with black-block inlays. The neck on our review model felt smooth to the touch with a comfortable taper, but it should be said that the slot for the 9th fret wire looked like it had been miscut and the extra spacing hastily repaired with a dab of body filler. The strings are anchored in place using a standard 2-piece Warwick bridge, a Tedur nut, and a set of large, chrome tuners.
Clayton’s Rockbass sports a single Seymour Duncan Quarter Pound pickup with passive MEC electronics, the output of which is shaped using controls for volume, bass, and treble. It’s a simple setup that offers a clever way to tame the Quarter Pound’s aggressive highs and lows while leaving the midrange intact—resulting in a more vintage-like growl instead of the modern scooped tone that the pickup tends to deliver when run full-bore.
Scion Tamer
After strapping on the bass, I was surprised at its lack of neck dive and how evenly its weight balanced against my shoulder. The body is more compact than a typical P-bass shape, but the elongated upper horn seemed to help in distributing its body-to-neck weight. Thanks to the position of the thumb rest, I was able to place my hand close to the strings for nimble and precise picking, and its small size prevented it from getting in the way when flatpicking close to the neck.
Ratings
Pros:
Passive EQ is highly dynamic and versatile. Comfortably tapered neck. Good balance.
Cons:
Some minor fit and finish flaws. A little pricey.
Tones:
Playability:
Build/Design:
Value:
Street:
$799
Warwick Rockbass Adam Clayton Artist Line
warwickbass.com
I began by setting the Rockbass's onboard EQ controls for full bass and treble, then plugged into an Ampeg SVT driving a 4x10 cabinet. The Quarter Pound pickup delivered the raw and aggressive tone that’s made it a staple of hard-rock bass—an earth-moving concoction combining crisp and articulate highs, plus slightly scooped mids with an emphasis on the lower-midrange spectrum, supported by a frighteningly deep low end. The treble grew crisper as I dug into the strings with more punk-rock vigor, and their edginess backed off a bit when I lightened my attack with subtler grooving.
Fans of Clayton’s trademark warm and thumpy bass tones with U2 might be surprised that his new signature bass comes loaded with a pickup that’s so focused on the treble and bass frequencies. The trademark P-bass punchiness is there—without a doubt—but the stalwart highs and mammoth low end infused with it resulted in a tone that I would be hard-pressed to describe as “vintage.” With a couple of quick adjustments of the onboard bass and treble controls, the pickup’s raucous output can be shaped into those classic tones and many more.
To achieve a flatter tone, I simply dialed back both controls about a third to meet the midrange scoop. Using this setting as my starting point, I only needed to employ small adjustments to the controls to uncover a surprisingly wide gamut of useful tones for a variety of genres, including mellow blues, jazz, high-spirited classic rock, and gritty contemporary Americana. And as for tones close to those of the man himself, I had no difficulty in approximating them by turning the treble knob down a little below half-way, turning up the bass control to around 70 percent of its range, and adjusting the SVT’s preamp-gain knob to taste for filling out the tone while warming up the low end.
The Verdict
The Warwick Rockbass Adam Clayton Artist line bass is a solid instrument that delivers an impressive range of vintage and modern tones. Much of that versatility can be attributed to a simple passive EQ system that excels in shaping—and taming, if desired—the tones produced by its high-output pickup. Our review model did arrive with a couple of minor build flaws. And while they didn’t affect playability or function, they are hard to overlook on a bass with an $800 asking price. Blemishes aside, this new Adam Clayton model is still an attractive option for players looking for a simple and unique bass that covers plenty of ground.