Classic-rock legends Heart, led by iconic sibling duo Nancy and Ann Wilson, tore across the United States last year on the Royal Flush tour. The show touched down at the Pinnacle in Nashville on December 21, and prior to the festivities, PG’s John Bohlinger met up with lead shredder Nancy Wilson and her tech/“guitar butler” Nathan McMurdo, plus guitarists Ryan Wariner and Ryan Waters. Check out some highlights from their rigs below, and tune in to the full Rundown for more!
On the advice of a former roadie, Wilson picked up this Lake Placid blue 1963 Telecaster when she was “nouveau riche” in the early ’80s, thanks to Heart’s success. Some encourage her to leave it at home, but Wilson insists she “can’t live without it.” Its neck pickup was changed to a PAF humbucker. Most of Wilson’s electrics use D’Addario NYXL strings (.010–.046).
Here, Fishy, Fishy
After retiring a ’60s SG, Wilson now brings this early-’80s model on the road. It sees use on “Barracuda.”
Sisters’ Signature
This custom-built acoustic was brainstormed by Nancy and the folks at Martin as a signature gift for her sister, Ann. Adorned with interstellar artwork, it’s one of only two ever made—one for each sister. All of Nancy’s acoustics use Go Acoustic pickups.
Buddhist Temple
<p>Nancy’s electrics run through a Budda Superdrive 30 head, with a second on hand as a backup, and out to an Orange 412 cabinet with Celestion Gold speakers.</p>
Nancy Wilson’s Pedalboard
McMurdo handles effect changes backstage throughout the show. Nancy’s board has a Line 6 HX Stomp, T.E.A. Barracuda, Revv G2, Keeley El Rey Dorado, MXR Studio Compressor, DigiTech Drop, Revv Tilt, and a channel switch pedal for the Budda. There are also Radial Big Shot ABY and Headshot utility boxes, and an Endorphines Plus 3 expression pedal.
Classic ’Caster
Ryan Waters bought this 1972 Telecaster Thinline in a New York City guitar shop in the mid-’90s. Loaded with Lindy Fralin pickups, it’s his top pick.
Thin Lindy
This thinline Telecaster serves as a loyal backup, with the same Lindy Fralins that are in his number-one, plus a Bigsby system.
… And Don’t Call Me Dirty Shirley!
Waters’ Friedman Dirty Shirley is his main amp, with an 18-watt Marshall plexi-style head as a backup. An Orange 412 pumps out the sound.
Ryan Waters’ Pedalboard
Waters’ board includes a TC Electric PolyTune Mini, TC Electronic Sub ‘N’ Up, MXR Phase 90, Mr. Black Tremolo, Keeley Super Rodent, Revv G2, Strymon Deco, Recovery Effects Moonstruck, and a Dunlop Volume Pedal.
MI6-String
This 2014 Les Paul is from Gibson’s Collector’s Choice series, and thanks to its serial number 007, it’s earned the nickname “Bondburst.” It has a Tom Holmes bridge pickup, and comes out for “Magic Man,” as well as Led Zeppelin covers in the set. Like Wilson, he uses D’Addario NYXLs (.010–.046) and D'Addario Nickel Bronze strings on his acoustics.
Double the Fun
Wariner acquired this lightweight double-neck from Gibson when he joined up with Heart for this tour. It has a Seymour DuncanJimmy Page pickup in the bridge, and is used for a cover of Zeppelin’s “Rain Song,” as well as the title track off of 1977’s Little Queen.
Bringing Plexi Back
Wariner’s top dog is his 1973 100-watt Marshall head, modded by Dave Friedman. Another 1970 Marshall JMP head with the same mod is on deck as a spare. The heads run through a Friedman cab with a mix of Celestion Greenbacks and Vintage 30s.
Ryan Wariner’s Pedalboard
To the left of Wariner’s main board sits a smaller rig with a Peterson StoboStomp Tuner, a UAFX Heavenly, and a Grace Design ALiX Preamp. On the motherboard, there’s an Ernie Ball volume pedal, a second StroboStomp, MXR Phase 95, MXR Super Badass, DigiTech Drop, Klon clone, Pete Cornish NB-3, T.E.A. Barracuda, Analog Man GE-7, Crowther Hot Cake, Strymon Volante, EarthQuaker Devices Dispatch Master, and Strymon Cloudburst.
The velvet-voiced, smooth-slide-playing solo artist details his journey from sideman to frontman, shares the his approach to designing a fresh Strat model, explains how a forced reset reshaped his career path, of course, he and host John Bohlinger share a few jams.
Ever wondered how Billy Corgan achieves that massive "chainsaw" fuzz tone that defined an era of alternative rock? In this edition of "Blueprints", PG contributor Tom Butwin dives deep into the gear that makes it possible, featuring the Reverend Billy Corgan Z-One with its unique Bass Contour control, the Electro-Harmonix Op-Amp Big Muff Pi for that essential seventies-style grind, and the Gosh Amplification Problem Solver to provide a classic Marshall-style foundation.
This is it — the granddaddy of Pedalboard series. The MONO Pedalboard Large is a pro-sized and -featured pedal solution that won't weigh you down in size or cost. The Pedalboard Large is cut from a single piece of anodized aluminum for superior strength, light weight, and an elegant textured surface. Cutouts along the surface hide pedal jumpers and power cables for a streamlined, professional look. Rubber feet on the bottom absorb shock and prevent the Pedalboard Large from sliding across hard surfaces as you stomp
Dave and Tom were so excited about this episode with Mr Big and Racer X guitarist Paul Gilbert that they almost fainted right before taping, leaving a very unamused Cindy to host it alone. It takes a lot to fluster an Axe Lord, but the prospect of talking to Paul Gilbert about designing his Fireman guitars, getting a guided tour through his collection of vintage Ibanez treasures, and finding out how to properly rig a power drill for speed picking is almost more than any fan of highly technical guitar wizardry could stand.
Gilbert, who is promoting his rifftastic new concept album WROC - based on the George Washington-penned tome Washington’s Rules of Civility, is also the first, but hopefully not the last, Axe Lords guest to introduce cosplay to the show. To whit, he appears sporting a revolutionary war-styled Tricorn hat, the perfect accessory for schooling us not just in arcane bits of American history but also in the finer points of high-stakes shred protocol.
Axe Lords is presented in partnership with Premier Guitar. Hosted by Dave Hill, Cindy Hulej and Tom Beaujour. Produced by Studio Kairos. Executive Producer is Kirsten Cluthe. Edited by Justin Thomas (Revoice Media). Engineered by Patrick Samaha. Recorded at Kensaltown East. Artwork by Mark Dowd. Theme music by Valley Lodge.
Follow @axelordspod for updates, news, and cool stuff.
When GWAR stomped through Nashville with the goriest gear of all, we had to take a look. PG’s Chris Kies caught up with the band at Marathon Music Works to hang with Grodius Maximus, Bälsäc the Jaws ’O Death, and Casey Orr (aka Beefcake the Mighty). The band rolls cab-free, armed with a stack of dangerously signature gear.
Grodius Maximus’ rig is all about spectacle, aggression, and controlled chaos—designed to sound less like a guitar and more like a “big crazy animal.” His primary instruments come from Radical Instrument Products in Salt Lake City. His go-to is pointy, pink, and equipped with a locking tremolo and a single humbucker. He also carries a gold neck-through model loaded with a pair of humbuckers and a coil tap.
Inspired by Buzz
Rounding out the guitar lineup is an Electrical Guitar Company instrument—something Grodius was turned onto by Buzz Osborne of the Melvins. That guitar features dual humbuckers and a Mastery bridge, adding a slightly more refined edge to an otherwise savage setup.
Dark Favorite
Grodius calls the Orange Dual Dark 100 his favorite amp of all time. While it’s not being used onstage for this show, its DNA is still present via a Kemper, which houses a model of the Dual Dark that anchors his core tone.
All Sorts of Nasty
Effects are where things get truly unhinged. On his rack, a Line 6 Filter Pro handles “all sorts of nasty tones,” while a lineup of Bananana Effects pedals sit in reserve, ready to be unleashed when needed. Switching duties are handled by a Voodoo Lab Guitar Audio switcher, and he also shows off a Death By Audio prototype, alongside trusted staples like the DBA Echo Dream 2 and DBA Robot.
His actual pedalboard is deceptively compact but vicious: a Boss Chromatic Tuner, a Line 6 FM4 pedal, a Hotone expression pedal, DOD Gonkulator, Bananana Mandala, and an MXR Carbon Copy Bright, all powered by a Voodoo Lab supply.
Bälsäc the Jaws ’O Death - Blue Beast
Bälsäc’s rig blends modern metal precision with an openness to conventional and unconventional tools. His signature Schecter Bälsäc Blue Jaw model—soon to be released at what he jokingly calls “an exorbitant price”—is constructed using material from his actual costume. Finished in Antarctic crackle, it’s loaded with a pair of blue Fishman Fluence pickups, delivering clarity and aggression in equal measure.
Non-Metal Vibes
He also relies heavily on a Schecter PT Custom with a purple finish—a T-style guitar that initially raised eyebrows. “It’s surprising how much I love the PTs,” he admits. “It’s such a non-metal shape.” The guitar is outfitted with Fishman Fluence pickups and an Amptone XY MIDIpad, which wirelessly controls his Fractal Axe-Fx III.
Modeling Rig
The Axe-Fx handles amp modeling duties, often dialed in to a Mesa/Boogie-style sound. He also rocks the familiar purple Line 6 Filter Pro. Because Gwar performs to click tracks, all patch and effect changes are automated through Ableton, keeping everything locked tight.
Chaos via Kaoss
Bälsäc’s pedalboard is deep and experimental: a Chase Bliss Onward, Death by Audio Robot and Disemboweller, and a Meris Ottobit and Hedra. In the rack, he keeps a Korg Kaoss Pad, EarthQuaker Devices Data Corrupter, and an EHX C9 organ emulator, allowing him to blur the line between guitar, synth, and noise weapon. He even uses a Moog Theremini as an expression controller, further expanding his sonic vocabulary.
Casey Orr/Beefcake the Mighty - Slim Nikki
Handling low-end duties behind the scenes is Casey Orr, who you might better as Beefcake the Mighty. His primary instrument is the Schecter Casey Orr Beefcake Bass, which shares its electronics with the Riot 4, but features a Nikki Sixx–style body, slimmed down for comfort. The bass also sports a thinner neck, along with 24 frets, a kill switch, and a pair of EMG pickups—a combination Orr describes simply as “super comfortable.”
Backpack Rig
On the amplification side, the cornerstone of Orr’s sound is the Darkglass Alpha·Omega Ultra, which he calls the “missing link” in achieving the bass tone he’d previously been chasing—aggressive, articulate, and perfectly suited to Gwar’s controlled mayhem.