The blues-rocker takes us inside his remarkable gear sanctuary to show off classic Gibsons, a heaping helping of Hiwatts, and a bunch of rare Pete Cornish pedals.
Facing a mandatory shelter-in-place ordinance to limit the spread of COVID-19, PG enacted a hybrid approach to filming and producing Rig Rundowns. This is the 42nd video in that format.
For nearly two decades, Caleb āBonesā Owens has been fulfilling other artistsā and bandmatesā visions. He was a member of moody hard rockers The Becoming and longtime collaborator with dirty-south rapper Yelawolf. Other notable credits include working alongside Mikky Ekko, composing credits for Rose Falcon and Mike Mains & the Branches, and other contributions to Nashville-based acts. Now primed to take the wheel on his own musical excursion, Bonesā journey starts with his brand-new, self-titled debut album via Black Ranch Records/Thirty Tigers.
Just before releasing the his tight, rollicking 12-song collection, the frontman guitarist (and faux bassist) virtually welcomed PGās Chris Kies into his Tennessee home jam space (that could double as a Kustom Amplification museum).
In this episode, we find out why Gibsons just fit Bones Owens (and his sound), he explains his Hiwatt-heavy and Echopark-rich amp pairings, and details the Pete Cornish-heavy pedalboards that enable him to punch with the guitar and rumble like a bass.
āThis is one is special to me,ā admits Bones Owens. āItās been my main touring guitar for the last few years because itās a Swiss-Army knife.ā Above youāll see his 2002 Gibson ES-355. If you recognize it from a previous Rig Rundown, youāre not wrong because it belonged to Gusterās Luke Reynolds before Owens bought it off him. Reynolds upgraded the 355 with Lollar pickupsāan Imperial humbucker in the bridge, and a Charlie Christian in the neckāreplaced the nut, added a Tune-o-matic bridge, a Bigsby, and swapped in Grover Vintage Deluxe tuners. Since purchasing it, Owens hasnāt 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.
Owensā favorite over quarantine has become this 2018 Gibson ES-355 āBlack Beautyā that he picked up at Nashville guitar store Rumble Seat Music. It was aged by Rock N Roll Relics and was enhanced with Montyās PAF pickups.
A close-up of Owen's 2018 Gibson ES-355 āBlack Beautyā.
Here is Bonesā cherry 2015 Gibson Custom Collectorās Choice 1959 Les Paul Standard R9. While he mostly sticks to the bridge pickup, Owens says this āburst begs to be in the neck position thanks to its warm alnico-III Custom Buckers.
A close-up of Bones' 2015 Gibson Custom Collectorās 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 āAshtray,ā Owensā beloved 2000s Gibson Firebird non-reverse reissue (similar to the original run from mid-ā65 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 Owensā 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 Bankerās ā58 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 ā58 V.
For most of todayās 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 Speakersātwo 10" up top and a 12" on the bottom.
For a ābassā tone during his gritty blues-rock duo gigs, Owens will run this ā90s (Audio Brothers) Hiwatt Custom 100 DR103 alongside the Vibramatic. The DR103 rocks through an early ā70s Marshall 2034 cabinet. In a previous life, the 2034 was an 8x10 but now itās home to two 15s.
Just a fraction of Bones' immense amp collection.
Owensā signal out of the guitar hits his first board thatās dedicated to his ābassā 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 ātall fontā 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 shorterāit 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 pedalsāNG-3 (āimminent amp deathā 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 Owensā feet include a silver Klon Centaur, Endangered Audio Research AD4096 Analog Delay, a Skreddy Pedals Skreddy Echo, a JHS-moddedBoss TR-2 Tremolo (rehoused by PG columnist Barry OāNeal over at XTSāXACT Tone Solutions), and in the top left is a Toneczar Effects Halophaze.
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The author, middle, with bassist Ross Valory (left) and Steve Smith (right) of Journey.
Do you know whoās hanging around your gigs? Our columnist shares a story about the time Journeyās bassist was in the audience during soundcheck.
Iāve always loved what I do for a living. Even long before it became a career, doing the work every day to get better was something I fell in love with right away. As a result, Iāve never had any issues with stage fright or nerves when it comes to performingāeven if there are some mega-influential or important musical people in the room.
Luckily, throughout my career, I usually only find out if thereās been someone major in the audience after the show. Iām not very social on tour these days. Iām the last one to soundcheck or show and the first one out of the venue afterwards. Iām often asleep in the hotel before some of the rest of the band have even left the venue.
But once in a while, I do get caught off guardāand this little story from a night on tour last week highlights how you just never know whoās listening ⦠or watching.
Iāve been playing with Steve Smith (former drummer of Journey and inductee of the Rock & Roll Hall of Fame) for over 10 years, first as sidemen with Mike Stern in a band with Randy Brecker, and for the past five years as a member of Steveās band Vital Information. Throughout that entire timeāhundreds of shows, rehearsals, soundchecks, recording sessions, and clinicsāI havenāt once played a Journey bass line around him.
Itās that thing of being way too on the nose to even hint at. Knowing that the Journey chapter of Steveās life is musically very much in the past, it honestly just never crossed my mind. So, what on earth possessed me to start playing the bass line to āAny Way You Want Itā during soundcheck in Oakland last week?!
I donāt even get through the first two bars of the song when I hear, āLooks like Iāve been rumbledā¦.ā I look up, and thereās Ross Valory, the original bass player for Journey.
I had never met him. I had no idea anyone besides the band and the crew were even in the venue during soundcheck. Aside from the embarrassment of doing that in front of one of your bass heroes, it really got me thinking about how you just never know who is listening.
I donāt know who the phrase ābe ready when the luck happensā should be credited toāor if thatās exactly how it was originally saidābut Iāve thought about little else since my Ross Valory moment. If youāre considering a career in music, or working to further the one you already have, it might be something worth thinking about for yourself.
āI had no idea anyone besides the band and the crew were even in the venue during soundcheck. Aside from the embarrassment of doing that in front of one of your bass heroes, it really got me thinking about how you just never know who is listening.ā
Like I said before, Iāve been in love with the work since the beginning. I still set aside vast amounts of time every day to practice and work on my music. Iām constantly tinkering with my goals, large and small. Iām realistic about the time it will take to reach them, the work I need to do to get there, and the fact that some goals may well change over timeāand I have to be totally okay with that and adapt as quickly as possible.
The success of the work and the attainment of the goal is also going to rely at least a little bit (and if Iām being honest, sometimes a lot) on luck. Being ready to capitalize on luck involves constantly updating my daily routine. I have to find the balance between working on very specific elements of my playing for long periods of time, and letting them go once I know theyāre an internal part of my vocabulary.
Jazz pianist Chick Corea talked about memorizing versus knowing a piece of music. When you read through a chart and start to memorize it, youāre essentially just taking the music from the sheet and creating a picture of it in your brain. You then end up looking for that picture the next time you want to play itāand all youāve done is take away the physical paper while keeping the concept of reading. Thatās not knowing the material like itās a natural part of your vocabulary. The repetition I aim for in my daily routine is what helps me play the language of music as fluently as I speak English.
The confidence gained by putting in the work can make you so much more ready for your moment than youāve ever been before.
Set goals, love the work, and always be ready.
You never know whoās listeningā¦.
The veteran Florida-born metalcore outfit proves that you donāt need humbuckers to pull off high gain.
Last August, metalcore giants Poison the Well gave the world a gift: They announced they were working on their first studio album in 15 years. They unleashed the first taste, single āTrembling Level,ā back in January, and set off on a spring North American tour during which they played their debut record, The Opposite of December⦠A Season of Separation, in full every night.
PGās Perry Bean caught up with guitarists Ryan Primack and Vadim Taver, and bassist Noah Harmon, ahead of the bandās show at Nashvilleās Brooklyn Bowl for this new Rig Rundown.
Brought to you by DāAddario.Not-So-Quiet As a Mouse
Primack started his playing career on Telecasters, then switched to Les Pauls, but when his prized LPs were stolen, he jumped back to Teles, and now owns nine of them.
His No. 1 is this white one (left). Seymour Duncan made him a JB Model pickup in a single-coil size for the bridge position, while the neck is a Seymour Duncan Quarter Pound Staggered. He ripped out all the electronics, added a Gibson-style toggle switch, flipped the control plate orientation thanks to an obsession with Danny Gatton, and included just one steel knob to control tone. Primack also installed string trees with foam to control extra noise.
This one has Ernie Ball Papa Hetās Hardwired strings, .011ā.050.
Here, Kitty, Kitty
Primack runs both a PRS Archon and a Bad Cat Lynx at the same time, covering both 6L6 and EL34 territories. The Lynx goes into a Friedman 4x12 cab thatās been rebadged in honor of its nickname, āDonkey,ā while the Archon, which is like a ārefined 5150,ā runs through an Orange 4x12.
Ryan Primackās Pedalboard
Primackās board sports a Saturnworks True Bypass Multi Looper, plus two Saturnworks boost pedals. The rest includes a Boss TU-3w, DOD Bifet Boost 410, Caroline Electronics Hawaiian Pizza, Fortin ZUUL +, MXR Phase 100, JHS Series 3 Tremolo, Boss DM-2w, DOD Rubberneck, MXR Carbon Copy Deluxe, Walrus Slo, and SolidGoldFX Surf Rider III.
Taverās Teles
Vadim Taverās go-to is this cherryburst FenderĀ Telecaster, which he scored in the early 2000s and has been upgraded to Seymour Duncan pickups on Primackās recommendation. His white Balaguer T-style has been treated to the same upgrade. The Balaguer is tuned to drop C, and the Fender stays in D standard. Both have DāAddario strings, with a slightly heavier gauge on the Balaguer.
Dual-Channel Chugger
Taver loves his 2-channel Orange Rockerverb 100s, one of which lives in a case made right in Nashville.
Vadim Taverās Pedalboard
Taverās board includes an MXR Joshua, MXR Carbon Copy Deluxe, Empress Tremolo, Walrus ARP-87, Old Blood Noise Endeavors Reflector, MXR Phase 90, Boss CE-2w, and Sonic Research Turbo Tuner ST-200, all powered by a Voodoo Lab Pedal Power 2 Plus.
Big Duff
Harmonās favorite these days is this Fender Duff McKagan Deluxe Precision Bass, which heās outfitted with a Leo Quan Badass bridge. His backup is a Mexico-made Fender Classic Series ā70s Jazz Bass. This one also sports Primack-picked pickups.
Rental Rockers
Harmon rented this Orange AD200B MK III head, which runs through a 1x15 cab on top and a 4x10 on the bottom.
Noah Harmonās Pedalboard
Harmonās board carries a Boss TU-2, Boss ODB-3, MXR Dyna Comp, Darkglass Electronics Vintage Ultra, and a Voodoo Lab Pedal Power 2 Plus. His signal from the Vintage Ultra runs right to the front-of-house, and Harmon estimates that that signal accounts for about half of what people hear on any given night.
Kiesel Guitars has introduced their newest solid body electric guitar: the Kyber.
With its modern performance specs and competitive pricing, the Kyber is Kiesel's most forward-thinking design yet, engineered for comfort, quick playing, and precision with every note.
Introducing the Kiesel Kyber Guitar
- Engineered with a lightweight body to reduce fatigue during long performances without sacrificing tone. Six-string Kybers, configured with the standard woods and a fixed bridge, weigh in at 6 pounds or under on average
- Unique shape made for ergonomic comfort in any playing position and enhanced classical position
- The Kyber features Kiesel's most extreme arm contour and a uniquely shaped body that enhances classical position support while still excelling in standard position.
- The new minimalist yet aggressive headstock pairs perfectly with the body's sleek lines, giving the Kyber a balanced, modern silhouette.
- Hidden strap buttons mounted on rear for excellent balance while giving a clean, ultra-modern look to the front
- Lower horn cutaway design for maximum access to the upper frets
- Sculpted neck heel for seamless playing
- Available in 6 or 7 strings, fixed or tremolo in both standard and multiscale configurations Choose between fixed bridges, tremolos, or multiscale configurations for your perfect setup.
Pricing for the Kyber starts at $1599 and will vary depending on options and features. Learn more about Kieselās new Kyber model at kieselguitars.com
The Sunset is a fully analog, zero latency bass amplifier simulator. It features a ¼ā input, XLR and ¼ā outputs, gain and volume controls and extensive equalization. Itās intended to replace your bass amp both live and in the studio.
If you need a full sounding amp simulator with a lot of EQ, the Sunset is for you. It features a five band equalizer with Treble, Bass, Parametric Midrange (with frequency and level controls), Resonance (for ultra lows), and Presence (for ultra highs). All are carefully tuned for bass guitar. But donāt let that hold you back if youāre a keyboard player. Pianos and synthesizers sound great with the Sunset!
The Sunset includes Gain and master Volume controls which allow you to add compression and classic tube amp growl. It has both ¼ā phone and balanced XLR outputs - which lets you use it as a high quality active direct box. Finally, the Sunset features zero latency all analog circuitry ā important for the instrument most responsible for the bandās groove.
Introducing the Sunset Bass Amp Simulator
- Zero Latency bass amp simulator.
- Go direct into the PA or DAW.
- Five Band EQ:
- Treble and Bass controls.
- Parametric midrange with level and frequency controls.
- Presence control for extreme highs.
- Resonance control for extreme lows.
- Gain control to add compression and harmonics.
- Master Volume.
- XLR and 1/4" outputs.
- Full bypass.
- 9VDC, 200mA.
Artwork by Aaron Cheney
MAP price: $210 USD ($299 CAD).