See how three different gear philosophiesāpowered by crunchy combos, classic guitars, piles of pedals, studio outboard gear, and a Beatles DI console fuzzāwork together to bridge the bandās brash, punkified roots with their polished pop hooks.
Cage the Elephant was formed nearly 20 years ago in Bowling Green by vocalist Matt Shultz, guitarists Brad Shultz and Lincoln Parish, drummer Jared Champion, and bassist Daniel Tichenor. That core lineup has only changed once, with Nick Bockrath replacing Parish onstage in 2013 and officially in 2017. CTEās earliest albumsā2008ās Cage the Elephant and 2011ās Thank You, Happy Birthdayācaptured their punk-rock pandemonium that turned venues into hurricanes. Cageās mayhem cloaked melodies, like a Trojan horse creating early-career earworms and sing-alongs out of hits āIn One Ear,ā āAin't No Rest for the Wicked,ā āShake Me Down,ā and āAberdeen.ā
2013ās Melophobia brandished a trio of mellower, melodious singles: āCome A Little Closer,ā āTake It or Leave It,ā and āCigarette Daydreams.ā Then, 2015ās Tell Me Iām Pretty saw the band enter Easy Eye Sound to work with Dan Auerbach, sending the bandās sonics back to the ā60s with an emphasis on direct, pointed performances and console-driven fuzz. Their last two albums, 2019ās Social Cues and 2024ās Neon Pill, partnered them with producer John Hill, who helped wrap their memorable hooks in a smokier, after-hours backdrop that incorporated ā80s sheen with drum machines, shifting synth textures, and sleek production that pulses with flow and emotion.
The constant glue that holds these albums together (aside from the members' cohesive creativity) is the constant applicationāin varied amountsāof garage rock, psychedelia, and a little bit of danger. Even their softest, smoothest work portrays these gripping vibes. And while the velvet packaging of their songs have them sounding more Abbey Road than Albiniāearning the group back-to-back Grammys for Best Rock Album for Tell Me Iām Pretty and Social Cuesāthe Shultz brothers still bring their signature piss-and-vinegar performances to the stage, where the front row will likely play host to both throughout any given setlist.
Before the bandās Bonnaroo set on Saturday June 15, Cage the Elephant invited PGās video team to their rehearsals inside East Nashvilleās Steel Mill space to cover the gear theyād be touring with in support of their sixth album, Neon Pill. On guitar, lap steel, and pedal steel, Nick Bockrath starts off the Rundown going through his sizzling setup that includes custom guitars, a bountiful pedalboard, and a special instrument from a deceased friend and Nashville legend. Then, tech Mason Osman details how Brad Shultz transformed his rig to mimic his preferred recording setup that relies on studio tube preamps and compressors for a direct, broiling sound. Lastly, tech Bailey Griffith shows a simplified-but-tsunami-sounding bass setup that includes two Fender 4-strings and 300W tube heads that kick like a mule.
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Some Like It Hot
Guitarist Nick Bockrath was approached by luthier Jacob Harper to collaborate on his ādreamā guitar. The fellas landed on Harperās existing Marilyn model with some key requests: a Bigsby vibrato, gold hardware, a Bockrath-drawn dude on the truss-rod cover, and the striking red-sparkle finish. Harper was the brains behind the pinball-flapper-button kill switch (with Bockrathās blessing). The semi-hollow has a chimey, jangly tone thanks to its TV Jones FilterāTron pickups. All the knobs were originally identical, but as Nick says, āwe just keep it moving,ā so heās been replacing the road thrash with random knobs from his personal collection as needed. All his electrics take Ernie Ball Power Slinkys (.011ā.048).
Sniped
Los Angeles-based producer John Hill, who worked with Cage the Elephant on Social Cues and their brand-new Neon Pill, had his eye on this early 1990s GibsonĀ Les Paul Deluxe goldtop that was for sale at Carterās Vintage Guitars. He sent the listing link to Nick Bockrath, who was going to visit the store to inspect the goldie. Bockrath called Hill from the shop, who wondered how the guitar sounded. Nickās sly response: āIt sounds like Iām gonna buy it in five minutes [laughs].ā The previous owner removed the original pickups and dropped in a P-90 in the bridge and a gold-foil in the neck.
Torn and Frayed
Bockrath scooped this on a trade from Blues Vintage Guitars in Donelson. He canāt quite nail down its birth year, but from the serial number and similar online listings, heās been able to deduce that itās a SG Custom from 1969āā71. This is a bus companion that travels with Nick because he doesnāt want it out of his sight.
Trust in Russ
Russ Pahl is a pedal-steel guitar icon. Heās on a short list of first calls when an artist needs that classic country sound. On top of being an ace musician, Pahl builds partscaster guitars, and he assembled this mean T with Nick in mind. It has a standard T-style bridge pickup, but to give Bockrath a bit more bite, he opted for a Firebird-style mini humbucker for the neck slot.
Knockin' on Heaven's Door
Nickās early Nashville mentor and a friendās father William "Bucky" Baxter played lap- and pedal-steel guitar for Bob Dylan and Steve Earle. This century-old Gibson BR-6 lap steel toured with both iconic songwriters. Bucky sold this to Bockrath because, he said, āif you were ever gonna play lap steel in a rock ānā roll band, this would be the one,ā so Nick honors his old pal every night.
Steeler
Bucky Baxter got Bockrath hip to the GFI pedal-steel guitars when he first expressed interest in the slide instrument. Nick landed on the single-neck GFI Ultra 10-string model thatās added fresh elements to Cageās sound on their last two albums and subsequent tours.
Royale with Cheese
Bockrath runs a stereo setup with a two-amp attack that includes a pair of Supro 1933 Royale 2x12 combos. He digs them for being excellent at taking pedals, having modern features like tube-buffered effects loops and variable power settings, and their natural, responsive overdrive.
Nick Bockrath's Pedalboard
Bockrath has everything but the kitchen sink on his stomp station, but he assured us that each pedal has its role and itās all very organized. Starting on the left there are four separate time machinesāa duo of Boss DD-8 Digital Delays, EarthQuaker Devices Disaster Transport, and a Death By Audio Echo Dream 2. Modulation and weirdo effects include a Moog Moogerfooger MF-108M Cluster Flux, a Boss TR-2 Tremolo, an Electro-Harmonix Mel9, and a Malekko Omicron Vibrato. His pair of fuzzes are the single-knob Big Ear Pedals Betty White and the Malekko Diabolik. Reverb comes from the amps and the Malekko Spring Chicken, pitch-shifting is handled by the venerable DigiTech Whammy, and spicing up his signal is either an Analog Man Comprossor or a Pedal Projects Growly boost. All the pedals are routed through the GigRig G2, a Lehle 3at1 Instrument Switcher allows him to quickly bounce around his three string-bending roles, and a Boss TU-3S keeps his guitars in check.
Tuxedo
When we last spoke with Cage in 2014 and for most of the bandās earliest years, Brad Shultz destroyed and revived import Fender Mustangs. He preferred the short-scale studs for their thin, bright sound, compact frame, and their ability to handle several surgeries. Since working with Dan Auerbach and John Hill in the studio, Shultz has broadened his stable to include models from Gretsch, Kay, Gibson, and others depending on what the song needs. For the bandās summer tour, heās slimmed down his options to three main instruments. First up is a Silvertone 1449 BSF that employs the companyās ālipstickā single-coils that offer Brad a similar bitey, high-end snarl heās used to with the Mustangs. Both of Shultzās electrics take Ernie Ball Power Slinkys (.011ā.048) and he hits them with Dunlop Tortex .50 mm picks.
Spacely Space Sprockets
If his Silvertone 1449 is a blast from the past, this Baranik RE-1 is one of the most futuristic designs guitardom has seen in years. Luthier Mike Baranik specializes in refurbishing and repurposing recycled parts with a modern eye, while maintaining a strict focus on tone and playability. This RE-1 features his handwound gold-foil pickup that slides, in real time, to provide maximum sonic flexibility. Other interesting bits include a wood-intonated saddle, glow-in-the-dark fret markers, illuminated control pod, and a total weight of six pounds.
Bell Curve
A handful of songs during Cage shows will put Shultz on this Gibson J-45 Standard, including āAināt No Rest for the Wicked,ā āTrouble,ā and the title track off their newest album Neon Pill. To avoid any feedback or howling buzz, his tech Mason Osman slid in a DāAddario Screeching Halt Soundhole Plug. And this burst beauty takes Ernie Ball 2004 Earthwood 80/20 Bronze strings (.011ā.052).
From the Studio to the Stage
We interviewed Brad around the Tell Me Iām Pretty sessions that were recorded with Dan Auerbach in his Nashville Easy Eye Studio, and thatās where the band first explored plugging straight into a console. āAs a guitarist, the whole approach of going direct really appealed to me, and I got that from [ā60s] bands. A lot of them did the exact same thingāwent right into the console. But I think the thing that influenced us the most about those bands was the separation of their tracks. When you sit and really listen to their recordings, you notice how each instrument is doing something very specific. Each part is so thought-out and placed so deliberately. I really drew from that.ā
That immediate connection between instrument and player resonated with Shultz so much that he revamped his live rig to include studio gear. He tours with no amps and no modelers; instead, he plugs his guitars into a pair of rack-mounted Thermionic Culture devices for his pure, lively toneāa Phoenix SB stereo valve compressor and The Rooster 2 preamp.
Back in 2016, Shultz explained that this synergy provides a different playing experience. āIt feels more human. When I hear that, I really hear the person playing, not so much this amp sound. The strings speak for themselves, almost, if that makes any sense. You can hear the pick actually hitting each individual string as you strum a chord, or you can hear each individual stroke of a lead part. So that was really appealing to me, maybe because I'm such a raw player. I basically beat the shit out of a guitar. I'm very heavy-handed. I want to hear the separation between each string when I'm strumming a chord.ā
Brad Shultz's Pedalboard
All his filth, fury, and ferociousness come from hitting the rack gear with as much input signal as possible. The incremental levels of destruction are handled by five agitatorsāa JHS Colour Box V1, a JHS Crayon, a JHS Colour Box V2, an EarthQuaker Devices Tone Job, and a Jext Telez White Pedal. The rest of his pedal roster contains a Boss DD-7 Digital Delay, MXR Phase 100, a pair of MXR Reverbs, Caroline Kilobyte lo-fi delay, and a Boss AW-3 Dynamic Wah. Shultzās utility boxes are a Boss NS-2 Noise Suppressor, a couple of Boss TU-3 Chromatic Tuners, a Radial Engineering BigShot ABY, and a Voodoo Labs PX-8 switcher simplifies all his changes.
Big Cat Growl
Original bassist Daniel Tichenor has been a Fender-heavy thumper. When we saw his rig in 2014, he was using a Jazz and P basses; when he spoke with PG about Tell Me Iām Pretty, he recorded with P, Jag, and Mustang 4-stringers. For this 2024 run supporting Neon Pill, heās mainly laying down the groove with the above Fender American Standard Jaguar bass that uses La Bella RX-S4D Rx Stainless Roundwound Bass strings (.045ā.105). Tichenor bounces back and forth between fingerstyle and using a pick, but when he does the latter, he rakes the strings with Dunlop Tortex .88 mm picks.
'Stang Stinger
For Cageās mellower numbers, Tichenor will saddle up on this Fender Player Mustang bass that rides with La Bella 760FS Deep Talkin' Bass Flatwound strings (.045ā.105).
Tower of Power
The Jag and āStang go through a Fender Super Bassman 300W head (the second is a backup) that feeds two Fender Bassman 810 Neo cabinets.
Daniel Tichenor's Pedalboard
The lone effect that colors Tichās tone is a Fender Engager Boost that spurs the flatwound Mustang with a punch of dBs. The other boxes on the Pedaltrain Nano+ board are DIs for FOH, and the boost is powered with a Truetone 1 Spot Pro CS6.
Shop Cage the Elephant's Rig
Gibson Les Paul Deluxe Goldtop
Gibson Custom 1963 Les Paul SG Custom Reissue
Supro 1933R Royale 2x12 Combos
Boss DD-8 Digital Delay
EarthQuaker Devices Disaster Transport
Boss TR-2 Tremolo
Electro-Harmonix Mel9
Lehle 3at1 SGoS Instrument Switcher
Gibson J-45 Standard
JHS Colour Box V2 Preamp Pedal
EarthQuaker Devices Tone Job
MXR M107 Phase 100 Phaser Pedal
MXR Reverb
Boss AW-3 Dynamic Wah
Boss NS-2 Noise Suppressor
Boss TU-3 Chromatic Tuner
Radial Engineering BigShot ABY
Voodoo Labs PX-8 Switcher
Fender Player Mustang Bass
Fender Engager Boost
Fender Super Bassman 300W Head
Fender Bassman 810 Neo Cabinet
Ernie Ball Power Slinkys (.011ā.048)
Ernie Ball 2004 Earthwood 80/20 Bronze Strings (.011ā.052)
La Bella RX-S4D Rx Stainless Roundwound Bass Strings (.045ā.105)
La Bella 760FS Deep Talkin' Bass Flatwound Strings (.045ā.105)
- Hooked: Cage the Elephant's Nick Bockrath on Led Zeppelin's "Whole Lotta Love" āŗ
- Cage the Elephantās Brad Shultz and Daniel Tichenor āŗ
- Morning Teleportation: Quadrophonic Friends with Benefits āŗ
Wampler Pedals releases the Brent Mason signature ReWired pedal.
Brent Masonās career as a session guitarist spans over five decades, making him one of the most recorded musicians in history. His unparalleled talent has graced more than 1,000 albums, playing with and contributing to chart-topping hits from icons like Alan Jackson, Brooks & Dunn, Vince Gill, George Jones, Dolly Parton, Blake Shelton, Shania Twain, and many others. A Grammy winner and Musicians Hall of Fame inductee, Brent has also earned twelve Guitarist of the Year awards from the Academy of Country Music, two CMAĀ® Musician of the Year titles, and was named one of the top ten session guitarists ever by Guitar World magazine.
Brian Wamplerās journey with Brent Mason began way back around 2004, when heād make weekend trips to Nashville just to watch Brent play. Inspired by Brentās incredible talent and effortless touch, Brian set out to craft a signature pedal that would become the cornerstone of Brentās sound. The Overdrive channel perfectly captures Brentās iconic rhythm tones, offering everything from crystal-clear light dirt to a punchy, muscular Overdrive. The Distortion channel screams with rich harmonics, making it ideal for solos - whether used on its own or stacked with the Overdrive for maximum impact.
An Iconic Tone, Reimagined
With two fully independent circuits, the ReWired gives you access to both classic Overdrive and powerful Distortion channels that have been tweaked to Brentās exact specs. The Overdrive side is perfect for rhythm and Chicken Pickinā - built for warmth and maximum clarity, staying true to Brent's iconic sound. The Distortion channel is a perfect lead tone and offers a weighty āBritishā Plexi-like punch. The ReWired also features an order switch that allows the stacking direction to be changed on-the-fly without the hassle of changing cables.
Dual inputs and Outputs
The ReWired can be connected with a single mono input and output cable, just like a regular guitar pedal, or you can connect each channel independently (very useful when used with a loop switcher!). You can even connect a pedal in between both channels - try adding a compressor or an EQ if you want to sculpt your tone further.
Fat Blends
The ReWired incorporates our unique āFatā circuit control onto each channel as separate knobs. This allows you to dial in just the right amount of low end thump and presence into your rig - helping tame big speaker cabs or enhance smaller ones. The Overdrive channel also has Brentās signature blend control, allowing you to tune the amount of drive to your liking.
ReWired - for ALL players
This is not a guitar pedal to be bought and put in a case and admired - but with its exclusive new Prime Silver finish (a nod to Brentās infamous ā67 Telecaster) and custom graphics we wouldnāt blame you if you did. The Wampler ReWired is designed to be at the heart of your rig. It sounds great with every guitar and amp weāve tried it with and covers so many genres of music with ease. It comes with Wamplerās standard no fuss 5 Year guarantee and is built from the highest grade components to withstand the rigors of practice and gigging for years to come. The Wampler Brent Mason ReWired Signature Overdrive and Distortion - Rewire Your Sound Today Built in the U.S.A. with high-grade components selected for superior sound and response, premium finish and controls Dual Independent Overdrive and Distortion channels Independent Level, Gain, Tone and Fat controls for both channels, Blend Control for Overdrive channel Channel Order switch with two pairs of Input and Output jacks Power draw: 35mA at 9V and 40mA at 18V. 9-18v power jack - DC supply only, do not exceed 18v DC, battery Included Includes Limited 5-Year Warranty Dimensions: 5ā x 4.5ā x 2.4ā³ (88.9mm x 114.3mm x 58.0mm)
The Wampler ReWired carries a street price of $279.97. For more information visit https://www.wamplerpedals.com/
Want to know how tubes shape your tone? Join PG contributor Tom Butwin as he breaks down preamp vs. power tubes, tone tweaks, and biasing, in this ultimate beginner's guide to tube amps. From Fender cleans to Marshall grit, learn how to unlock the full potential of your amp!
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Hand-built in the USA, this pedal features original potentiometer values, True Bypass, and three unique modes for versatile distortion options. Commemorative extras included.
This limited-edition pedal is limited to a 1,974-piece run to commemorate the year of DODās start, 1974. The original OD250 put DOD on the map as āAmericaās Pedalā and continues to be an industry favorite today. Each pedal will have a serial-numbered Certificate of Authenticity, a commemorative laser-etched pedal topper, several commemorative guitar picks, and multiple commemorative stickers.
Hand-built in the USA, the DOD OD250 ā 50th Anniversary Edition pedal boasts Gain and Level controls using the original potentiometer values and tapers giving the control knob the feel and range that DOD enthusiasts love. A three-position toggle switch features the OD250ās classic āSILICONā mode replicating that original sound. The āGe/ASYMā mode uses a vintage Germanium diode for asymmetrical even-harmonic distortion. āLIFTā mode cuts the diode clipping from the signal path allowing for a clean boost or even a dirty boost when the vintage LM741 op-amp is clipped at higher gain settings. The DOD 250 also features True Bypass to maintain the integrity of your guitar tone.
This limited edition OD250 is outfitted in a stunning metal flake gray finish with classic yellow screenprint in a callback to the original OD250 of the 1970s. An etched aluminum badge on each unit commemorates this occasion. The DOD OD 250 ā 50th Anniversary is ready to take its place among the historic DOD pedal lineup.
When John Johnson and āMr. DODā himself, David O. DiFrancesco set out to make DOD Electronics in Salt Lake City, Utah 50 years ago, they had no idea how enduring their legacy would be. Now 50 years later, DOD Electronics continues to be at the forefront of pedal technology. The DOD OD 250 ā 50th Anniversary Pedal is an exceptional testament to DOD Electronicsā longāstanding success.
Retail Price: $250.00
For more information, please visit digitech.com.
Want to know how tubes shape your tone? Join PG contributor Tom Butwin as he breaks down preamp vs. power tubes, tone tweaks, and biasing, in this ultimate beginner's guide to tube amps. From Fender cleans to Marshall grit, learn how to unlock the full potential of your amp!
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