![Rig Rundown: Coheed and Cambria [2022]](https://www.premierguitar.com/media-library/rig-rundown-coheed-and-cambria-2022.jpg?id=30506405&width=1245&height=700&quality=85&coordinates=0%2C0%2C0%2C0)
See how a stockpile of customized Gibsons and worn-down Nash Ps provide an intergalactic prog-rock soundtrack to The Amory Wars. Plus, Claudio Sanchez drops news about a Muff-and-Super-Overdrive clone collaboration with Wren and Cuff.
It’s common for prog bands to create a fictitious narrative for their concept albums. Often, the lyrics tell a linear story, while the adventurous, experimental, and elevated musicianship provides emotional support and dynamism to the album’s arc. Some ambitious wordsmiths may even spread their yarn over two albums or releases, but Coheed and Cambria’s Claudio Sanchez has penned an entire science fiction tale called The Amory Wars that has been transcribed in comic books and graphic novels published by Evil Ink Comics. All but one of the band’s 10 albums, including the brand-new Vaxis–Act II: A Window of the Waking Mind swim in his solar system called Heaven’s Fence—a collection of 78 planets and seven stars wholly envisioned by Sanchez. (The Color Before the Sun, from 2015, is the lone release not centered in The Amory Wars universe.)
Crafting a daring soundtrack for these narratives requires an equally bold group of musicians. Through two decades, this fearless foursome have incorporated prog orchestrations, synth flourishes, pop-punk hooks, menacing metalcore, hardcore aggression, and electronica ballads—and yet it’s always felt like Coheed. No matter the direction they turn or how their colors and hues shift, it’s unmistakable. Having no genre allows for all genres.
It’s worth noting the band’s name is lifted from two main characters in The Amory Wars. Their original name in the late ’90s was Shabütie, and that trio (consisting of guitarist/vocalist Sanchez, bassist Michael Todd, and drummer Nate Kelley) released three EPs before rebranding for Coheed’s 2002 debut, The Second Stage Turbine Blade, released on Equal Vision Records. That first Coheed lineup included the Shabütie carryovers of Sanchez and Todd, and welcomed guitarist Travis Stever and drummer Josh Eppard. (The earliest incarnations of Shabütie included Stever, too.) The band’s current lineup has been solid since 2012, when bassist Zach Cooper joined.
Coheed’s headlining 2022 run is a dual celebration. They’re honoring the 20th anniversary of their debut and the just-released Vaxis–Act II: A Window of the Waking Mind. Before their July 23 show at Nashville’s Municipal Auditorium, PG’s Chris Kies hosted conversations that covered upgrading Gibsons, overhauling an entire bass rig during shutdown, and how a stolen Big Muff eventually led to a signature sound and pedal.
Brought to you by D'Addario XPND Pedalboard.
A Golden Accident
In a recent Big 5 video for PG, Coheed and Cambria’s Travis Stever held up this Gibson Les Paul Standard goldtop as his favorite guitar, even though this was a free throw-in from Gibson for a custom order we’ll see in the next slide. He favors this Les Paul to the rest of his Gibsons because it’s heavy in sound and stature. “It gives me something to grab onto,” comments Stever.
He’s since upgraded it with a set of Gibson ’57 Classic Plus pickups and a Bigsby vibrato. (All of Travis’ axes have either ’57 Classic or ’57 Classic Plus humbuckers except for one Gibson we’ll meet in a minute.) He uses Ernie Ball Skinny Top Heavy Bottoms (.010–.052) on all his electrics and hammers away with custom Dunlop Tortex picks.
The World in My Hands
“Growing up, a friend of ours’ father had a ‘Black Beauty’ Gibson Les Paul, and I remember whenever I picked that guitar up, I felt I had the world in my hands, so I always wanted one,” summarizes Stever. When the opportunity to order a Les Paul Custom introduced itself, Stever decided to make it extra special by requesting the body have the“Keywork” engraved on its top. The “Keywork” is the band’s defacto logo that symbolizes the energy stream among the planets in the fictional Heaven’s Fence universe.
It’s Not a Sticker!
A detailed closeup provides scratchy evidence that the Keywork logo is etched into the top and not a resilient sticker.
Slim but Sturdy
Here is Stever’s Gibson ES-137—reserved for the heaviest songs like “Beautiful Losers” and “Toys,” and tuned to drop D. The svelte semi-hollow has a mahogany center block running through its core, giving it some Stever-needed heft. This one still has its stock Gibson 490R and 498T humbuckers.
Balancing Bigsby
Stever’s crafty tech Ryan Ashhurst added the gold Bigsby to the 137’s slightly carved top. If you look closely, you’ll notice the back end of the tailpiece is floating off its curved shell.
Nothing Else Matters
While recording 2018’s Vaxis–Act I: The Unheavenly Creatures, Travis took a break from tracking and went to a Guitar Center in Paramus, New Jersey, to clear his head. He fooled around with this Gibson ES-335 and in a blink 90 minutes went by. “When I go to a guitar store, I still like to keep a mindset of a kid where all my dreams can come true through this instrument,” admits Stever. “I played a red ES-335 for so long at that store that nothing else mattered.” He didn’t leave the shop that day with a new friend, but he quickly went online to Chicago Music Exchange and ordered the above sunburst 335. It currently gets stage time for “Blood Red Summer.”
Backup Beauty
This classy-looking ES-335 is a backup for the previous sunburst model.
Sunburst Sidekick
This snazzy acoustic is a Gibson Songwriter Standard EC Rosewood that Travis busts out for the pre-show VIP performance of the song “Our Love” off Vaxis–Act II: A Window of the Waking Mind.
Don’t Think About It
When we filmed with Coheed in 2013, they were an early adopter of the Fractal Audio Axe-Fx II. This is that same unit. In our new Rundown, Stever admits that his core patches haven’t changed in seven or eight years, and everything is based around the Mesa/Boogie Mark V. A Matrix GT1000FX powers the cabinet. All his guitars run through a Shure AD4Q wireless that splinters into four inputs thanks to the Radial JX-42 guitar and amp switcher. (Not pictured: The JX-42 is controlled by a Radial JR-5 remote.)
Four on the Floor
Here’s how Stever controls everything with his feet: a pair of Mission Engineering foot pedals (a VM Pro at left and an EP-1 on the right), a Fractal Audio MFC-101 Mark III MIDI foot controller, and a TC Electronic PolyTune.
“I’m a Bit Outrageous…”
“James Hetfield plays an Explorer. An Explorer is kind of outrageous. I’d like to think I’m a bit outrageous, so I got it,” admits Claudio Sanchez. The creator and visionary behind The Amory Wars narrative favors a space-age instrument for his stage persona. His longtime squeeze is a 1980 Gibson Explorer E2 that left the Kalamazoo factory on his brother’s birthday (01/04/1980). He scored it at Mike’s Music in Cincinnati, Ohio, before a gig at nearby Bogart’s. He found it tucked in the shadows behind a big Ampeg SVT stack. As with all of Sanchez’s live guitars, he puts a Bare Knuckle Nailbomb humbucker in the bridge. This particular Explorer got an upgraded TonePros LPM04 Tune-o-matic bridge and tailpiece. And all his electrics take Ernie Ball 2240 Regular Slinky RPS strings (.010–.046).
Arm & Hammer
Check out the wear and tear Sanchez puts to the body of his No. 1 E2.
Can’t You See Me Looking?
The E2 headstock has spent plenty of time in the ER.
E2 Part Deux
Earlier this year, Claudio eyed this early ’80s Explorer E2 at a shop in Asheville, North Carolina. This gem was in too good a condition for Claudio to drop the coin, so he put it back on the shelf. Little did he know that his wife, Chondra Echert, and guitar tech Kevin Allen combined efforts and scooped the E2 for Claudio’s 44th birthday. This one has a set of Bare Knuckle Nailbombs in it.
It's Yours Now
Claudio is unsure if Gibson loaned him or gifted him this 1963 Les Paul SG Custom Reissue with a Maestro Vibrola that was pre-dinged by their Murphy Lab team. He uses this one on “Blood” and has the middle humbucker engaged for an approximated Andy Summers sound.
Double-Oh-My-Heavens
Since the Beginning
This Gibson SG Special was used on the first Coheed and Cambria tour. Unfortunately, during that initial trek, Sanchez busted the headstock. Unbeknownst to him, this is a relatively normal repair that any experienced guitar tech has encountered. Alas, Sanchez thought the guitar was finished, so he pulled it out of rotation. He lost track of it and years later he saw a social-media post of a guitar that resembled his first SG. He noticed the body’s chipped paint, the Puerto Rican flag behind the tailpiece (getting warmer), and the alarm in his head went off when he noticed the headstock was broke. He reached out to the person and during the band’s next trip through Chicago he made a trade to reacquire this ivory SG Special.
Good as Glue
Sanchez’s tech Kevin Allen gave the fallen Gibson some serious TLC and now it makes an appearance every night.
Don’t (or Do) Hold Your Breath
If you’ve seen the band’s video for “The Suffering” off Good Apollo, I’m Burning Star IV, Volume One: From Fear Through the Eyes of Madness, you’ll recognize this 2000s Gibson ’76 Explorer reissue. This was the band’s first album to crack the top 10 of the Billboard 200. In the Rundown, Claudio notes this is his only live guitar that doesn’t have a headstock wound.
A Gift for Ghost
While there was confusion if an earlier Gibson was a gift or a loaner, this J-45 Standard was most certainly given to Claudio. He uses it for the song “Ghost.”
Shred Stand
For the top of “Window of the Waking Mind,” Sanchez does his best Yngwie and saddles up on this Taylor 512e. It has a Western cedar top, tropical mahogany back, sides, and neck, ebony fretboard, and Taylor’s Expression System 2 electronics.
Kashmir Clone
“When I got this thing, it was sort of a gimmick,” concedes Sanchez. “I wrote and recorded ‘Welcome Home’ and acknowledged that there is certainly some ‘Kashmir’ DNA in that song, so I told management ‘let’s show the homage a little clearer and get this Gibson EDS-1275.” This “gimmick” closes out every Coheed show.
Same As It Ever Was
Like Stever, Claudio is still rocking the same Fractal Audio Axe-Fx II from the 2013 Rundown. His most-used patches still have the same heartbeat. His main distortion tone is based on two Marshall Super Leads, with a wah and pitch shifter set to Mission Engineering EP-1 expression pedals onstage. The medium-gain mood is based on an old Orange head with various delays and effects, and his clean is modeled after a Fender brown-panel amp with delay and compressor. He notes in this Rundown that new wrinkles include a patch with chorus and another with fuzz and octave for “Shoulders.”
Like Stever, a Matrix GT1000FX powers the Fractal, a Shure AD4Q wireless unit gives him maximum movement onstage, and a rackmount Radial JX62 handles wireless pack switches for guitar changes.
Sanchez’s Signature Stompbox
A Teacher’s Muff
The Black Stallion
Bassist Zach Cooper’s No. 1 is a Nash PB63. He loves this black bomber for its chunky neck profile. He said in the Rundown that if he had to play one bass for the entire gig, it’d be hands-down this one. All his basses have been stripped of the tone circuit and replaced their stock Fralins with his preferred Seymour Duncan Quarter Pound P-Bass pickups. All Cooper’s Nash Ps have custom volume knobs he’s scored from Love My Switches. This one rides in standard all night and takes Ernie Ball Regular Slinky Bass strings (.045–.105).
The Alligator Bass
Anyone who’s purchased a Nash instrument knows that they arrive in a brown alligator-skin case. Cooper ordered himself the above Nash PB57 and when it arrived his daughter helped him unbox it. Her gut reaction to its case and the green color was to call it the “alligator bass” and to seal the nickname he put a ’gator sticker on its back near the neck joint. This one stays in E-flat tuning and takes Ernie Ball Power Slinky Bass strings (.055–.110).
Creamsicle
Another Nash PB63 handles songs tuned B-E-A-D and takes a custom set of Ernie Ball Super Slinky Bass 5 strings (.060 –.125). The standard Super Slinky Bass 5 set includes a .040 fifth string, but Cooper only plays 4-string Ps in Coheed.
Amp Anomaly
While his guitar-playing colleagues dove deep into the digital realm, Cooper still brings out an amp. His current boom box of choice is an Aguilar DB 751 that runs into a matching Aguilar DB 810 cabinet.
Zach Cooper’s Pedalboard
Another rarity for the Coheed crew is a standard pedalboard. Cooper has a fun batch of stomps that includes a duo of Aguilar units—the Agro and the Octamizer, an old Mantic Effects Vitriol, and a Line 6 DL4 MkII. A Boss TU-2 Chromatic Tuner keeps his basses in check.
- The Big 5: Coheed and Cambria's Travis Stever - Premier Guitar ›
- Rig Rundown: Nick Raskulinecz - Premier Guitar ›
- Runnin' Down a Dream: Mike Campbell - Premier Guitar ›
Diamond Pedals Dark Cloud
True to the Diamond design ethos of our dBBD’s hybrid analog architecture, Dark Cloud unlocks a new frontier in delay technology which was once deemed unobtainable by standard BBD circuit.
Powered by an embedded system, the Dark Cloud seamlessly blends input and output signals, crafting Tape, Harmonic, and Reverse delays with the organic warmth of analog companding and the meticulous precision of digital control.
Where analog warmth meets digital precision, the Dark Cloud redefines delay effects to create a pedal like no other
As long as humans have been creating art, they have also been inventing new tools for expressing that art. From the paintbrush to the synthesizer, new technologies have driven paradigm shifts, providing artists with fresh creative avenues. Technology drives the art, as they say.
That’s certainly been the case with Line 6’s DL4 Delay Modeler. Originally conceived as a humble digital delay, the Big Green Monster has created a niche of its own, serving as ground zero for entire new genres of indie and experimental music. Since its release 25 years ago, the DL4 has enhanced the creative palettes of artists ranging from Joe Perry, Mike Campbell, Dave Grohl, and Joe Satriani to Bill Frisell, Thom Yorke, and Ed O’Brien.
Nearly a quarter century later, Line 6 has introduced the DL4 MkII. The updated version features a smaller footprint, as well as increased delay time, sampling and recording via built-in micro-SD card reader, MIDI functionality, and a host of new effects algorithms from Line 6’s legendary HX family of amp and effects processors.
Inauspicious Beginnings
In the late 1990s, fresh from making a disruptive splash with their eye-catching POD amp modeler, the fledgling startup Line 6 set their sights on creating a series of pedals that would further extend their reach into digital emulations of effects. Plans called for the DM4 distortion modeler, the MM4 modulation modeler, the FM4 filter modeler, and the DL4 delay modeler.
The DL4 would include models of classic delays like the Echoplex and Roland Space Echo, as well as Line 6’s own innovative delay algorithms. But it was the DL4’s other features that would pique the interest of adventurous musicians, including a first-of-its-kind tap-tempo function and, of course, its now-legendary looper.
Jeorge Tripps was running his own boutique pedal company, Way Huge, when he was invited to consult with Line 6 on modeling vintage pedals. A few months into the project he was offered a position with the company. “Line 6 was like college for me,” Tripps recounts. “I had worked on things on my own, but developing a product with a team was really an education. Ideas are easy, but bringing a product to fruition as a team was a whole different experience.”
The team comprised the cream of the Line 6 brain trust, including co-founders Michel Doidic and Marcus Ryle, as well as product developers Greg Westall, Jeff Slingluff, and Patrick O’Connor, engineers Nigel Redmon and Kevin Duca, industrial designer Lucien Tu, and numerous other contributors. As Tripps observes, the input of those different perspectives was critical to the project.
“Most of us were also players, and that made a difference. You can create a product that’s great from an engineer’s perspective, but when you put it the hands of an artist, they might see something completely different in it.”
Keep It Simple
Simplicity was part of the design goal of the DL4. “The idea was to create a digital pedal with analog functionality,” explains Tripps, adding that he had limited input into the design. “Much of it was already planned out by the time I joined the project. The industrial design was there. I had to figure out how to map functions to the existing hardware.”
The interface was straightforward: a 16-position mode selector knob, five knobs to adjust parameters, and four analog-style footswitches: Record/Overdub, Play/Stop, Play Once, and 1/2 Speed/Reverse. It was Tripps who suggested the fourth button be used for tap-tempo function.
The DL4 also incorporated stereo outputs, which was something of a last-minute addition. “When the DL4 first came out, very few guitarists were playing stereo rigs,” Tripps reports. “We put it in there just because it was cheap and easy to implement. Only after it was out for a while did people start discovering it.”
Tripps also played a key role in promoting the looper, which was in some ways almost an afterthought. Of course, looping itself was nothing new. The Echoplex and other tape-based delays had been around for decades. But analog delays were expensive and unwieldy for live work, and the early digital pedals didn’t have a lot of memory—certainly not enough for looping.
In fact, it was digital’s limitations that contributed to another of the DL4’s characteristic sonic features. “Technically, we couldn’t get quite 15 seconds of loop time; it was like 14 and change,” Tripps recalls. “So we decided to take that remaining few hundred milliseconds of delay time and run that through the looper.”
A Slow Build
Despite Line 6’s aggressive advertising, the DL4 and its siblings were not an immediate hit. “People didn’t really know what it was at first,” says Tripps. “It didn’t really explode until a handful of people started doing stuff with it.” Slowly and steadily, artists as varied as Dimebag Darryl, Ed O’Brien, The Edge, and Thom Yorke started squeezing whole new sonic landscapes from the diminutive box.
Minus the Bear’s David Knudson made the DL4 an integral part of the band’s sound. “At first I was mesmerized by the rad stereo sounds. Playing in a hardcore/metal band at the time, in the beginning I was using one half-stack amp. At some point down the line, I realized that as the only guitar player I should get another half-stack for the other side of the stage. Once I plugged in the DL4 to each half-stack and found the Ping Pong delay, my mind was instantly blown. The melodic guitar parts had never sounded so huge and epic. It was the beginning of an epic journey to discover what all the delays were about.”
For Joff Oddie of indie rockers Wolf Alice, the experience was equally liberating. “I actually don’t think I’d even used a delay pedal before and it blew my mind. There were sounds that I expected, and then other settings like the Sweep delay and reverse sounds, which to me sounded so otherworldly yet at the same time organic. I never gave my manager the pedal back. I hope he doesn’t read this.”
As Knudson notes, it was many years later and a happy accident in the studio that led to his discovering the DL4’s looping function. “We were recording some demos after our first LP came out and I think out of boredom I played a little tapping lead into the looper. That song would become “Fine +2 Points,” which features a re-triggered loop section in the bridge that really opened the door for me. After that little successful experiment, for our next record, Menos El Oso, I was in full-on loop and sampler mode. I realized that with multiple DL4s I could emulate some of my favorite cut-up and glitchy sounds coming out of artists like Four Tet, DJ Shadow, Caribou, and other early EDM pioneers. The one-shot function allowed me to re-trigger samples and create riffs that sounded like they should have originated on an MPC. Eight of the 11 songs on that record have sampled riffs and re-defined what guitar playing meant for me.”
Of course, looping was only part of the DL4’s broader appeal, which also offered sounds and tactile control previously unavailable on most effects pedals. “I loved how cranking the feedback knob made it go crazy,” opines Oddie, “how the time knob sounded when you wiggled it and the delays pitch shifted. Part of its charm is how incredibly tactile it is.”
“I’ve yet to find another sampler pedal that works as well as the DL4,” adds Knudson. “It’s super easy to use and so straightforward that it’s perfect for the live setting. I don’t want a bank of digital menus to scroll through, and the fact that it can get everything I need done with four buttons is perfect. If it were any more complicated I don’t think it would have been nearly as successful as it has become.”
Like most legends, the DL4 has spawned a host of imitators. Looping and sampling have become powerful tools for guitarists and other musicians, and while the DL4 may not have been the first, it’s largely seen as the big daddy of the art form.
“The DL4 didn’t really break any new ground, yet it was a major leap,” observes Tripps. “It didn’t improve on existing delays as much as it created a whole new instrument. It put a lot of power on the floor for guitarists, along with a really intuitive interface. Almost by accident, it made looping accessible for live performance.”
It’s hard to believe it’s been nearly 25 years since the DL4 made its debut. Technology has obviously come a long way since then, and Line 6 has recently unveiled a new commemorative 25th Anniversary edition of the iconic pedal. The Mk II version adds to the legend without taking away the features that made it what it is. “The MkII just improves upon an already great pedal,” Knudson observes. “Honestly, one of the best things is just the smaller footprint on the pedalboard. As we know, boards are increasingly becoming competitive as to how much stuff you can squeeze on there! But I love the additional delays and reverbs. The classics are obviously my go-to choices, but I love how it has evolved and elevated with current trends with guitarists but still stayed true to form in what made it so wonderful in the first place.”
The quiet impact of the DL4 is something no one would have foreseen. Much like a band making a record, all the best laid plans won’t predict the public’s response. Will it thud like a tree in an empty forest, or be gone tomorrow like a flash in the pan? Like a hit single, only time will tell if it has the staying power to become a legend. As Tripps concludes, “It was the right combination of great minds, great ideas, and great execution, at the right time.”
Celebrating 10 years of Revv & 5 years since the release of the G2, Revv is debuting V2 circuit revisions of the G2, G3, & G4, implementing new designs for more tone in 3 little pedals, in a limited edition colorway.
The Revv Amplification 5th Anniversary G-Series V2 Lineup features:
- 3 Fresh Flavors of Boutique Canadian Tone - G-Series pedals are sonic recreations of 3 of Revv’s boutique amp channels used by Nashville session stars & metal touring artists alike.
- The Standard, Redefined - V2 circuit revisions are based on the Generator 120 MK3 Rev. B & incorporate new design elements for the most tube-like response & tone ever.
- Limited Edition - Exclusive new colorway featuring a black enclosure w/ custom graphics, embossed Revv badge, & color-coded knobs.
- Find Your Sound - The G2 is a powerful & versatile overdrive capable of everything from touch-sensitive boost to organic vintage stack tones, taken from Revv’s Green Channel.
- High Gain Clarity - The G3 utilizes Revv’s legendary Purple Channel, a tight & responsive high gain tone perfect for drop tuning & cutting through any mix.
- Fat Solo Tones - The G4 is based on Revv’s thick & saturated Red Channel, the ideal sound for chewy crunch, modern rock wall of sound, & liquid sustaining solos.
- Made in Canada - 100% analog circuit w/ top jacks, true bypass, & 2 year warranty.
Revv’s G-Series pedals have a street price of $229 & can be ordered immediately through many fine dealers worldwide.
For more information, please visit revvamplification.com.
Revv G3 Purple Channel Preamp/Overdrive/Distortion Pedal - Anniversary Edition
Huge shocker incoming: Zach Broyles made a Tube Screamer. The Mythos Envy Pro Overdrive is Zach’s take on the green apple of his eye, with some special tweaks including increased output, more drive sounds, and a low-end boost option. Does this mean he can clear out his collection of TS-9s? Of course not.
This time on Dipped in Tone, Rhett and Zach welcome Tyler Bryant, the Texas-bred and Nashville-based rocker who has made waves with his band the Shakedown, who Rhett credits as one of his favorite groups. Bryant, it turns out, is a TS-head himself, having learned to love the pedal thanks to its being found everywhere in Texas guitar circles.Bryant shares how he scraped together a band after dropping out of high school and moving to Nashville, including the rigors of 15-hour drives for 30-minute sets in a trusty Ford Expedition. He’s lived the dream (or nightmare, depending on the day) and has the wisdom to show it.
Throughout the chat, the gang covers modeling amps and why modern rock bands still need amps on stage; the ins and outs of recording-gear rabbit holes and getting great sounds; and the differences between American and European audiences. Tune in to hear it all.
