Head-shredder Cody Chavez takes some classic Jackson 6-strings into the digital realm on the hardcore band’s latest tour.
We had the good fortune of catching up with California hardcore outfit Drain on their Good Good Tour, a year after the release of their 2023 LP, Living Proof. A few hours before the band ripped Nashville’s Brooklyn Bowl, guitarist Cody Chavez gave PG’s Perry Bean the scoop on how he achieves his brutal rhythm and lead tones that form the basis of the band’s thrashy, metallic hardcore.
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Sparkly but Savage
Chavez’s first workhorse is this Jackson Virtuoso 6-string, finished in a dazzling deep blue sparkle. The band has a deal with the legendary manufacturers of heavy-music machines, and Chavez leaves his mostly stock, with a Floyd Rose tremolo system, locking tuners, and Seymour Duncan pickups. Chavez used to roll with heavier gauges, but these days, he favors .009–.042 strings.
Frozen Flamethrower
This Jackson X Series Soloist SL3X DX is finished in an insanely cool design dubbed “frost byte crackle,” and is Chavez’s favorite of the two Jacksons. It’s super light, with a neck-through-body construction and three Jackson pickups: two mini humbucker rail pickups and one full-size humbucker.
Tone Master of Puppets
In the past, Chavez played through all sorts of holy-grail tube amplifiers. But when he tested a Jackson guitar through a Fender Tone Master Pro, he was smitten with the great sounds and intuitive interface, so he’s brought one out on the road. He runs both his lead and rhythm sounds through the EVH 5150 amp profile, with different virtual effects chains for each preset. For his base rhythm tones, he runs an always-on Tube Screamer plus a light chorus and EQ, with settings copped from Dimebag Darrell. For leads, a more spacey, intense, “triple double” chorus is applied along with a slick digital delay. Chavez runs his guitar to the Tone Master Pro via a wireless system.
Power Up
When he first got his Tone Master Pro, Chavez ran it right into his Marshall 4x12 cab, and he couldn’t figure out why it was so quiet. A friend clued him in that he’d need a power amp to run with it, so he picked up this Seymour Duncan PowerStage 700, which powers his signal through the Marshall cab. In the future, Chavez might go totally DI, but for now, he stands by the power of a beat-up speaker cabinet blasting out gnarly riffs every night.
Shop Drain's Rig
Jackson American Series Virtuoso
Jackson X Series Soloist SL3X DX
Fender Tone Master Pro
Seymour Duncan PowerStage 700
Marshall 1960A 4x12 cab
Seymour Duncan '59™ SH-1N Humbucker (neck)
Seymour Duncan JB TB-4 Humbucker (bridge)
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Warm Audio introduces the Fen-tone, a modern ribbon microphone inspired by a classic 50s Danish design.
Warm Audio, the industry-leading manufacturer of classic-inspired professional recording products, microphones, and guitar pedals, today introduces the Fen-tone, an instrument ribbon microphone inspired by a classic 50s Danish design, but built with modern components to deliver powerful bass & rich midrange, true to the sound profile of the most sought-after small-format ribbon microphone. Premium components, including a custom Japanese ribbon, Neodymium magnet, and CineMag USA transformer, along with a 26 dB JFET in-line preamp that enables active use with low-gain preamps ensure that the Fen-tone captures the most popular tones heard on guitars, overheads, horns, and more. The Fen-tone is available as a single mic ($699 | 749 € incl. VAT | £639 incl. VAT) and stereo pair ($1199 | 1349 € incl. VAT | £1159 incl. VAT), available now at authorized retailers worldwide.
“This style of microphone has been around for a long time and the tone has evolved since the original, we're excited to deliver an affordable version of its most contemporary tones,” said Bryce Young, founder and President of Warm Audio. “We’re all familiar with the body style of this mic, but not everyone knows it originally comes from a design from the 1950s. While other B&O-inspired designs have used upgraded ribbons & components like ours to deliver that guitar tone we all know & love, we’ve also upgraded the original switch that cycled between various modes for “Talk”, "Music", and “Orchestra”, to now being an active inline preamp to offer even more value. We revived the trademark to keep it authentic to its history while bringing the Warm formula of premium components to the build to deliver today’s most sought-after guitar & instrument tones.”
Like the original design, the Warm Audio Fen-tone recreates the popular, pencil-style design with ventilated sides that can easily be placed in crowded recording environments. Unlike the original 1950s mic, the Warm Audio Fen-tone features modern upgrades including a custom Japanese ribbon, rare-earth Neodymium magnet, and custom CineMag USA transformer to deliver the iconic ribbon tones made popular in contemporary music.
The Fen-tone, with its Figure-8 polar pattern, excels on loud sources that require detail while handling high SPLs, like electric guitar cabs, overheads, and horns. The upgraded components in Fen-tone deliver intricate midrange detail that helps guitars shine in dense mixes. In addition to the bass and midrange emphasis, Fen-tone shows off its warm “forgiving” tone by taming top-end harshness above 15 kHz for smooth presence without exaggerated sibilance or harshness.
The Warm Audio Fen-tone takes the value a step further by adding an all-analog 26 dB JFET in-line preamp, allowing for active use. This feature is critical for those users who plan on plugging their ribbons directly into audio interfaces or inferior preamps without volume, tone, and frequency loss. This active circuit is true bypass and does not impact the integrity of the passive ribbon mic circuit.
The Fen-tone is available as a single mic ($699 | 749 € incl. VAT | £639 incl. VAT) and stereo pair ($1199 | 1349 € incl. VAT | £1159 incl. VAT), available now at authorized retailers worldwide.
For more information, visit warmaudio.com.
Our columnist’s bass, built by Anders Mattisson.
Would your instrumental preconceptions hold up if you don a blindfold and take them for a test drive?
I used to think that stereotypes and preconceived notions about what is right and wrong when it comes to bass were things that other people dealt with—not me. I was past all that. Unfazed by opinion, immune to classification. Or so I thought, tucked away in my jazz-hermit-like existence.
That belief was shattered the day Ian Martin Allison handed me a Fender Coronado while I was blindfolded in his basement. (Don’t ask—it’s a long story and an even longer YouTube video if you have time to kill.) For years, I had been a single-cut, 5-string, high-C-string player. That was my world. So, you can imagine my shock when I connected almost instantly with something that felt like it was orbiting a different solar system.
Less than 5 minutes with the instrument, and it was all over. The bass stayed in Ian’s basement. (I did not.) I returned home to Los Angeles, but I couldn’t stop thinking about it. I kept playing my beloved semi-chambered single-cut 5-string, but I sent its builder, Anders Mattisson, a message about my recent discovery. I asked if there was any way we could create something with the essence of a Coronado while still suiting my playing and my music.
That’s when everything I thought I knew about bass—and the personal boundaries I had set for myself—came crashing down.
When we started talking about building a bass with a fully chambered body, much like the Coronado, I was adamant about two things: It needed to have active electronics, and I would never play a headless bass.
Fast-forward three months to the winterNAMM show in California. Anders arrived for dinner at my house, along with a group of incredible bass players, includingHenrik Linder. I was literally in a chef’s apron, trying to get course after course of food on the table, when Henrik said, “Hey, let’s bring the new bass in.”
He came down the stairs carrying something that looked suspiciously like a guitar case—not a bass case. I figured there had been some kind of mistake or maybe even a prank. When I finally got a break from the chaos in the kitchen, I sat down with the new bass for the first time. And, of course, it was both headless and passive.
I should mention that even though I had made my requests clear—no headless bass, active electronics—I had also told Anders that I trusted him completely. And I’m so glad I did. He disintegrated my assumptions about what a bass “has to” or “should” be, and in doing so, changed my life as a musician in an instant. The weight reduction from the fully chambered body made it essential for the instrument to be headless to maintain perfect balance. And the passive nature of the pickups gave me the most honest representation of my sound that I’ve ever heard in over 30 years of playing bass.
I’m 46 years old. It took me this long to let go of certain fundamental beliefs about my instrument and allow them to evolve naturally, without interference. Updating my understanding of what works for me as a bass player required perspective, whereas some of my most deeply held beliefs about the instrument were based on perception. I don’t want to disregard my experiences or instincts, but I do want to make sure I’m always open to the bigger picture—to other people’s insights and expertise.
Trusting my bass builder’s vision opened musical doors that would have otherwise stayed bolted shut for years to come. The more I improve my awareness of where the line between perception and perspective falls, the more I can apply it to all aspects of my world of bass.
Maybe this month, it’s playing an instrument I never would have previously considered. Next month, it might be incorporating MIDI into my pedalboard, or transcribing bass lines from spaghetti Westerns.
No matter what challenges or evolutions I take on in my music and bass playing, I want to remain open—open to change, open to new ideas, and open to being proven wrong. Because sometimes, the instrument you never thought you’d play ends up being the one that changes everything.
Joni Mitchell’s rich, colorful altered-tuning chord voicings have set her work apart in its own musical universe, where the rest of us guitarists either scratch our heads in wonder or have to do dissertation-level research to unpack just how she gets her sound.
Joni Mitchell’s rich, colorful altered-tuning chord voicings have set her work apart in its own musical universe, where the rest of us guitarists either scratch our heads in wonder or have to do dissertation-level research to unpack just how she gets her sound. Dawes guitarist and songwriter Taylor Goldsmith gained firsthand experience with Mitchell’s songs when he joined her on stage—just check out 2022’s “Joni Jam” from the Newport Folk Festival, which also included Brandi Carlile, Blake Mills, Jon Batiste, and others.
Goldsmith joins us on this episode of the 100 Guitarists podcast. Together, we talk about Mitchell’s chord voicings and progressions, her tunings, what it’s like to share a stage with her, and Goldsmith wonders: Was Bob Dylan’s “Tangled Up in Blue” a nod to the songwriter’s 1971 album?
When we wrap up our conversation, we cover a new release of energetic, forward-leaning guitar cumbia by Los Pirañas and an album of Bach Partitas for Telecaster by guitarist Noel Johnston.
This episode is sponsored by L.R. Baggs.
Slayer announces a one-night-only show just added to the band’s handful of headline concerts set for this summer. Marking the band’s only U.S. East Coast performance in 2025, Slayer will headline Hershey, PA’s 30,000-seat Hersheypark Stadium on Saturday, September 20, 2025.
The concert will be hosted by WWE Superstar Damian Priest, a well-known “metalhead” and a long-time Slayer fan. Priest's signature “finisher” is Slayer’s “South of Heaven,”and Slayer’s Kerry King provided guitar for Priest’s “Rise For The Night” Theme.
This exclusive concert brings together a multi-generation, powerhouse line up:
Slayer
Knocked Loose
Suicidal Tendencies
Power Trip
Cavalera (performing Chaos A.D. - exclusive)
Exodus (performing Bonded by Blood)
All confirmed Slayer 2025 concert dates are as follows:
JULY
3 Blackweir Fields, Cardiff, Wales, UK
Line-Up: Slayer, with Special Guests Amon Amarth , Anthrax, Mastodon, Hatebreed and Neckbreakker
5 Villa Park, Birmingham, UK • Black Sabbath • Back to the Beginning
6 Finsbury Park, London
Line Up: Slayer, with Special Guests Amon Amarth , Anthrax, Mastodon, Anthrax, and Neckbreakker
11 Quebec Festival d'été de Québec City, Quebec
Direct Support: Mastodon
SEPTEMBER
18 Louder Than Life @ Highland Festival Grounds, Louisville, KY
20 Hersheypark Stadium, Hershey, PA