The string-section trio for the iconic Chicago pop-punk band has gone digital, but Patrick Stump, Joe Trohman, and Pete Wentz still arenāt afraid to get weirdāand sometimes, downright dangerous.
Back in March, Chicagoās Fall Out Boy blasted through Birmingham, Alabama, in the middle of a year-long tour supporting their 2023 release, So Much (for) Stardust. It was their first solo headline tour since 2018, and they brought along loads of new noisemakers for the occasion.
Frontman Patrick Stump has moved on from his trademark Gretsch electrics, guitarist Joe Trohman scored an Explorer that may or may not remind us of a certain purple McDonaldās character, and Pete Wentz packs some basses that bring both ice and fire to the gig. And while tube amps still reign supreme in the studio, including the recording of So Much (for) Stardust, the band goes digital and speaker-free on the road.
Brought to you by DāAddarioPaint It Red
After his love affair with Gretsch came to a close, the Guild S-60D has become Patrick Stumpās new muse. Given his intense vocal responsibilities during performances, heās aiming for function over form these days, and the S-60D and S-300 models are fitting the bill for playability and position in the mix. āI want something that stays in tune,ā he says. āI try to be as minimal as possible.ā
Stump bought this S-60D with its all-over bright-red paint job, then set about sourcing red components to make it almost entirely monochrome. He also dropped a DiMarzio Super Distortion humbucker in the bridge and a Seymour Duncan Little ā59 in the neck.
Multicolor Halo
Stump commissioned this Halo guitar, which turned out radically different from what he initially pitched. It was first envisioned to help Stump out with some metal playing he was recording for a TV project, so he called for some classic touches like scalloped frets, a Floyd Rose, and a Seymour Duncan Dimebucker in the bridge. But the color ended up anything but metal. Itās not totally applicable to most Fall Out Boy material, but Stump is giving it a shot at some live play time.
Horse With Name
For slower moments, Stump goes with this Martin X Series acoustic he picked up at Guitar Center around 15 years ago. Since he had a deal with Fender, he covered the headstock Martin logo with some black tape thatās remained there ever since.
Mighty Zemaitis
First up, Trohman shows off this Japanese-made Zemaitis The Portrait Hisashi Signature Model, a model built in honor of Glay guitarist Hisashi Tonomura. While not a genuine Tony Zemaitis build, Trohman likes this one for its stability and build quality.
The Grimace
Trohman was lusting after this ā80s Gibson Custom Shop plumburst Explorer when he saw it pop up on Reverb, and when it sold, he was heartbroken. A few days later, his wife surprised him with it. Itās named Sanders, in honor of her maiden name.
Smokin' a Sig
Trohman also brings out his signature Squier Joe Trohman Telecaster, a take on the Tele Deluxe that includes a 5-position rotary selector switch to navigate the triple-pickup configuration.
Catching Rays
Tech Christian Zayas shows off this stunning custom paint job Sterling by Music Man Pete Wentz StingRay, which is outfitted with passive (rather than the typical active) pickups and a Hipshot drop tuning system. Note the signature red-eyed-loon inlay art on the 12th fret.
Winter Wonderland
This brand new, heavy-as-hell signature StingRay is full of some type of liquid (Zayas believes its anti-freeze) plus white material that turns it into a bass-shaped snowglobe. Wentz pulls it out for a fantasy sequence in the show, and it doesnāt stick around long because of its weight and more mellow tone.
Don't Sink the 8 Ball
This Pete Wentz StingRay is also a new addition, and comes out for an 8-ball-related encore.
Pete Might've Started the Fire
The last Sterling in the stable is also Wentzās most deadly, doubling as a flamethrower during some of the showās pyrotechnic flourishes. A primer on the upper bout preps the rear-mounted flame system, and the red-covered switch controls ignition. The pyro team tests it before each show with local fire departments to ensure its safety. āSometimes we wanna be KISS, and we are,ā says Zayas.
Farewell To Tubes
Joe Trohman led the bandās transition from tube amplifiers to digital tech while on tour, and this marks the first tour sans-tube for Stump, who switched from his beloved Orange amplifiers. āI was a hard sell,ā he admits. Now, he uses a Neural DSP Quad Cortex on tour, and heās begun using them in the studio for scoring film and television projects, too. Trohman, sick of dealing with troubleshooting pedals and tube amps, sticks with the Fractal Axe-Fx III and Fractal FC-12 foot controller.
Wentz prefers the Line 6 HX Stomp, with a backup on hand in case of emergencies. Usually, he rocks with one patch through the entire show, with effects like distortion and chorus added through the onboard system. His signal runs via a Shure wireless system to a Radial JX44, then on to the Stomp.
None of the trio run their rigs into onstage speaker cabinets, making for a dead-quiet stage setup, which Stump credits with protecting his hearing. Instead, they go all-in on in-ear monitors, so the only stage sound comes from drummer Andy Hurley.
Joe Tone
Joe Trohman's tech Ben Young helped the FOB lead guitarist creep in digital modelers and here he provides additional details for what's happening inside the Axe-Fx III:
"The Fractal is set up where we have a different patch for each song, and then use scenes for each section of the songs. I have a template with all our dialed in amps and effects for everything. All the amp sounds are based off a JCM800 for our mid gain ācrunchā sound, and a Dual Rectifier for our classic Fall Out Boy heavy sound. We also have a Friedman amp and a ābrown soundā amp for other higher gain options that weāve been using on newer songs and a Matchless for clean stuff."
DiMarzio Super Distortion Humbucker
Seymour Duncan Little ā59 (neck)
Seymour Duncan Dimebucker (bridge)
Sterling by Music Man Pete Wentz StingRay
Neural DSP Quad Cortex
Radial JX44
Line 6 HX Stomp
- Rig Rundown: Butch Walker āŗ
- Interview: Fall Out Boy - Slaves to Rock and Roll āŗ
- Rig Rundown: Fall Out Boy āŗ
A live editor and browser for customizing Tone Models and presets.
IK Multimedia is pleased to release the TONEX Editor, a free update for TONEX Pedal and TONEX ONE users, available today through the IK Product Manager. This standalone application organizes the hardware library and enables real-time edits to Tone Models and presets with a connected TONEX pedal.
You can access your complete TONEX library, including Tone Models, presets and ToneNET, quickly load favorites to audition, and save to a designated hardware slot on IK hardware pedals. This easy-to-use application simplifies workflow, providing a streamlined experience for preparing TONEX pedals for the stage.
Fine-tune and organize your pedal presets in real time for playing live. Fully compatible with all your previous TONEX library settings and presets. Complete control over all pedal preset parameters, including Global setups. Access all Tone Models/IRs in the hardware memory, computer library, and ToneNET Export/Import entire libraries at once to back up and prepare for gigs Redesigned GUI with adaptive resize saves time and screen space Instantly audition any computer Tone Model or preset through the pedal.
Studio to Stage
Edit any onboard Tone Model or preset while hearing changes instantly through the pedal. Save new settings directly to the pedal, including global setup and performance modes (TONEX ONE), making it easy to fine-tune and customize your sound. The updated editor features a new floating window design for better screen organization and seamless browsing of Tone Models, amps, cabs, custom IRs and VIR. You can directly access Tone Models and IRs stored in the hardware memory and computer library, streamlining workflow.
A straightforward drop-down menu provides quick access to hardware-stored Tone Models conveniently sorted by type and character. Additionally, the editor offers complete control over all key parameters, including FX, Tone Model Amps, Tone Model Cabs/IR/VIR, and tempo and global setup options, delivering comprehensive, real-time control over all settings.
A Seamless Ecosystem of Tones
TONEX Editor automatically syncs with the entire TONEX user library within the Librarian tab. It provides quick access to all Tone Models, presets and ToneNET, with advanced filtering and folder organization for easy navigation. At the same time, a dedicated auto-load button lets you preview any Tone Model or preset in a designated hardware slot before committing changes.This streamlined workflow ensures quick edits, precise adjustments and the ultimate flexibility in sculpting your tone.
Get Started Today
TONEX Editor is included with TONEX 1.9.0, which was released today. Download or update the TONEX Mac/PC software from the IK Product Manager to install it. Then, launch TONEX Editor from your applications folder or Explorer.
For more information and videos about TONEX Editor, TONEX Pedal, TONEX ONE, and TONEX Cab, visit:
www.ikmultimedia.com/tonexeditor
The luthierās stash.
There is more to a guitar than just the details.
A guitar is not simply a collection of wood, wire, and metalāit is an act of faith. Faith that a slab of lumber can be coaxed to sing, and that magnets and copper wire can capture something as expansive as human emotion. While itās comforting to think that tone can be calculated like a tax return, the truth is far messier. A guitar is a living argument between its componentsāan uneasy alliance of materials and craftsmanship. When it works, itās glorious.
The Uncooperative Nature of Wood
For me it all starts with the wood. Not just the species, but the piece. Despite what spec sheets and tonewood debates would have you believe, no two boards are the same. One piece of ash might have a bright, airy ring, while another from the same tree might sound like it spent a hard winter in a muddy ditch.
Builders know this, which is why youāll occasionally catch one tapping on a rough blank, head cocked like a bird listening. Theyāre not crazy. Theyāre hunting for a lively, responsive quality that makes the wood feel awake in your hands. But wood is less than half the battle. So many guitarists make the mistake of buying the lumber instead of the luthier.
Pickups: Magnetic Hopes and Dreams
The engine of the guitar, pickups are the part that allegedly defines the electric guitarās voice. Sure, swapping pickups will alter the tonality, to use a color metaphor, but they can only translate whatās already there, and thereās little percentage in trying to wake the dead. Yet, pickups do matter. A PAF-style might offer more harmonic complexity, or an overwound single-coil may bring some extra snarl, but hereās the thing: Two pickups made to the same specs can still sound different. The wire tension, the winding pattern, or even the temperature on the assembly line that day all add tiny variables that the spec sheet doesnāt mention. Donāt even get me started about the unrepeatability of āhand-scatter winding,ā unless youāre a compulsive gambler.
āOne piece of ash might have a bright, airy ring, while another from the same tree might sound like it spent a hard winter in a muddy ditch.ā
Wires, Caps, and Wishful Thinking
Inside the control cavity, the pots and capacitors await, quietly shaping your tone whether you notice them or not. A potentiometer swap can make your volume taper feel like an on/off switch or smooth as an aged Tennessee whiskey. A capacitor change can make or break the tone controlās usefulness. Itās subtle, but noticeable. The kind of detail that sends people down the rabbit hole of swapping $3 capacitors for $50 āvintage-specā caps, just to see if they can āfeelā the mojo of the 1950s.
Hardware: The Unsung Saboteur
Bridges, nuts, tuners, and tailpieces are occasionally credited for their sonic contributions, but theyāre quietly running the show. A steel block reflects and resonates differently than a die-cast zinc or aluminum bridge. Sloppy threads on bridge studs can weigh in, just as plate-style bridges can couple firmly to the body. Tuning machines can influence not just tuning stability, but their weight can alter the way the headstock itself vibrates.
Itās All Connected
Then thereās the neck jointāthe place where sustain goes to die. A tight neck pocket allows the energy to transfer efficiently. A sloppy fit? Some credit it for creating the infamous cluck and twang of Fender guitars, so pick your poison. One of the most important specs is scale length. A longer scale not only creates more string tension, it also requires the frets to be further apart. This changes the feel and the sound. A shorter scale seems to diminish bright overtones, accentuating the lows and mids. Scale length has a definite effect on where the neck joins the body and the position of the bridge, where compromises must be made in a guitarās overall design. There are so many choices, and just as many opportunities to miss the mark. Itās like driving without a map unless youāve been there before.
Alchemy, Not Arithmetic
At the end of the day, a guitarās greatness doesnāt come from its spec sheet. Itās not about the wood species or the coil-wire gauge. Itās about how it all conspires to either soar or sink. Two guitars, built to identical specs, can feel like long-lost soulmates or total strangers. All of these factors are why mix-and-match mods are a long game that can eventually pay off. But thatās the mystery of it. You canāt build magic from a parts list. You canāt buy mojo by the pound. A guitar is more than the sum of its partsāitās a sometimes unpredictable collaboration of materials, choices, and human touch. And sometimes, whether in the hands of an experienced builder or a dedicated tinkerer, it just works.
Two Iconic Titans of Rock & Metal Join Forces for a Canāt-Miss North American Trek
Tickets Available Starting Wednesday, April 16 with Artist Presales
General On Sale Begins Friday, April 18 at 10AM Local on LiveNation.com
This fall, shock rock legend Alice Cooper and heavy metal trailblazers Judas Priest will share the stage for an epic co-headlining tour across North America. Produced by Live Nation, the 22-city run kicks off September 16 at Mississippi Coast Coliseum in Biloxi, MS, and stops in Toronto, Phoenix, Los Angeles, and more before wrapping October 26 at The Cynthia Woods Mitchell Pavilion in The Woodlands, TX.
Coming off the second leg of their Invincible Shield Tour and the release of their celebrated 19th studio album, Judas Priest remains a dominant force in metal. Meanwhile, Alice Cooper, the godfather of theatrical rock, wraps up his "Too Close For Comfort" tour this summer, promoting his most recent "Road" album, and will have an as-yet-unnamed all-new show for this tour. Corrosion of Conformity will join as support on select dates.
Tickets will be available starting Wednesday, April 16 at 10AM local time with Artist Presales. Additional presales will run throughout the week ahead of the general onsale beginning Friday, April 18 at 10AM local time at LiveNation.comTOUR DATES:
Tue Sep 16 ā Biloxi, MS ā Mississippi Coast Coliseum
Thu Sep 18 ā Alpharetta, GA ā Ameris Bank Amphitheatre*
Sat Sep 20 ā Charlotte, NC ā PNC Music Pavilion
Sun Sep 21 ā Franklin, TN ā FirstBank Amphitheater
Wed Sep 24 ā Virginia Beach, VA ā Veterans United Home Loans Amphitheater
Fri Sep 26 ā Holmdel, NJ ā PNC Bank Arts Center
Sat Sep 27 ā Saratoga Springs, NY ā Broadview Stage at SPAC
Mon Sep 29 ā Toronto, ON ā Budweiser Stage
Wed Oct 01 ā Burgettstown, PA ā The Pavilion at Star Lake
Thu Oct 02 ā Clarkston, MI ā Pine Knob Music Theatre
Sat Oct 04 ā Cincinnati, OH ā Riverbend Music Center
Sun Oct 05 ā Tinley Park, IL ā Credit Union 1 Amphitheatre
Fri Oct 10 ā Colorado Springs, CO ā Broadmoor World Arena
Sun Oct 12 ā Salt Lake City, UT ā Utah First Credit Union Amphitheatre
Tue Oct 14 ā Mountain View, CA ā Shoreline Amphitheatre
Wed Oct 15 ā Wheatland, CA ā Toyota Amphitheatre
Sat Oct 18 ā Chula Vista, CA ā North Island Credit Union Amphitheatre
Sun Oct 19 ā Los Angeles, CA ā Kia Forum
Wed Oct 22 ā Phoenix, AZ ā Talking Stick Resort Amphitheatre
Thu Oct 23 ā Albuquerque, NM ā Isleta Amphitheater
Sat Oct 25 ā Austin, TX ā Germania Insurance Amphitheater
Sun Oct 26 ā Houston, TX ā The Cynthia Woods Mitchell Pavilion
*Without support from Corrosion of Conformity
MT 15 and Archon 50 Classic amplifiers offer fresh tones in release alongside a doubled-in-size Archon cabinet
PRS Guitars today released the updated MT 15 and the new Archon Classic amplifiers, along with a larger Archon speaker cabinet. The 15-watt, two-channel Mark Tremonti signature amp MT 15 now features a lead channel overdrive control. An addition to the Archon series, not a replacement, the 50-watt Classic offers a fresh voice by producing retro rock āclassicā tones reminiscent of sound permeating the radio four and five decades ago. Now twice the size of the first Archon cabinet, the Archon 4x12 boasts four Celestion V-Type speakers.
MT 15 Amplifier Head
Balancing aggression and articulation, this 15-watt amp supplies both heavy rhythms and clear lead tones. The MT 15 revision builds off the design of the MT 100, bringing the voice of the 100ās overdrive channel into its smaller-format sibling. Updating the model, the lead channel also features a push/pull overdrive control that removes two gain stages to produce vintage, crunchier āmid gainā tones. The clean channel still features a push/pull boost control that adds a touch of overdrive crunch. A half-power switch takes the MT to 7 watts.
āSeven years ago, we released my signature MT 15 amplifier, a compact powerhouse that quickly became a go-to for players seeking both pristine cleans and crushing high-gain tones. In 2023, we took things even further with the MT 100, delivering a full-scale amplifier that carried my signature sound to the next level. That inspired us to find a way to fit the 100's third channel into the 15's lunchbox size,ā said Mark Tremonti.
āToday, Iām beyond excited to introduce the next evolution of the MT15, now featuring a push/pull overdrive control on the Lead channel and a half-power switch, giving players even more tonal flexibility to shape their sound with a compact amp. Canāt wait for you all to plug in and experience it!ā
Archon Classic Amplifier Head
With a refined gain structure from the original Archon, the Archon Classicās lead channel offers a wider range of tones colored with gain, especially in the midrange. The clean channel goes from pristine all the way to the edge of breakup. This additional Archon version was developed to be a go-to tool for playing classic rock or pushing the envelope into modern territory. The Archon Classic still features the originalās bright switch, presence and depth controls. PRS continues to stock the Archon in retailers worldwide.
āThe Archon Classic is not a re-issue of the original Archon, but a newly voiced circuit with the lead channel excelling in '70s and '80s rock tones and a hotter clean channel able to go into breakup. This is the answer for those wanting an Archon with a hotrod vintage lead channel gain structure without changing preamp tube types, and a juiced- up clean channel without having to use a boost pedal, all wrapped up in a retro-inspired cabinet design,ā said PRS Amp Designer Doug Sewell.
Archon 4x12 Cabinet
As in the Archon 1x12 and 2x12, the mega-sized PRS Archon 4x12 speaker cabinet features Celestion V-Type speakers and a closed-back design, delivering power, punch, and tight low end. Also like its smaller brethren, the 4x12 is wrapped in durable black vinyl and adorned with a British-style black knitted-weave grill cloth. The Archon 4x12 is only the second four-speaker cabinet in the PRS lineup, next to the HDRX 4x12.
PRS Guitars continues its schedule of launching new products each month in 2025. Stay tuned to see new gear and 40 th Anniversary limited-edition guitars throughout the year. For all of the latest news, click www.prsguitars.com/40 and follow @prsguitars on Instagram, Tik Tok, Facebook, X, and YouTube.