The 2000s were an odd period for music sales. The decade was a tale of polar opposites. Songs and albums never exchanged hands faster (thanks to file-sharing services like Napster and LimeWire), and thus the industry's sales plummeted.
During the aughts, one of the few acts growing through the free-streaming floodwaters, were the dark, theatrical rockers My Chemical Romance who melded punk, post-hardcore, indie, and glam. Singer Gerard Way started the band in late 2001 after the 9/11 attacks. He recruited drummer Matt Pelissier (replaced by Bob Bryar in 2004), lead guitarist Ray Toro, his brother Mikey Way for bass, and in early 2002 Frank Iero joined.
As a result of their skyrocketing success, the quintet went from opening dive bars to selling out arenas in eight fast years. 2002's debut for Eyeball Records, I Brought You My Bullets, You Brought Me Your Love, was a scorcher (and sold over 3 million copies). The follow up, Three Cheers for Sweet Revenge, had the fist-pumping hooks for TRL, but still retained the edge for the pits. 2006's soaring anthemic concept album, The Black Parade, learned from past classics (A Night at the Opera, Sgt. Pepper, Mellon Collie and the Infinite Sadness), became a triple-platinum smash with the title track perching them on top of two charts (Billboard's U.S. Alternative and U.K. Singles Chart). And 2010's Danger Days: The True Lives of the Fabulous Killjoys dialed back the rage and ramped up the fun producing a rushing ride.
While the band did release new music (collection of singles eventually becoming a compilation, Conventional Weapons), they took a hiatus. Iero took this an opportunity to step out from just rhythm duties and added frontman to his resume.
First releasing Stomachaches as frnkiero and the cellabration in 2014. He followed that up by forming Frank Iero and the Patience who produced Parachutes (LP) in 2016 and Keep The Coffins Coming (EP) in 2017. After surviving a harrowing accident where he was drug approximately 10 feet by a passenger bus in Australia, he found catharsis in music and created Frank Iero and the Future Violents. So far, they've dropped Barriers (LP) in 2019 and earlier this year Heaven is a Place, This is a Place (EP).
Just after putting out his offbeat, stirring 4-song collection (complete with a ghostly cover or R.E.M.'s “Losing My Religion"), the good-time guitarist virtually welcomed PG's Chris Kies into his Jersey-based home and gear haven.
In this episode, Iero introduces us to his oddball offsets and sentimental single-cuts, he explains how unusual tunings and pinky rings give his “broken" riffs an extra off-kilter sound and extra gunk, and we witness how a pandemic turned his basement into a pedal warehouse.
D'Addario XPND Pedalboard:https://www.daddario.com/XPNDRR
One of Iero’s newest guitars is this Fender American Professional II Jazzmaster finished in dark knight. (Iero calls this 6-string “Batman.”) His two favorite appointments are slight tweaks on the classic design—the responsive Panorama Tremolo and the sculpted neck heel improving access and comfortability.
Depending on the instrument and tuning, Frank will go with Ernie Ball Slinkys in various configurations of .011s to compensate for lower tunings and looser tension.
For My Chemical Romance, they’re typically tuned to standard for Future Violents stuff he rides in Eb standard.
Here’s a signature guitar owned by Iero, but it’s not his namesake instrument. He and Gary Holt become fast friends and the thrasher for Slayer and Exodus offered a guitar swap. So Iero got Holt’s ESP LTD GH-600 sig and Holt requested his Ampeg Dan Armstrong AMG100 BK reissue featured in the video for Iero and the Future Violents’ rollercoaster “Young and Doomed”.
When touring with his first solo band (Frank Iero and the Celebration), they visited a guitar boutique in a Canadian mall. He picked up a Squier Vintage Modified Baritone Jazzmaster and quickly began coming up with fresh ideas on the spot. Not wanting to deal with customs, he went online, ordered his own Antigua model and it showed up to his New Jersey doorstep before he finished the tour. Tuned to A#, the baritone was workhorse for his last full-length release, Barriers, and his just-released EP.
Always on the lookout for something unusual and different, Iero was on tour in Cincinnati scooped this Frankenstein Fender offset that has a ’50s body matched with a ’90s neck.
During My Chemical Romance’s rise, Iero’s main guitar was a white Epiphone Les Paul nicknamed “Pansy.” He’s since retired it from the road and was tired of playing similar same single-cut, humbucker-loaded guitars. As seen in this Rundown, he’s got instruments of many shapes, sizes, and configurations, but he’s always loved a white Les Paul. Wanting to bring one back into the fold, a serendipitous phone call from Thunder Road Guitars’ owner Frank Gross put this 1992 Gibson Les Paul Custom into Iero’s growing collection.
“If you’re looking for something affordable that you can rip on, I don’t think you can beat this one,” says Iero when playing this 2020 reissue of the Epiphone Coronet.
With touring plans still up in the air for 2021, Iero is unsure if he’ll go fully digital, full tube, or a hybrid approach, but he did admit that this Fender Twin Reverb will for sure be the clean tone. (And for those keeping track at home, this is the amp he played during the Rundown.)
The last Future Violents tour saw Iero bring out the aforementioned Twin Reverb and the above Supro Black Magick.
Like most of us, during the pandemic, pedalboards became fluid and tone hunting was a mind-saving pastime. Iero was no exception as you’ll see in the next few slides he has some mainstays, but nothing is permanent.
Here’s his closest gig-ready stomp station that has time-based effects and modulation on the left side (Fender Marine Layer Reverb, vintage Pearl CH-02 Chorus, old Boss DM-2 Delay, Ibanez CF7 Chorus/Flanger, and Electro-Harmonix Holy Grail). The right side is home to menace (Marshall Blues Breaker, SNK Pedals VHD Distortion/Preamp, Keeley-modded Boss BD-2 Blues Driver, and Klon Centaur). Everything is controlled by the Carl Martin Octa-Switch MkII. Utilitarian units include a TC Electronic PolyTune 2 Mini, Ernie Ball VPJR volume pedal, and a Strymon Zuma power supply.
Here’s his mess-around-the-house board (with a fine tribute to EVH) that has a pair of Strymons (BigSky and Volante), an Ibanez DE7 Delay/Echo, gold Klon Centaur, Fuzzlord Effects Drone Master, Bowman Audio Endeavors The Bowman (company ran by Rig Rundown alumnus and Against Me! guitarist James Bowman), and a Ernie Ball VPJR Tuner Pedal.
His recording board is made up of versatile staples including a 4-pack of Strymons (Ola, Flint, El Capistan, and Iridium), Bowman Audio Endeavors Fortune and Glory, and a Templo Devices Model 33 Supa vibrato.
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Gallagher’s road worn Strat in play in the cover of his 1972 concert album.
Unless you are living in a cave, you should know who Rory Gallagher was and will recognize his beaten-up Fender Stratocaster, which is a symbol of pure rock ’n’ roll. The story goes that Rory bought this used 1961 sunburst Stratocaster in 1963 for £100 in Cork, Ireland, in a shop named Crowley’s Music Store. Allegedly, this was the first Stratocaster ever to reach Ireland. The guitar’s previous owner ordered a red Stratocaster from the U.S., but a sunburst came instead. After using the guitar for around half a year, the red one arrived. The sunburst was exchanged and put on sale, and Gallagher soon found it. True or not, the story is simply priceless.
When Rory bought this Strat, it was absolutely factory stock, which was typical for this time. It stayed that way for a long time and became a piece of musical history in the hands of Rory. Nearly all of the sunburst lacquer was naturally removed over the years by Gallagher’s acidic sweat, so today the guitar is almost completely stripped down to the bare wood, giving it its iconic look.
The first mods done to this guitar happened around the mid-70s, when two of the pickups were damaged and had to be replaced. Later on, some other parts like the pickguard and pickup covers had to be replaced, and in his later career he did start to use different pickups. The standard 3-way pickup-selector switch was replaced with a more modern 5-way switch, and the controls were rewired for master volume and master tone with the middle tone pot disconnected.
What was the secret behind Rory’s unmistakable Stratocaster tone, which he had from the start? First and foremost, and without any doubts, you all know the saying: Tone comes from the fingers! When such outstanding playing chops meet a great instrument, the result is marvelous.
Having said that … Rory’s pickups did play a large role in his sound. The standard Stratocaster pickups Fender used at the time had staggered magnets with beveled edges. There is complex physics behind it, but in basic terms, these pickups sound fatter, sweeter, and with more overtones. The beveled edges greatly influence the magnetic field, which causes them to sound so different. This has to do with the pickup’s unique aperture or “magnetic window.” These were hand-beveled edges, and it was generally assumed that this was done to disguise the rough and uneven surface left by the sand casting. But this can’t be the reason because doing such handiwork takes a lot of time and care to get right, and Leo Fender wasn’t known for spending time on such unnecessary things in his building processes. (Later, Fender stopped beveling and the sound of the pickups changed because of this.)
In 2016, Seymour Duncan explained the tone of beveled pickups to Guitar.com: “The bevel causes the magnetic field to shoot out a little around the bevel area, but it results in a tapering of the field above that point. So, if you could, imagine the magnetic field shaped like the flame of a candle or a teardrop.” That’s an excellent metaphor that hits the nail on the head.
“Depending on the employee working the sanding machine, the edges are more or less beveled from pickup to pickup—one of the reasons why vintage Strats sound so different from guitar to guitar.”
But why did Fender originally do hand beveling and why did they stop later on? Were his choices based on tone? I don’t think so. I think the answer must be seen in the historical context of the time.
The alnico 5 material used for the magnets was brand-new and very expensive at that time. It was also very porous, and many magnets crumbled while using a hammer to drive them into the pickup, which was the usual procedure in the Fender factory. So, Fender started hand beveling the magnets on one side, which minimized the risk of destroying the magnet during the hammering process. It was an accident that this created such great tone. Depending on the employee working the sanding machine, the edges are more or less beveled from pickup to pickup—one of the reasons why vintage Strats sound so different from guitar to guitar.
Here you can see the normal, non-beveled magnets of a Stratocaster pickup:
Photo courtesy of Leosounds (https://leosounds.de)
And here is a faithful recreation of the beveled magnets in Gallagher’s Stratocaster:
Photo courtesy of Leosounds (https://leosounds.de)
Gallagher’s pickup set has a very pronounced bevel. The Fender worker who produced these certainly also created some more sets like this.
The influence of the bevel on a pickup’s tone is huge. To give a better idea, here are some magnetic visualizations that my dear friend Bernd C. Meiser from the German BSM company made for me. Bernd sadly died on July 30, 2024, after fighting against cancer for two years. It won’t get loud anymore without him.
Here you can see the common magnetic spread-out of a non-beveled Strat pickup:
Drawing courtesy Singlecoil (https://singlecoil.com) in memory of Bernd C. Meiser
And here is the same with a beveled Strat pickup:
Drawing courtesy Singlecoil (https://singlecoil.com) in memory of Bernd C. Meiser
You can clearly see the difference of the magnetic spread-out and the much wider aperture these beveled magnets provide, causing the different tone.
So where is the mod for this column? I’m sorry to disappoint you, but it’s not possible to change the magnets on a standard Stratocaster pickup without destroying the pickup. And there is no way to retroactively put a bevel on the magnets of your pickup with the magnets installed. The only way to convert your Strat to beveled pickups is to install a new pickup set with beveled magnets. Fender ’57/’62 pickups feature beveled edges, as do many offerings from other pickup companies.
Next time, we will have a look at the mid-boost and scoop mod from Dan Torres, so stay tuned!
Until then ... keep on modding!
Stickley goes way back with Billy, spotting his talent early in the young guitarist’s career. The two have worked together since, and recently, when Billy had to dip out of his own festival as his wife headed to the hospital to deliver their baby, it was Stickley who was called to jump on stage and fill in at last minute notice. Stickley recounts the story of not only getting on stage, but strapping on Strings’ guitar, plugging into his space station, and taking off with Billy’s band.
We called the right guitarist to guide us through, navigating Strings’ work, the way he brings together influences from genres outside bluegrass, and what makes him a guitarist you need to know.
