See these jam-happy ganders soar with one guitar each and a stockpile of Strymons. Plus, why Rick Mitarotonda embraces random changes to pedal settings.
“Are you guys with the band?” A pleasant passerby asked while we were loading out camera gear near the Goose tour bus parked outside Nashville’s Brooklyn Bowl.
“No, we’re just here to do an interview.” I responded.
“Oh man, tell the band that last night’s concert was uh-mazing,” exclaimed the joyous fan. “We’ll be talking about it for years to come.”
And with that sort of impassioned, infectious positivity, Goose is following the freeform footsteps of the Grateful Dead, Phish, Dave Matthews Band, and Umphrey’s McGee—where polished, recorded albums are secondary to improvisation-rich, snowflake-unique performances that illicit exchanges like that above. (Adding to their jam-band credit, they livestream most shows, and guitarist Peter Anspach mixes the band’s gigs for release shortly afterwards.)
Formed in 2014, the quintet currently includes: Peter Anspach (guitar, keys, vocals), Jeff Arevalo (percussion, vocals), Ben Atkind (drums), Rick Mitarotonda (guitar, lead vocals), and Trevor Weekz (bass). The Northeast-based crew has released two albums (2016’s Moon Cabin and 2021’s Shenanigans Nite Club), an EP (2020’s Night Lights), and Dripfieldis on the horizon, for release on June 24.
However, the recorded songs are just guideposts and mile markers. It is all about the live experience. The band often performs two sets, without an opener, and keeps fans on their toes with natural, symbiotic excursions and unlikely, progressive covers. The first evening of their sold-out, two-night run in Nashville saw them flex their musical adeptness and vocabulary with covers of Wes Montgomery (“Switchin’”) and Steppenwolf (“Magic Carpet Ride”).
Their word-of-mouth growth has elevated them to cross several milestones in 2022. They sold out their first arena (Mohegan Sun in Uncasville, Connecticut) and followed that with sell-outs at the legendary Red Rocks Amphitheatre and historic Radio City Music Hall. So you can plan on seeing these birds fly high for years to come.
Before Goose’s second sold-out show in Nashville, PG was invited onstage to catalog their current setups. In this Rundown, guitarists Peter Anspach and Rick Mitarotonda show off their all-night 6-string costars, detail the pedals that help them warp space and time for organic odysseys, and Mitarotonda explains how a looper helps him from hitting mental walls and getting cornered in redundant guitar-playing boxes.
Brought to you by D’Addario XPND Pedalboard.
Suhr Is Pretty
Goose guitarist Peter Anspach has always loved humbuckers, but he felt the huskier tones on ’bucker-equipped guitars had a few shortcomings—primarily lacking the 2- and 4-position squawk of an S-style instrument. The solution was switching to this Suhr Mateus Asato Signature Classic that threads the needle with an Asato Custom Humbucker and a pair of ML Standard single-coils. He rocks D’Addario Classic Celluloid picks (1.0 mm), NYXLs (.010 –.046), and Original Fuzz straps.
The Backup Beauty
Sitting close by in the bullpen is this Fender American Vintage ’62 Stratocaster that pulls its weight as a backup.
A Reliable Deluxe
“It’s just so full, clean, and reliable, and that’s what you need on the road. I can’t emphasize its reliability enough,” says Anspach of his Fender ’64 Custom Deluxe Reverb. “I have a ’70s silver-panel Deluxe Reverb at home that gets blown out of the water by this one.” He plugs his guitar into the normal channel, while putting his clavinet into the bright channel.
Peter’s Pedal Playground
Quickly glancing at Anspach’s pedalboard, you see that he has his feet in the analog and digital worlds. The industry standbys include a Moog Moogerfooger MF-101 Lowpass Filter, Electro-Harmonix Small Stone phase shifter, Keeley Compressor Plus, Ibanez TS9 Tube Screamer (with Analog Man mod), and an Analog Man King of Tone. The modern juggernauts include a trio of Chase Bliss boxes (Dark World, Tonal Recall, and Mood) and a pair of Strymon stomps (TimeLine and Flint). A Dunlop Cry Baby Classic GCB95F sits in the lower righthand corner and a TC Electronic Polytune 2 Mini keeps his guitars in check. Underneath is a Strymon Zuma to power his noisemakers.
One for the Birds!
During his formative guitar-playing years, Rick Mitarotonda’s father took him to the House of Guitars in Rochester, New York. He tried a bunch of instruments that day, but the cream of the crop for 13-year-old Rick was a PRS. And ever since he’s been partial to the birds. His main ride for some time has been this PRS Hollowbody II Piezo. The hollowbody features PRS’ 58/15 LT (low turn) humbuckers that work alongside the LR Baggs/PRS proprietary piezo electronics. And similar to his guitar mate, Mitarotonda employs D’Addario NYXLs (.010 –.046).
Bird of a Feather Flock Together
Rick’s 6-string insurance plan is in the shape of another PRS Hollowbody II Piezo, but this one technically still belongs to Anspach, who has settled into his Strat-osphere.
Blast Off With Boogie
Rick has been plugging into Mesa/Boogie combos for 10-plus years. He started his journey with the smaller Express 5:25 Plus 1x12 combo with EL84s. He’s since graduated to the Express 5:50 with 6L6s. He’s stayed loyal to the brand because he enjoys how the amps naturally compress his guitar sound.
V Formation
Mitarotonda has some serious pedal power at his feet. The first board on his far right is dedicated to vocals. He has a TC Helicon Play Electric vocal effects processor that integrates and is controlled by the TC Helicon Switch-3. (The Play adds an octave-up harmony. The three buttons on the Switch-3 toggle engage hardtune, delay, and reverb for his vocals.)
Moving left, we have his first board for guitar. He has a Dunlop Cry Baby 535Q wah and DigiTech Whammy at his disposal before hitting a Lovepedal Eternity Fuse. Then he goes into a Mu-Tron Micro-Tron IV envelope filter, Strymon OB.1 compressor and clean boost, and a MXR Carbon Copy Deluxe. The top-right corner holds a TC Electronic Polytune. Strapped to the bottom is a Truetone 1 Spot power supply.
The third and final board has a MXR Analog Chorus. And then things get serious with a 5-pack of Strymons that include a Deco tape saturation and doubletracker, El Capistan dTape Echo, TimeLine, Flint tremolo/reverb, and a NightSky time-warped reverberator. Off the board to the left is a TC Electronic Ditto X4 that Rick leans on to peel open new textures to help him get out of his head during improvisational parts and see his instrument with a fresh lens.
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Hotone Wong Press
Cory Wong Signature Volume/Wah/Expression Pedal
Renowned international funk guitar maestro and 63rd Grammy nominee Cory Wong is celebrated for his unique playing style and unmistakable crisp tone. Known for his expressive technique, he’s been acclaimed across the globe by all audiences for his unique blend of energy and soul. In 2022, Cory discovered the multi-functional Soul Press II pedal from Hotone and instantly fell in love. Since then, it has become his go-to pedal for live performances.
Now, two years later, the Hotone team has meticulously crafted the Wong Press, a pedal tailored specifically for Cory Wong. Building on the multi-functional design philosophy of the Soul Press series, this new pedal includes Cory’s custom requests: a signature blue and white color scheme, a customized volume pedal curve, an adjustable wah Q value range, and travel lights that indicate both pedal position and working mode.
Cory’s near-perfect pursuit of tone and pedal feel presented a significant challenge for our development team. After countless adjustments to the Q value range, Hotone engineers achieved the precise WAH tone Cory desired while minimizing the risk of accidental Q value changes affecting the sound. Additionally, based on Cory’s feedback, the volume control was fine-tuned for a smoother, more musical transition, enhancing the overall feel of volume swells. The team also upgraded the iconic travel lights of the Soul Press II to dual-color travel lights—blue for Wah mode and green for Volume mode—making live performances more intuitive and visually striking!
In line with the Hotone Design Inspiration philosophy, the Wong Press represents the perfect blend of design and inspiration. Now, musicians can channel their inner Cory Wong and enjoy the freedom and joy of playing with the Wong Press!
Reverend Vernon Reid Totem Series Electric Guitar - Shaman
Silos features six presets, tap tempo, one full second of delay time, and three voices—two of which are styled after bucket-brigade and tape-delay sounds. In the $150 price category, it’s not unusual for a digital delay to leave some number of those functions out. And spending the same money on a true-analog alternative usually means warm, enveloping sounds but limited functionality and delay time. Silos, improbably perhaps, offers a very elegant solution to this can’t-have-it-all dilemma in a U.S.-made effect.
A More Complete Cobbling Together
Silos’ utility is bolstered by a very unintimidating control set, which is streamlined and approachable. Three of those controls are dedicated to the same mix, time, and repeats controls you see on any delay. But saving a preset to one of the six spots on the rotary preset dial is as easy as holding the green/red illuminated button just below the mix and preset knobs. And you certainly won’t get lost in the weeds if you move to the 3-position toggle, which switches between a clear “digital” voice, darker “analog” voice, and a “tape” voice which is darker still.
“The three voices offer discernibly different response to gain devices.”
One might suspect that a tone control for the repeats offers similar functionality as the voice toggle switch. But while it’s true that the most obvious audible differences between digital, BBD, and tape delays are apparent in the relative fidelity and darkness of their echoes, the Silos’ three voices behave differently in ways that are more complex than lighter or duskier tonality. For instance, the digital voice will never exhibit runaway oscillation, even at maximum mix and repeat settings. Instead, repeats fade out after about six seconds (at the fastest time settings) or create sleepy layers of slow-decaying repeats that enhance detail in complex, sprawling, loop-like melodic phrases. The analog voice and tape voice, on the other hand, will happily feed back to psychotic extremes. Both also offer satisfying sensitivity to real-time, on-the-fly adjustments. For example, I was tickled with how I could generate Apocalypse Now helicopter-chop effects and fade them in and out of prominence as if they were approaching or receding in proximity—an effect made easier still if you assign an expression pedal to the mix control. This kind of interactivity is what makes analog machines like the Echoplex, Space Echo, and Memory Man transcend mere delay status, and the sensitivity and just-right resistance make the process of manipulating repeats endlessly engaging.
Doesn't Flinch at Filth
EarthQuaker makes a point of highlighting the Silos’ affinity for dirty and distorted sounds. I did not notice that it behaved light-years better than other delays in this regard. But the three voices most definitely offer discernibly different responses to gain devices. The super-clear first repeat in the digital mode lends clarity and melodic focus, even to hectic, unpredictable, fractured fuzzes. The analog voice, which EQD says is inspired by the tone makeup of a 1980s-vintage, Japan-made KMD bucket brigade echo, handles fuzz forgivingly inasmuch as its repeats fade warmly and evenly, but the strong midrange also keeps many overtones present as the echoes fade. The tape voice, which uses aMaestro Echoplex as its sonic inspiration, is distinctly dirtier and creates more nebulous undercurrents in the repeats. If you want to retain clarity in more melodic settings, it will create a warm glow around repeats at conservative levels. Push it, and it will summon thick, sometimes droning haze that makes a great backdrop for slower, simpler, and hooky psychedelic riffs.
In clean applications, this decay and tone profile lend the tape setting a spooky, foggy aura that suggests the cold vastness of outer space. The analog voice often displays an authentic BBD clickiness in clean repeats that’s sweet for underscoring rhythmic patterns, while the digital voice’s pronounced regularity adds a clockwork quality that supports more up-tempo, driving, electronic rhythms.
The Verdict
Silos’ combination of features seems like a very obvious and appealing one. But bringing it all together at just less than 150 bucks represents a smart, adept threading of the cost/feature needle.
EarthQuaker Devices Silos Multi-generational Time Reflection Delay Pedal
