Take a cruise through the Gibson- and Marshall-heavy world of this Grammy-winning, hard-rocking duo.
Lzzy Hale and Joe Hottinger of the Grammy-winning rock band Halestorm recently took a break from rehearsals for their 2021 tour to talk rigs with Premier Guitar's John Bohlinger.
Shortly before this interview, Hale had become the first woman to be named a brand ambassador by Gibson. With several signature models under her name, and Hottinger's apparent obsession with SGs, it's not surprising this rundown features some primo Gibsons.
[Brought to you by D'Addario XPND Pedalboard: https://www.daddario.com/XPNDRR]
Lzzy’s No. 1
The Halestorm frontwoman's top dog is her Lzzy Hale Explorer in alpine white with gold hardware, featuring '57 Classic humbuckers, a mahogany body/neck, a rosewood bound fretboard, three control knobs (independent volumes and a master tone), and a 3-way pickup switch.
Black Dog
A study in contrast to her No. 1, this Lzzy Hale Dark Explorer in black and gold has '57 Classic humbuckers, an ebony finish, block inlays, and a solid mahogany body.
Head's Up
And here's the distinctive Explorer headstock.
Up on the Low-Down
When Lzzy wants to go low and rumbly, she plays her Custom Baritone Gibson Explorer gold top. It's got a 28" scale neck and her preferred two-tone-one-volume control setup.
Lzzy Bird
For something truly different, Hale plays her custom Explorer with a Firebird headstock, decked in black and red, with gold hardware and a pair of humbuckers from the 1970s.
Rock x 2
This EDS-1275 is literally the heaviest guitar in the Halestorm arsenal, with a standard top and baritone bottom, in SG white. It's strung with Ernie Ball paradigms (.10–.52) on top and the company's Not Even Slinky .12s for the bari half. The pickups are her preferred '57 classics.
Anyone for Chess?
If amplification were a match game, Hale would be ready. She tours with two custom Marshall custom JCM800s—one white, one black.
White On
Here's one of her 4x12 cabinets—geared up in a finish to match the head that drives it.
Lzzy's Pedalstorm
The signal runs from Hale's guitars into a Jerry Cantrell JC95 Dunlop Cry Baby wah. Then it hits a Boss TU-3, an EHX POG2, an MXR/CAE Boost/Line Driver, a vintage Klon Centaur, and a Way Huge Aqua-Puss Analog Delay Pedal. The power supply is a Strymon Zuma.
You Want SGs?
Joe Hottinger's got SGs—a fat roadcase full when he tours. He bought this 2003 SG Standard new when he joined the band that year. The pickups were changed to Burstbuckers when the originals died while on tour in Europe.
The Green Monster
This is a great shade of green, allowing the character on the wood in this kornia-body SG to emerge. It's a 2001 Gibson Custom Shop creature with custom '57 Classic humbuckers.
Double ... or Something
Not to be outshined, Joe's EDS-1275 is in super-shiny Brunswick blue sparkle. The pickups on the 6-string side are a Burstbucker 1 and 2 set. On the 12-string side, they're a 2 and 3 set. Burstbuckers 1s are low output, 2s are medium output, and 3s are overwound and hot.
Give It Up for Lester
This white silverburst '61 reissue has a Maestro tailpiece and its design comes from the era when it was called the Les Paul SG. It is stock and was built in 2010.
It's Not Easy Being Green
But it rocks—at least on this 2020 Custom Shop '61/'59 Fat Neck SG Limited Edition with three humbuckers, just like Jimi's famed white "Dick Cavett" model.
Single-Coils Going Steady
When it's time for that P-90 sound, Hottinger reaches for his 2011 50th Anniversary Pete Townshend alpine white SG. Windmilling lessons not included!
Bari or Bust
This limited edition 2013 Gibson SG Baritone has a 27"-scale neck, a Richlite fretboard, 496R and 500T humbuckers, and push-pull volume pots.
Chet's Mix
Yes, this is also a Gibson—a 1999 Custom Shop Chet Atkins SST. It has a solid top and a mahogany body, and a bridge transducer with an active preamp. Strings: Ernie Ball Acoustic Paradigm .12 sets. His electric guitars have Paradigm .10–.52 sets, mostly, and the company's Not Even Slinky .12s are on the baritone.
Amps? You Betcha
These two 2020 Marshall SV20H Studio Vintage plexi-style heads are just the tip of the iceberg of Joe's amplification setup.
Blasting from the Past
These two Marshall Super Leads are also in the game. The red one is from 1971 and the purple head is from 1973. Note the jumped inputs.
Big, Bad Bogner
This Bogner 4x12—one of two in Joe's rig—features Beyma Liberty 8-ohm speakers, which are super versatile, sonically.
Clean Stomp Space
Hottinger keeps a neat pedalboard, running cable into an Xotic XW1 wah to a Xotic XVP 250K High Impedance Volume Pedal. From there, it's a Tru-Fi Octavia Fuzz, Bogner La Grange, overdrive, Tru-Fi Colordriver 18V, Keely 30 ms Automatic Double Tracker, Electro-Harmonix POG2, Earthquaker Devices Afterneath, and Strymon TimeLine. It's all juiced by a Strymon Zuma power box.
- Gibson Announces the Grand Opening of the Gibson Garage ... ›
- Rig Rundown: Nick Raskulinecz - Premier Guitar ›
- Halestorm's Lzzy Hale and Joe Hottinger: The "Woo" Factor ... ›
- Gibson Unveils the Lzzy Hale Signature Explorerbird - Premier Guitar ›
- Lzzy Hale's Signature Kramer Voyager Guitar ›
Selenium, an alternative to silicon and germanium, helps make an overdrive of great nuance and delectable boost and low-gain overdrive tones.
Clever application of alternative materials that results in a simple, make-everything-sound-better boost and low-gain overdrive.
Might not have enough overdrive for some tastes (although that’s kind of the idea).
$240 street
Cusack Project 34 Selenium Rectifier Pre/Drive Pedal
cusackmusic.com
The term “selenium rectifier” might be Greek to most guitarists, but if it rings a bell with any vintage-amp enthusiasts that’s likely because you pulled one of these green, sugar-cube-sized components out of your amp’s tube-biasing network to replace it with a silicon diode.
That’s a long-winded way of saying that, just like silicon or germanium diodes—aka “rectifiers”—the lesser-seen selenium can also be used for gain stages in a preamp or drive pedal. Enter the new Project 34 Selenium Rectifier Pre/Drive from Michigan-based boutique maker Cusack, named after the element’s atomic number, of course.
An Ounce of Pre-Vention
As quirky as the Project 34 might seem, it’s not the first time that company founder Jon Cusack indulged his long-standing interest in the element. In 2021, he tested the waters with a small 20-unit run of the Screamer Fuzz Selenium pedal and has now tamed the stuff further to tap levels of gain running from pre-boost to light overdrive. Having used up his supply of selenium rectifiers on the fuzz run, however, Cusack had to search far and wide to find more before the Project 34 could launch.
“Today they are usually relegated to just a few larger industrial and military applications,” Cusack reports, “but after over a year of searching we finally located what we needed to make another pedal. While they are a very expensive component, they certainly do have a sound of their own.”
The control interface comprises gain, level, and a traditional bright-to-bassy tone knob, the range of which is increased exponentially by the 3-position contour switch: Up summons medium bass response, middle is flat response with no bass boost, and down is maximum bass boost. The soft-touch, non-latching footswitch taps a true-bypass on/off state, and power requires a standard center-negative 9V supply rated at for least 5 mA of current draw, but you can run the Project 34 on up to 18V DC.
Going Nuclear
Tested with a Telecaster and an ES-355 into a tweed Deluxe-style 1x12 combo and a 65 Amps London head and 2x12 cab, the Project 34 is a very natural-sounding low-gain overdrive with a dynamic response and just enough compression that it doesn’t flatten the touchy-feely pick attack. The key adjectives here are juicy, sweet, rich, and full. It’s never harsh or grating.
“The gain knob is pretty subtle from 10 o’clock up, which actually helps keep the Project 34 in character.”
There’s plenty of output available via the level control, but the gain knob is pretty subtle from 10 o’clock up, which actually helps keep the Project 34 in character. Settings below there remain relatively clean—amp-setting dependent, of course—and from that point on up the overdrive ramps up very gradually, which, in amp-like fashion, is heard as a slight increase in saturation and compression. The pedal was especially fantastic with the Telecaster and the tweed-style combo, but also interacted really well with humbuckers into EL84s, which certainly can’t be said for all overdrives.
The Verdict
Although I almost hate to use the term, the Project 34 is a very organic gain stage that just makes everything sound better, and does so with a selenium-driven voice that’s an interesting twist on the standard preamp/drive. For all the variations on boost and low/medium-gain overdrive out there it’s still a very welcome addition to the market, and definitely worth checking out—particularly if you’re looking for subtler shades of overdrive.
Some of us love drum machines and synths, and others don’t, but we all love Billy.
Billy Gibbons is an undisputable guitar force whose feel, tone, and all-around vibe make him the highest level of hero. But that’s not to say he hasn’t made some odd choices in his career, like when ZZ Top re-recorded parts of their classic albums for CD release. And fans will argue which era of the band’s career is best. Some of us love drum machines and synths and others don’t, but we all love Billy.
This episode is sponsored by Magnatone
An '80s-era cult favorite is back.
Originally released in the 1980s, the Victory has long been a cult favorite among guitarists for its distinctive double cutaway design and excellent upper-fret access. These new models feature flexible electronics, enhanced body contours, improved weight and balance, and an Explorer headstock shape.
A Cult Classic Made Modern
The new Victory features refined body contours, improved weight and balance, and an updated headstock shape based on the popular Gibson Explorer.
Effortless Playing
With a fast-playing SlimTaper neck profile and ebony fretboard with a compound radius, the Victory delivers low action without fret buzz everywhere on the fretboard.
Flexible Electronics
The two 80s Tribute humbucker pickups are wired to push/pull master volume and tone controls for coil splitting and inner/outer coil selection when the coils are split.
For more information, please visit gibson.com.
Gibson Victory Figured Top Electric Guitar - Iguana Burst
Victory Figured Top Iguana BurstThe SDE-3 fuses the vintage digital character of the legendary Roland SDE-3000 rackmount delay into a pedalboard-friendly stompbox with a host of modern features.
Released in 1983, the Roland SDE-3000 rackmount delay was a staple for pro players of the era and remains revered for its rich analog/digital hybrid sound and distinctive modulation. BOSS reimagined this retro classic in 2023 with the acclaimed SDE-3000D and SDE-3000EVH, two wide-format pedals with stereo sound, advanced features, and expanded connectivity. The SDE-3 brings the authentic SDE-3000 vibe to a streamlined BOSS compact, enhanced with innovative creative tools for every musical style. The SDE-3 delivers evocative delay sounds that drip with warmth and musicality. The efficient panel provides the primary controls of its vintage benchmark—including delay time, feedback, and independent rate and depth knobs for the modulation—plus additional knobs for expanded sonic potential.
A wide range of tones are available, from basic mono delays and ’80s-style mod/delay combos to moody textures for ambient, chill, and lo-fi music. Along with reproducing the SDE-3000's original mono sound, the SDE-3 includes a powerful Offset knob to create interesting tones with two simultaneous delays. With one simple control, the user can instantly add a second delay to the primary delay. This provides a wealth of mono and stereo colors not available with other delay pedals, including unique doubled sounds and timed dual delays with tap tempo control. The versatile SDE-3 provides output configurations to suit any stage or studio scenario.
Two stereo modes include discrete left/right delays and a panning option for ultra-wide sounds that move across the stereo field. Dry and effect-only signals can be sent to two amps for wet/dry setups, and the direct sound can be muted for studio mixing and parallel effect rigs. The SDE-3 offers numerous control options to enhance live and studio performances. Tap tempo mode is available with a press and hold of the pedal switch, while the TRS MIDI input can be used to sync the delay time with clock signals from DAWs, pedals, and drum machines. Optional external footswitches provide on-demand access to tap tempo and a hold function for on-the-fly looping. Alternately, an expression pedal can be used to control the Level, Feedback, and Time knobs for delay mix adjustment, wild pitch effects, and dramatic self-oscillation.
The new BOSS SDE-3 Dual Delay Pedal will be available for purchase at authorized U.S. BOSS retailers in October for $219.99. To learn more, visit www.boss.info.