The Swedish melodic death metal pioneers continue solidifying their reign as technical titans. That’s due in part to signature guitars—Epiphone Les Paul Customs plus Jackson Diabolics and Soloists that rip and roar—as well as Zon Sonus basses. Altogether, these steely vets with thundering tenacity are feeling the surge of fresh sonic blood.
If In Flames didn’t invent melodic death metal, they cemented the genre’s arrival with Lunar Strain and Subterranean, and if those were early blueprints to the burgeoning style, the Swedes’ The Jester Race and Whoracle were the impeccable benchmarks that made the aggressive artform matter. They’ve continued to push the genre forward with ten subsequent releases—including 2023’s raw, visceral Foregone—further strengthening their core sound that, at its heart, is a modernized blend of intensified Iron Maiden and accelerated Black Sabbath.
Before the band’s headlining show at Nashville’s Marathon Music Works, In Flames’ Björn Gelotte, Chris Broderick, and Liam Wilson welcomed PG’s Perry Bean for a conversation about their powerful setups. Gelotte detailed his workingman’s signature Epiphone Les Paul Custom before his tech Greg Winn showcased a pair of unknown Marshall prototype amps never featured on a Rundown. Shredmeister general Chris Broderick discussed his hands-on approach to designing his signature sound that includes a beveled Jackson Diabolic CB2, modified DiMarzio humbuckers, and a thumbpick he invented. Lastly, Wilson compared the requirements and difficulties between playing bass with Dillinger Escape Plan and In Flames before dissecting his morphing setup that’s trying to feel like home while honoring Peter Iwers’ and Bryce Paul’s thunderous footsteps.
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Björn Ingvar Gelotte used his favorite Gibson Les Paul Custom so much he beat it into submission. It was a special instrument that he wore down to retirement because of fear of ruining it beyond repair. Luckily, around that same time, Gibson called the Swedish shredder wanting to collaborate on a signature model, but being a man of the people, he opted for an Epiphone namesake to keep the price down for fans and aspiring guitarists. It has a mahogany body and neck, an ebony fretboard, a LockTone “Nashville-style” Tune-o-matic bridge, Grover tuners, and a set of high-voltage EMG 81/85 MetalWorks active pickups finished in gold. Both of his guitars take a custom configuration of Dunlop strings (.012-.016-.022-.038-.052-.068) and they either ride in C or A# tunings.
Have a Drink on Me
This is Björn’s second signature Epiphone Les Paul Custom finished in bone white. It has the same DNA as the midnight ebony slugger, but it has gold “top hat” knobs and a stainless-steel bottle opener on its backside.
Mystery Machine
Gelotte has trusted his live tone to tenured tech Greg Winn for many years. Winn has encountered many growlers, but to his ears, nothing purrs like these rare Marshall MD61 heads (top and middle). He notes during the Rundown that they use four EL34 power tubes and four ECC83 preamp tubes. These are not production amps and Winn believes that less than 20 prototypes were built. They use JVM-series parts but have unique sonic architecture in their wiring. The top and middle MD61s are Björn’s clean and dirty amps, and because they’re a scarce commodity, they travel with a third Marshall (JVM205H) for backup purposes.
Can't You Hear Me Rocking?
In Flames has a clean, quiet stage. The MD61s hit an iso cab offstage that houses a single Celestion Vintage 30, which is miked by a couple of sE Electronics Voodoo VR1 passive ribbon mics.
Björn Gelotte's Pedalboard
A Les Paul Custom and Marshall don’t need much help to sound great when playing metal, but to add some spice and space, Gelotte will engage an Ibanez TS9 Tube Screamer or MXR M193 GT-OD Overdrive for extra gain, and a MXR Carbon Copy delay for leads. Any additional effects come from the rackmount TC Electronic G-Major 2. To keep everything tight and crisp, Gelotte hits an ISP Technologies Decimator Pro Rack G. He plugs his guitars into a Shure AD4D wireless system and a couple Lehle boxes—1at3 SGoS and 3at1 SGoS instrument switchers—to organize signal flow and work with a Voodoo Lab Ground Control Pro MIDI foot controller.
Beveled Beauty
Chris Broderick has toured with In Flames since 2019. He officially became a part of their crew in 2022 and made his studio debut with the band on 2023’s Foregone. Onstage he’s been getting the job done on a 4-pack of devilish 7-string instruments. Here’s his Jackson USA Custom Shop Chris Broderick Diabolic CB2 that is made with a mahogany body topped with a flame-maple cap, a quartersawn maple neck-through-body that has graphite reinforcement, an ebony fretboard, a recessed Floyd Rose Pro 7 bridge, D’Addario Auto-Trim tuners, and direct-mounted, custom-voiced DiMarzio humbuckers that are tweaked versions of their D Activator (bridge) and PAF Pro (neck). It’s worth noting the push-pull tone knob, when in the pull position, engages the tone circuit, whereas when pushed down, it bypasses it.
White Walker
This slick ride was the first-ever prototype for Broderick’s Diabolic signature line. He dug it so much that only minor changes were requested: moving the neck deeper into the body pocket for a tighter silhouette and slightly moving the controls out of his way, otherwise the Jackson Custom Shop knocked it out of the park
Flamethrower
After the success of partnering with Jackson on the Diabolic CB2, Broderick wanted to create something more subdued and built off the company’s Soloist platform. The Jackson USA Signature Chris Broderick Soloist 7 includes many of the same ingredients—mahogany body, maple neck, ebony fretboard, Floyd Rose Pro 7 bridge, and custom-voiced DiMarzio humbuckers—from the CB2 but some differences include a coil-split option with a push-pull master volume, a quilted maple top, a set-neck construction, and a kill switch.
Broad Strokes
Proving not only the quality of the Jackson Pro series, but also that a talented painter can use any brush to make art, he also tours with his import Jackson Pro Series Chris Broderick Signature HT7 Soloist that has a mahogany body, maple neck, laurel fretboard, Jackson hardware, and Broderick’s custom-voiced DiMarzio humbuckers. Like the Soloist, it includes the master volume push/pull option for coil-splitting, the tone circuit can be removed (when pushed down), and a kill switch.
Excalibur
Broderick has tried finding the pick for years. He finally found the perfect plectrum … he only had to design and make it himself via a CAD program and 3-D printer. As you can see, it’s a wide, rounded thumb pick that has a short tip for fluidity and precision. And all his guitars take Ernie Ball 7-String Super Slinkys (.009-.052).
Eviscerators
Chris matches Björn’s ferocity with a dual-amp setup, too. His weapon of choice, however, is the 4-channel Engl Savage 100. Each head motors up to 120W and rumbles off a pair of 6550 tubes. He runs a clean-and-dirty setup with the two Engls and has a third Savage as a backup. Unlike Gelotte, Broderick runs his amps into a full 4x12 (ENGL Amplifiers E412VGB 240W cab with Celestion Vintage 30s) that’s out of view on the side of the stage.
Chris Broderick Pedalboard
Keeping things tidy onstage, everything changing Broderick’s tone resides offstage in a rack. Signal from the guitar starts with the Shure AD4D wireless system, an ISP Technologies Decimator Pro Rack G keeps down the noise—with an ISP Technologies Decimator II G-String for extra coverage—and a TC Electronic G-Major 2 and Eventide H9 do the heavy coloring. And a Lehle 3at1 SGoS instrument switcher handles guitar changes.
Tone Zon
Bassist Liam Wilson spent the last 20 years holding down the chaos for Dillinger Escape Plan. He joined In Flames last year and helping him seamlessly make the transition is a pair of longtime 4-string companions. They are Zon Sonus Special 4 models that both have a 35" scale length, ash body with a maple top—black is flame and brown is burl—composite neck and fretboard, and specially-wound Bartolini “multi-coil” active pickups that give the basses amazing clarity and punch. With Dillinger, he used picks, but for In Flames material, he exclusively plays fingerstyle. He goes with a custom set of Ernie Ball strings (.070-.090-.110-.135).
Here's what Liam said on a recent social media post about the instruments: “Absolute masterpieces. I appreciate all the time you spent to keep the dialogue going and deliver EXACTLY what me and the In Flames crew needed. Your commitment to the craft is inspiring. Endless thanks for digging so deep to get these to me in time, at the craziest time of the year, I’ve never felt so in my power as I do playing these instruments…Next level stuff!”Jab! Cross! Uppercut!
Prior to In Flames, Liam has always used a variation of an Ampeg SVT. He replaced Bryce Paul, who was an Orange dude, so Wilson has been trying several combinations of amps and pedals to nail the band’s evolving bass tones from their 14-album lineage. At the Nashville stop, Wilson was putting his Sonuses through these clobber boxes—a Tech 21 SansAmp RBI bass preamp, an Orange 4 Stroke 500, and an Ampeg SVT-4 Pro.
Shop In Flames' Rig
EMG 81 MetalWorks Gold
Jackson USA Signature Chris Broderick Soloist 7
Jackson Pro Series Chris Broderick Signature HT7 Soloist
MXR GT OD
MXR Carbon Copy
Ibanez TS9 Tube Screamer
EMG 85 MetalWorks Gold
Shure AD4D
sE Electronics Voodoo VR1 Passive Ribbon Mic
ISP Technologies Decimator Pro Rack G
Lehle 1at3 SGoS 3 Amp Switcher Pedal
Lehle 3at1 SGoS Instrument Switcher
Voodoo Lab Ground Control Pro MIDI Foot Controller
Ernie Ball 7-String Super Slinkys (.009-.052)
ENGL Amplifiers E412VGB 240W Cab
Eventide H9
ISP Technologies Decimator II G-String
Tech 21 SansAmp RBI Bass Preamp
Ampeg SVT-4PRO 1200-watt Tube Preamp Bass Head
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When Brandon Hagen broke his arm a few years ago, his life changed in an instant. He’d been fronting Boston indie rock outfit Vundabar since 2013, and suddenly, he was unable to do the things he’d built his life around. Recovery came, in part, in the form of a custom guitar prototype built by Mike Baranik of Baranik Guitars. Hagen deconstructed and rehabilitated his relationship to the 6-string on that instrument, an experience that led to Vundabar’s sixth LP, Surgery and Pleasure, released on March 7.
On tour supporting the record, the band appeared at Grimey’s in Nashville for a performance on March 11, and PG’s Chris Kies caught up with Hagen to hear about his journey and learn what tools the guitarist has brought on the road. As Hagen tells it, his setup is less about expertise and received wisdom, and more about “intuitive baby mode”—going with what feels and sounds good in the moment.
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An A1 B4
Hagen’s No. 1 is this Baranik B4, a custom job that he received two days before leaving for tour. Hagen’s arm was broken when Vundabar was playing a festival in California a couple years ago, and Baranik, a fan of the band, stopped in to see them. He offered to send a custom prototype to Hagen—who was new to the field of boutique guitars—and the B4 was born, borrowing from the Baranik B3 design used for Unknown Mortal Orchestra’s Ruban Nielson and the Hofner 176 played by Jamie Hince of the Kills. The guitar helped Hagen fall back in love with guitar as his arm healed.
Hagen was searching for Strat-style clarity and jangle but with a hotter sound, so Baranik put in Lindy Fralin P-90s in the neck and bridge positions, plus a sliding, unpotted gold-foil pickup in the middle, wound by Baranik himself. A wheel control on the lower bout beside the traditional pickup selector switch lets Hagen blend the pickup signals without outright switching them on or off. Along with traditional master volume and tone controls, the red button beside the bridge activates a Klon clone pedal built into the back of the guitar. Hagen used a Klon on every track on the new Vundabar record, so it made sense to have one at his fingertips, letting him step away from the pedalboard and still create dramatic dynamic differences.
Hagen uses Ernie Ball Slinky strings (.011s), a step up from the .10s he used to use; he was chasing some more low end and low mids in his sound. His guitars stay in standard tuning.
Jazz From Japan
Hagen also loves this 2009 Japan-made Fender Jazzmaster ’62 Reissue JM66, which splits the difference between classic Fender chime and a darker, heavier tone.
Blending Fenders
Hagen’s signal gets sent to both a Fender Hot Rod Deville and a Blues Junior. He likes to crank the Junior’s single 12" speaker for a nastier midrange.
Brandon Hagen's Board
Hagen runs from his guitar into a JHS Colour Box, which adds a bit of dirt and can be used to attenuate high or low frequencies depending on which room Vundabar is playing. From there, the signal hits a Keeley Compressor, EHX 2020 Tuner, EHX Pitch Fork, EHX Micro POG (which is always on with subtle octaves up and down to beef things up), Boss Blues Driver, Way Huge Swollen Pickle, MXR Carbon Copy (which is also always on), and a Boss DD-7—Hagen loves the sound of stacked delays.
Price unveiled her new band and her new signature model at a recent performance at the Gibson Garage in Nashville.
The 6-string was inspired by the J-45 she bought at Nashville’s Carter Vintage Guitars after she was signed to Third Man Records, where she made her 2016 ice-breaker album, Midwest Farmer’s Daughter. But her affection for Gibson acoustics predates that, going back to when she found a 1956 LG-3 in her grandmother’s home. The guitar had been abandoned there by her songwriter great uncle, Bobby Fischer.
“I played it for years before I found my J-45,” Price recounts. “At Carter Vintage, I tried a lot of guitars, but when I picked up that J-45, I loved that it was a smaller guitar but really cut through, and I was just really drawn to the sound of it. And so I went home with that guitar and I’ve been playing it ever since.”
“Having a signature model was something I had dreamed about.”
Of course, Price was also aware of the model’s history, but her demands for a guitar were rooted in the present—the requirements of the studio and road. The 1965 J-45 she acquired at Carter Vintage, which is also a cherry ’burst, was especially appealing “compared to a Martin D-21 or some of the other things that I was picking up. I have pretty small hands, and it just was so playable all up the neck. It was something that I could easily play barre chords on. I could immediately get everything that I needed out of it.”
If you’ve seen Price on TV, including stops at Saturday Night Live, The Late Show With Stephen Colbert, and Jimmy Kimmel Live!, you’ve seen her ’65. And you’ve also seen, over the years, that part of the soundhole’s top has been scraped away by her aggressive strumming. It’s experienced worse wear from an airline, though. After one unfortunate flight, Price found her guitar practically in splinters inside a badly crushed case. “It was like somebody would have had to drive over this case with a truck,” she relates. Luckily, Dave Johnson from Nashville’s Scale Model Guitars was able to put Humpty Dumpty back together again.
After that, an alternative guitar for the road seemed like a requirement. “Having a signature model was something I had dreamed about,” Price says. Friends in her songwriting circle, including Lukas Nelson and Nathaniel Rateliff, already had them. Four years ago, a tweet asking which women they thought should have signature models appeared, and one of her fans wrote “Margo Price.” Smartly, Price tagged Gibson and retweeted. Codey Allen in Gibson entertainment relations spotted the tweet and agreed.
The double pickguard was chosen for Price’s J-45 because of its symmetry, as a nod to the Hummingbird, and due to her heavy strumming hand.
Photo courtesy of Gibson
“The neck is not quite as small as my J-45, but it is just a bit smaller than many J-45s fives, and very playable no matter what size hands you have.”
“And so we began our journey of building this guitar,” Price says. “I debated whether it should be the LG-3, which I still have hanging on my wall, or the J-45. I went to Montana and visited their [acoustic] factory and sat down with Robi Johns [senior product development manager at Gibson acoustic], and we ultimately decided that the J-45 was my guitar. Then we started talking about the specs. We did pull from the LG-3 in that the body of this signature guitar is a bit smaller. It still has a really loud, clear sound that rings through. The neck is not quite as small as my 1965 J-45, but it is just a bit smaller than many J-45s, and very playable no matter what size hands that you have.”
The pickup that Price selected is a L.R. Baggs VTC Element with a preamp, and she took a prototype of the guitar on the road opening for the Tedeschi Trucks Band. “I am used to playing with a really loud band, with drums and sometimes a couple electric guitars, and I wanted to make sure that this guitar just cut through,” she says. “It was really important to me that it be loud, and it cut beautifully. It’s got a mahogany body and scalloped bracing, which makes it very sturdy. This guitar is a workhorse, just like me.”
The Margo Price J-45’s most arresting characteristic, in addition to its warm sunburst finish, is its double-sided pickguard with an etching of a quartet of red-tailed hawks in flight. It’s practical for her strumming style, but it’s also got a deeper significance.
“We talked about all sorts of things that we could put on the pickguard, and I’ve always been a big fan of the Hummingbird, so what we did is a bit of a nod to that,” Price continues. “I’ve always been drawn to red-tailed hawks. They are supposed to be divine messengers, and they have such strength. They symbolize vision and protection. I would always count them along the highway as I’d be driving home to see my family in Illinois.”
Birds of a feather: “I’ve always been drawn to red-tailed hawks,” says Price. “They are supposed to be divine messengers, and they have such strength. They symbolize vision and protection.”
Photo courtesy of Gibson
With its comfortable neck, slightly thinner body, and serious projection, Price notes, “I wanted my guitar to be something that young girls can pick up and feel comfortable in their hands and inspire songs, but I didn’t want it to be so small that it felt like a toy, and that it didn’t have the volume. This guitar has all of those things.” To get her heavy sound, Price uses D’Addario Phosphor Bronze (.012–.053) strings.
Price says she and her signature J-45, which is street priced at $3,999, have been in the studio a lot lately, “and I have a whole bunch of things I’m excited about.” In mid March, she debuted her new band—which includes Logan Ledger and Sean Thompson on guitars, bassist Alec Newman, Libby Weitnauer on fiddle, and Chris Gelb on drums—in a coming out party for the Margo Price Signature Gibson J-45 at the Gibson Garage in Nashville. “I’ve been with my previous band, the Price Tags, for more than 10 years, and it’s definitely emotional when a band reaches the end of its life cycle,” she says. “But it’s also really exciting, because now, having a fiddle in the band and incredible harmony singers … it’s a completely different vibe. I’ve got a whole bunch of festivals coming up this year. We’re playing Jazz Fest in New Orleans, and I’m so excited for everyone to hear this new iteration of what we’re doing.”
With its heritage cherry sunburst finish and other appointments, the Margo Price Signature Gibson J-45 balances classic and modern guitar design.
Photo courtesy of Gibson
