With four Grammys, loads of gear, and millions of tour bus miles, Isbell is back for an updated Rig Rundown with his 400 Unit co-guitarist, Sadler Vaden.
Jason Isbell’s last Rundown was in 2019. The guitarist and songwriter, who we’ve called “Americana’s poet laureate,” is a huge gearhead though—and his collection is truly the stuff of dreams—so a lot can happen in a few years. Currently touring with his acclaimed 400 Unit band in support of the highly acclaimed Weathervanes album, he rolls with a stash of vintage Fenders and Gibsons that would make even the least gear-motivated among us blush. That’s not to mention his enviable traveling amp and effect closets. Isbell invited Perry Bean and the PG team to the Ryman for a look at his current touring rig and that of Sadler Vaden, the band’s ripping co-guitarist whose relatively more modest collection is still quite the enviable one!
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The Finest of Fenders
The guitarist’s own Jason Isbell Custom Telecaster features a sunburst finish and cream double-binding on its ’59-style Tele Custom body, a mid-’60s C-shaped maple neck, a 21-fret rosewood fingerboard, custom Jason Isbell Telecaster Pickups, and a modified bridge.
Way back in April 1965, this candy-apple-red Tele came out of the Fender factory, and its bridge pickup and neck profile were the inspiration/template for Isbell’s signature instrument.
All of the noble battle scars on this 1953 Fender Telecaster blackguard were put there by Isbell. Other than its new frets, this Tele is all stock, as is his 1954.
While it boasts many 1957 features, like a V-shaped neck and ’57-like finish, this sunburst Strat is a ’58. Isbell has updated it with a 5-way switch.
The Greatest of Gibsons
This 1961 Gibson ES-335 is the first really old, really awesome guitar that Isbell obtained. It’s mostly original with a few key upgrades: Isbell had famed Nashville luthier Joe Glaser give the guitar a refret and install a TonePros tailpiece along with new tuners since, after years of use, the originals started to look like “a dead man’s toe.”
Old Gold? The Bigsby and tailpiece on Isbell’s 1953 goldtop Les Paul were installed by longtime Neil Young tech Larry Cragg, which makes it kin with Neil’s Old Black.
This 1961 SG has lived a long life playing and managed to avoid any neck breaks. It features the original PAFs.
This rockin’ 1960 Les Paul Custom features at trio of original PAFs, an all mahogany body, and a “Red Beauty” custom finish. It’s been refretted with bigger frets. All of Jason’s electrics take Ernie Ball Slinky .010–.046s. He hammers away with Dunlop Tortex 1.14 mm picks and gets slippery with Dunlop 218 slides.
And a Pair of Martins
Isbell tours with two new Martin Modern Deluxe dreads. One is tuned down to Eb, the other in standard. Both acoustics stay strung with Martin Lifespan 2.0 medium (.013–.056) strings.
Amp Army
Isbell runs five amps, and his Dumble Overdrive Special—#22—is dead center. The head feeds a Dumble cab loaded with a 200-watt EV12S speaker.
Stage right of the Dumble lives Isbell’s 1964 Fender Vibroverb with a “Diaz” mod (named SRV tech Cesar Diaz), which means they pulled the preamp tube in the vibrato channel. (For what it’s worth, this mod can be done to the normal channel, too. You just need to pull the V1 preamp instead.) The impact of the mod is summarized best by PG columnist Jens Mosbergvik on his Fenderguru site: “The other channel’s tube will be hotter biased and offers more gain. The amp will play louder than before given the same volume knob setting. The stronger signal will push the second gain stage (V4 tube) harder and give you increased sustain, compression and harmonics.” It has a 15" JBL speaker and was a Christmas gift from wife Amanda Shires.
Above the Dumbles, Isbell runs two 22-watt Magnatone Twilighter Stereo 2x12 Combos in stereo. Not pictured is Isbell’s Fender ’59 Twin-Amp High-Powered Tweed 80 Watt, which sits stage left of the Dumble.
Along for the ride is this 1971 50-watt Marshall and a 1964 Marshall.
Effects Heaven
While many of the effects from Isbell’s 2019 Rundown are still in the rack, several have been removed and many have been added. Additionally, the rig can be used in a wet/dry/wet configuration (it toggles throughout the show), with the two Magnatones carrying the weight of any all-wet effects. Tech Michael Bethancourt points out, “TheMagnatones we have are one of a kind, or three of a kind I guess. We wanted to retain the Magnatone vibrato we love, but I wanted it to pan between the two active amps. After some time spent speaking with Obeid Khan, someone who has worked closely with Magnatone for a long time, we came up with a plan to mod the amps in a way that would drag the vibrato through the stereo field. The LFO from one amp is ‘hijacked’ and sent to the other amp’s vibrato circuit in reverse phase, so when the vibrato is engaged via the expression pedal on the pedalboard, the vibrato pans from side to side. In the wet/dry/wet mode, that vibrato swirls up big reverbs or can be set to mimic the world’s goofiest ADT, lots of options there. In dry/dry mode, the vibrato is the classic pitch-shifting stuff that Magnatone has produced for years to great effect.”
On the floor, the pedalboard itself is a little different from last time. It’s a simpler layout now, no effects on board, just a PolyTune tuner, MXR Custom Audio Electronics buffer, his RHM Mastermind GT controller with expansion and a few Mission expression pedals. A Strymon Zuma delivers power.
Also new to the rig is the Radial JX44v2, which serves as the core signal manager. If the RJM Mastermind is the brain, this is the beating heart. Above on the rack is an Echo Fix Chorus Echo EF-X3R.
Moving up the rack, this drawer includes an Ibanez DML10 Modulation Delay II, Earthquaker Devices Tentacle, and a trio of stereo-field-only effects: Boss MD-500, Strymon Volante, Hologram Electronics Microcosm.
Continuing upward, Isbell’s stash includes a Chase Bliss Preamp Mk II, Chase Bliss Tonal Recall Delay, Chase Bliss Dark World Reverb, Chase Bliss Condor EQ/Filter, Chase Bliss Gravitas Tremolo, Chase Bliss CXM-1978 Reverb (stereo-field only), Keeley 30ms, gold Klon Centaur, Analog Man Sun Lion Fuzz/Treble Booster, Analog Man King of Tone with four-jack mod, Keeley four-knob CompROSSor, Pete Cornish OC-1 Optical Compressor, EHX Micro POG, AnalogMan ARDX20 Delay, and a trio of Fishman Aura Spectrum DIs.
Sadler Vaden's Acoustic Duo
Sadler tours with two acoustics: his tried-and-true Gibson SJ-200 and a Gibson Murphy Lab Hummingbird. Both have LR Baggs Anthem pickups and run Martin .012s.
Tele Trio, Strat Stash, a Glut of Gibsons, and a Rick
Sadler travels with three Telecasters: a Mexico-built black Tele Custom has Fralin pickups and lives in open G tuning, his Custom Shop seafoam Tele features a Glaser Bender and sports Lollar Special T pickups, and his blonde Tele features Fender Twisted Tele pickups.
Two Strats are along for the ride. The white Strat has a Japanese body and American neck with Seymour Duncan Psychedelic Strat pickups, and the red is Jason’s 1965.
His stunning duo of SGs consist of a cherry red ’63, loaded with Seymour Duncan High Voltage pickups, and his long-time favorite, whcih features a Duncan ’59 in the neck, a Pearly Gates in the bridge, and the caps have been replaced with orange drops.
Sadler picked up this 1968 non-reverse Firebird this year, and it’s all original as far as we know.
On the rockers, like “Honeysuckle Blue” and “Deathwish,” Sadler reaches for his all-stock Murphy Lab Les Paul Standard. All of his electrics wear Ernie Ball .010s. Sadler uses Dunlop .88s for picks and Dunlop Blues Bottles for slide.
Finally, here’s Sadler’s 1992 12-string Rickenbacker 360-12.
Amp Duo—and More
Sadler runs a more svelte (it’s all relative!) two-amp rig. At stage left is a black flag-era Marshall plexi head into a Craigslist-find, 2x12 cab with Celestion Vintage 30s. The plexi is attenuated with a Weber MASS 200. At stage right sits a 3rd Power British Dream combo with a Celestion Alnico Gold 12" speaker. Sadler also carries a ’60s Vox Pacemaker and a Vox AC30HW, which are on stage but primarily there as backups. Occasionally the Pacemaker gets the call for more stage volume and flavor.
Pedal Posse
Vaden’s pedalboard chain starts with a Dunlop Clyde McCoy Wah, then a Lehle volume pedal, which feeds the Gig Rig. Vaden has a few patches setup for songs like “24 Frames,” which save him from tap dancing too much, but he mainly works it like an old-school board. He uses a Line 6 M5 with a Dunlop expression pedal for a lot of his modulation effects. Other pedals include a Crowther Prunes & Custard, Nordvang No.1, and an Analog Man Dual Analog Delay, Comp, and King of Tone, a Strymon BlueSky, and a Greer Lightspeed. Every effect is isolated into the Gig Rig. The board has four outputs, two for each side of the British Dream, one for the plexi, and one that goes to an aux line and splits to the Pacemaker.
The aux line serves as a backup in case Sadler’s amps go down. It consists of a Strymon Iridium into a Seymour Duncan Power Stage that goes to FOH.
Sadler’s acoustic pedalboard consists of a Shure wireless running into an ART Tube MP/C preamp into a LR Baggs Venue DI, with a Radial Engineering Bigshot selector.
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In line with the MOOER’s recent expansion on the MSC range, the company is excited to announce the new MSC50 Pro, an Alder-bodied electric guitar with gloss finish, available in the new Magic Crystal color.
Featuring a roasted maple neck with a satin finish, a rosewood fingerboard for playing comfort, 22 frets, and a standard C shape, the guitar has been designed with classic guitarists in mind. This is beautifully emphasized with its beautifully resonant tonewoods, all while still being balanced perfectly with style and comfort of use.
The MSC50 Pro features all of the industry-standard features you might expect from such an impressively affordable guitar, such as bolt-on construction, a bone nut, and a dual-action steel truss rod. However, other features make the electric guitar stand out among others at a similar price point, such as its MTN-3LC locking tuning pegs, beautiful Abalone dot inlay, and, of course, its previously mentioned tonewood selection.
In order to capture the MSC50 Pro's balanced tonal profile, MOOER's luthiers have built it with three perfectly balanced pickups: the MSC-II N single coil neck pickup, the similar MSC-II M single coil middle pickup, and, best of all, the MHB-II B bridge humbucker. When these carefully chosen pickups are combined with the guitar's MPW 2-point chrome bridge, guitarists can make the most out of its tonal versatility, all while maximizing tuning stability.
To ensure that the guitar is suitable for a wide range of genres, both softer and higher-gain examples, the MSC50 Pro has a convenient coil split switch built into it, giving users better resonance control. Of course, this is also combined with a classic tone dial, a standard 5-way tone switch, and a volume control dial.
Overall, the MSC50 Pro reminds users of MOOER guitars that the company has never forgotten about its roots in classic-style guitars. Yes, the company is continuing to develop innovative guitar technology in other areas, but this electric guitar also represents a grounded approach, keeping things classic, sleek, and tonally versatile–all at a reasonable price point.
Features:
- Alder Body with a Gloss Finish
- Available in the Magic Crystal color
- Standard C-shaped roasted maple neck with a Satin finish
- Bolt-on construction
- 22-fret rosewood fingerboard
- Abalon dot inlay
- MTN-3LC locking tuners
- Bone nut
- Dual-Action Steel Truss Rod
- 12" radius
- 09-46 strings
- 25.2" scale
- MSC-II N Single Coil neck pickup, an MSC-II M Single Poil middle pickup, and an MHB-II B Humbucker Bridge Pickup
- Chrome guitar strap pin
- Coil Split Switch
- 5-Way Tone Switch
- Volume and tone dials
- MPW 2-Point chrome bridge
The MSC50 Pro will be available from the official distributors and retailers worldwide on 13th May 2025 at an expected retail price of USD419/Euro399/GBP339.
MOOER Expands Its Popular MSC Guitar Line with the MSC30 Pro and MSC31 Pro
MOOER has never shied away from innovation when it comes to its guitars. However, with the recently announced release of the MSC30 Pro and MSC31, the company reminds us that, sometimes, true innovation lies in mastering and enhancing a proven classic. With this philosophy, MOOER introduces two new exciting additions to their beloved MSC series of electric guitars.
Both the MSC30 Pro and MSC31 Pro continue MOOER’s philosophy of creating affordable guitars, but without sacrificing quality or performance, thanks to the poplar bodies and flame maple tops. Some guitarists will be drawn to the bright tones of the MSC30 Pro’s maple fingerboard, whereas others will prefer the warmer resonance of the MSC31 Pro’s rosewood alternative.
Each guitar features sturdy bolt-on neck construction, dual-action steel truss rods, bone nuts, and MTN-1 chrome tuning pegs (with the BK upgrade being reserved for the MSC31 Pro), ensuring tuning stability and comfort at all times.At the heart of both models are MOOER’s versatile MSC pickups, comprising the MSC-1N single-coil neck pickup, the MSC-1M single-coil middle pickup, and the powerful MHB-1B dual-coil humbucker at the bridge. Further complemented by a versatile 5-way pickup selector and exclusive coil split switch, players can effortlessly switch between a wide palette of tones, such as pristine cleans ideal for jazz or blues, or high-gain tones for heavier genres.
Tremolo support is also provided through both the guitar's bridges, with the MSC30 Pro featuring an MTB-1 2 Point Tremolo bridge, and the MSC31 Pro boasting an exclusive black MTB-1 BK 2 Point Tremolo bridge. Both bridges guarantee guitarists the ability to use tremolo bars in their guitar performances, without compromising the integrity of tuning stability.
Both guitars come with a selection of vivid new colors, complementing the guitar’s hardware with undeniable visual appeal. The MSC30 Pro is available in the classic finishes of Sunset Red, Lake Blue, Lemon Green, and Rose Purple. Meanwhile, the MSC31 Pro boasts its own selection of glossy finishes: Grey Burst, Blue Burst, Green Burst, and Purple Burst.
Overall, the MSC30 Pro and MSC31 Pro solidify MOOER’s commitment to combining quality craftsmanship, affordability, and versatility, giving guitarists of all levels the chance to own instruments that genuinely inspire.
Features
MSC30 Pro:
- Classic S-style design
- Poplar body with flame maple top
- Maple fingerboard
- Maple neck with satin finish
- Bolt-on neck construction
- 22 nickel silver frets, Abalone dotted inlay
- Coil split switch and versatile 5-way pickup selector
- MSC-1N/M single-coil pickups and MHB-1B humbucker
- 25.5" scale
- MTN-1 Chrome tuning pegs
- Available in gloss-finished Sunset Red, Lake Blue, Lemon Green, and Rose Purple
- Volume and tone dial
- Chrome strap pin
MSC31 Pro:
- Classic S-style design
- Poplar body with flame maple top
- Rosewood fingerboard
- Maple neck with satin finish
- Bolt-on neck construction
- 22 nickel silver frets, White Shell dotted inlay
- Coil split switch and versatile 5-way pickup selector
- MSC-1N/M single-coil pickups and MHB-1B humbucker
- 25.5" scale
- MTN-1 BK tuning pegs
- Available in gloss-finished Grey Burst, Blue Burst, Green Burst, and Purple Burst
- Volume and tone dial
- Chrome strap pin
The MSC30 Pro and MSC31 Pro will both be available from the official distributors and retailers worldwide on 2nd April 2025.
MOOER Gives Bassists What They Want with the New MBJ410 and MBJ420 Electric Bass Guitar Models
For 15 years, MOOER has built a critically acclaimed name for itself thanks to its cutting-edge electric guitars, pedals, and accessories. While the company is no stranger to building electric bass guitars, this has not been its focus for some time, hence why so many bassists are excitedly anticipating the release of the MBJ410 and MBJ420 electric bass guitars.
Both the bass guitars sport glossy Poplar bodies, keeping the price point affordable but without limiting their tonal resonance and versatility, whereas the MBJ420 holds the additional bonus of being built with a Poplar Burl top. Complete with roasted maple C-shaped necks (also accented with a gloss finish) as well as Roasted Maple fingerboards and White Shell dot inlays, the necks are designed to offer as much comfort as possible–a high priority for bass guitarists.
A 34" fret scale further enhances practicality for bassists, as does the neck's 12" radius. Strings are available in .045, .065, .080, and .100 gauges, providing something for any type of bass style - whether slapping, plucking, or picking techniques are preferred.Thanks to the industry-standard components of a dual-action steel truss rod and bone nut, the tuning and resonant stability of both the MBJ410 and MBJ420 models are also of a high standard. However, this is accentuated further by the guitars' strong and reliable BTN-1 tuning pegs, essential for heavier-gauge bass strings.
The tonewoods and structural integrity of the MBJ-series electric bass guitars wouldn't be complete without the accompaniment of the guitar’s two single-coil JB-style pickups. Combined with the MOOER BSC-2 bridge, both bass guitars have been carefully designed to amplify bass resonances excellently, complemented even further by their simple but effective tone dials. Two volume controls are also built in, ensuring that bassists can customize their sonic output to have the perfect tonal blend.
In terms of standout features, the main difference between the two bass guitars is the MBJ420's added poplar burl top, but most notably, the color selections. For the MBJ410, the bass guitar is available in Gunmetal Gray, Metal Green, and Metal Blue, perfectly suiting the stages of higher-gain performances. In contrast, the aesthetics of the MBJ420 are more classic, purchasable in Red Burst, Blue Burst, and Tobacco Burst. Finally, both guitars are topped with a chrome strap pin, enabling stylish and energetic live performances.
Overall, bassists will no doubt be excited to see MOOER return to electric bass guitars with the MBJ410 and 420 models. Of course, electric guitars will remain the focus for the company, but the release of these two new products is a reminder of just how accommodating MOOER is for its wide audience of musicians.
Features
- Electric bass guitar built with gloss-finished Poplar body (MBJ420 also features a Poplar Burl Top)
- Roasted maple C-shaped neck with a gloss finish
- Roasted maple fingerboard
- White Shell dot inlay
- 12” neck radius
- MOOER BSC-2 bridge
- VBJ-1 and VBJ-2 Single Coil pickups
- MOOER BTN-1 tuning pegs
- Bolt-on construction
- Bone nut
- Dual-action steel truss rod
- Pre-installed strings available in .045, .065, .080, and .100 gauges
- 21 frets
- 34"fret scale
- Colors available in Gunmetal Gray, Metal Green, and Metal Blue (MBJ410), and Red Burst, Blue Burst, and Tobacco Burst (MBJ420)
- Chrome strap pin
- 2 x volume control dials
- 1 x Tone dial
The MBJ410 and MBJ420 will both be available from the official distributors and retailers worldwide on 29th April 2025 at an expected retail price of USD319/Euro299/GBP249(MBJ410), USD399/Euro379/GBP319(MBJ420).
The Oceans Abyss expands on Electro-Harmonix’s highly acclaimed reverb technology to deliver a truly immersive effects workstation. The pedal is centered around dual reverb engines that are independently programmable with full-stereo algorithms including Hall, Spring, Shimmer and more. Place these reverbs into a customizable signal path with additional FX blocks like Delay, Chorus, Tremolo, or Bit Crusher for a completely unique soundscape building experience.
Electro-Harmonix has paved the way for powerful, accessible reverbs since the release of the original Holy Grail and now we’ve pushed the envelope deeper with the fully-equipped Oceans Abyss. Featuring a customizable signal path with up to 8 effects blocks, the Oceans Abyss can be configured as individual reverb, modulation, EQ, delay, bit crusher, saturation or volume effects, or as countless combinations for incredibly creative effect shaping. From a simple Spring reverb to a lush stereo field featuring stereo hall and shimmer reverbs, chorus, delay, overdrive, and tremolo, you can go from surf to shoegaze instantly, without breaking a sweat.
Deep parameter editing is accessible via the high-visibility OLED display with multiple graphical views and easy-to-read designs. Expression/CV control over nearly every parameter gives artful control of your effects and dynamics. Fully-stereo I/O plus an FX Loop allows for use with any instrument, recording set up, or live rig. 128 programmable presets via onboard footswitching or MIDI ensure perfect recall in all performance situations. MIDI IN/OUT ports with MIDI IN support of PC, CC, and Tempo Clock expand the already immense talents of the Oceans Abyss. Connect with UBS-C to Windows or Mac for effects editing, preset management, and more with the free EHXport™ app (coming soon).
- Two Stereo Reverbs available at once, each fully pannable in the stereo field
- 10 reverb types to choose from: Room, Hall, Spring, Plate, Reverse, Dynamic, Auto-Infinite, Shimmer, Polyphonic, Resonant
- Additional FX blocks: Delay (Digital, Analog and Tape emulations), Tremolo, Chorus, Flanger, Phaser, Graphic EQ, Saturation, Bit Crusher, External FX Loop, Volume
- Create custom signal path routing with up to 8 effects blocks. Two blocks may be re-verb, the rest may be any of the additional FX blocks.
- Infinite reverb sustain with the press of a footswitch
- Stereo Audio I/O
- Stereo FX Loop routing on TRS Jacks
- Dual action footswitches allow for momentary or latching use
- Easily enable or disable tails
- 128 fully customizable presets
- All controls can be saved to presets
- Dive deep into global and preset settings to set up Oceans Abyss for your specific needs
- Illuminated slide pots and buttons
- High-visibility OLED graphical display
- Multiple graphical views: Signal Path, Performance, Settings, Physical, Explorer
- Easy-to-navigate menu system
- Ergonomic NavCoder knob allows rotary and directional navigation through menus
- EXPRESSION / CV input to control nearly any parameter in any FX block
- Footswitch input allows for adding up to three external footswitches, each assigna-ble to a number of functions
- MIDI In and Out. MIDI IN supports PC, CC (over nearly every available parameter), and Tempo Clock
- USB-C port to connect to Windows or Mac and interface with EHXport™ app (coming soon)
- 96kHz / 24-bit sample rate conversion
- Supplied with 9.6VDC / 500mA power supply
Our columnist’s silver-panel Fender Bandmaster.
How this longstanding, classic tube amp design evolved from its introduction in 1953.
I have a silver-panel Bandmaster Reverb that I don’t think I’ve talked about enough in this column. It’s one of the most versatile and flexible amps I own, so I use it for everything. It’s portable, has tube-driven reverb and tremolo, and has a full set of EQ knobs including the critical bright switch, which we discussed the importance of earlier this year (“How to ‘Trebleshoot’ a Vintage Fender Amp,” March 2025). The amp is not only pedal-friendly; the flexible 4-ohm output impedance will handle almost all speaker configurations and sound any way you’d like. Let’s take a deeper look at the Fender Bandmaster amp and walk through its development through the years.
The first Bandmaster was introduced in 1953 as a wide-panel tweed amp with Fender’s 5C7 circuit. This rare combo was loaded with a single 15" Jensen P15N and powered by dual 6L6GC tubes in push-pull configuration to produce a modest 25 watts. The 6L6GCs were cathode biased and along with the 5U4GB rectifier tube contributed to a forgiving sag, early breakup, and a midrange-y voice.
Fender made several changes when they launched that amp’s successor in 1955, the more widely known 5E7 narrow-panel Bandmaster, a well-proven amp that has come back as a reissue model. It was still a dual-channel amp—instrument and microphone—but the newer 5E7 model had a fixed bias and a negative feedback loop, providing a louder, firmer, and cleaner tone. Most importantly, the single 15" speaker was replaced by three 10" speakers, making it very similar to the narrow-panel tweed Bassman, the granddaddy of all Marshall amps. This Bandmaster had three speakers instead of the Bassman’s four, and it delivered 25–30 watts instead of 40. It offered early breakup with a midrange-y, big and full tone.
For those not acquainted with tweed amps, the volume and EQ knobs behave differently than on silver- and black-panel Fender amps. The volume pot can act like a distortion control, while the EQ knobs control the volume, and many players I’ve talked to have not really unlocked this secret. This works because, in these circuits, the volume pot sits right before the preamp tube, which allows it to push the tube into full distortion. Since the EQ pots are located right after and are capable of reducing the volume, you’re able to distort the preamp at low volume settings.
“Things became more standardized in 1964 with the arrival of the black-panel AB763 Bandmaster, an amp I have worked on a lot and appreciate for its robustness, simplicity, and versatility.”
In 1960, a short-lived and rare Bandmaster dressed in brown tolex and a black faceplate appeared with the 5G7 circuit. From here on, all Bandmasters had the modern top-mounted chassis. With this circuit, the Bandmaster started to both look and sound more like a black-panel amp. It kept the 3x10" speakers but got a diode rectifier and bigger transformers resulting in a 45-watt output. Tremolo was introduced for the first time, and both channels were now intended for guitar.
The following year, a blonde 6G7 Bandmaster followed as a smaller amp head paired with a 1x12 extension cabinet. It had the timeless early blonde looks with cream tolex, brown faceplate, oxblood grill cloth, large Fender logo, and white knobs. But halfway into the blonde era, towards 1964, things turned strange and rather confusing. There were suddenly two 12" speakers, black knobs, a wheat-colored grill cloth, a more slim black-panel-style Fender logo, a black faceplate, and all in various combinations close to the transition into ’64.
Things became more standardized in 1964 with the arrival of the black-panel AB763 Bandmaster, an amp I have worked on a lot and appreciate for its robustness, simplicity, and versatility. It offers a pure, clean, scooped black-panel tone that’s somewhere between a Vibrolux Reverb and Pro Reverb, which share the medium-sized 125A6A output transformer and dual 6L6GC tubes. With its medium/high power and flexible 4-ohm output impedance, it can drive all kinds of speaker cabinets—as long as you stay between 2 and 8 ohms, you are safe.
For a short time in 1967–68, there was a transitional Bandmaster with aluminum trim and black-panel innards before the all-new silver-panel Bandmaster Reverb replaced it in 1968. The small-head cabinet had grown in size and, unfortunately, weight to accommodate the reverb tank. The amp got a 5U4GB rectifier tube along with a few general silver-panel changes to the circuit. Several silver-panel models existed with minor differences until a 70-watt beast version came along in 1977 with master volume.
To my own 1968 Bandmaster Reverb, I have done a few adjustments. First, I made a custom baffle to hold two 8" speakers. I installed a pair of WGS G8C speakers that fit perfectly on the baffle board without colliding with the reverb tank or transformers. Sometimes, I use only one of the 8" speakers for bedroom volume levels. Second, I reversed the bias circuitry to standard AB763 specs, making it easier to adjust bias correctly on both power tubes. If you are into sparkling clean and funky Strat sounds, you would love this little 2x8" combo.Axe-wielders Jake Cinninger and Brendan Bayliss take us through their current gear garages.
It’s been just over 10 years since we had legendary South Bend, Indiana, jam band Umphrey’s McGee on Rig Rundown, so when we saw that they were coming to play at Nashville’s Ryman Auditorium in early April, we figured it was time to reconnect.
Guitarists Jake Cinninger and Brendan Bayliss showed PG’s John Bohlinger what pieces of kit they’re digging these days, and how they orchestrate their incredibly broad range of sounds.
Brought to you by D’Addario.
Simply Z Best
Here’s an up-close look at Cinninger’s No. 1, a G&L Comanche. The Z-coil pickups do away with typical single-coil 60-cycle hum issues at high-gain settings. It’s an all-purpose workhorse.
Cinninger replaced the stock trem bar with a Jake Blade, a custom-made replacement patented by Mark Benjamin of RoughGauge LLC. Compared to a regular trem bar, it’s out of the way and allows for more expressive playing.
For strings, Cinninger uses D’Addario .10s, and he swears by his beveled-edge Telefunken 2 mm picks.
Special S
Cinninger says only 50 of these G&L S-styles were made, with remarkable pieces of wood and specially designed pickups. This one cuts closer to a classic, throaty Stratocaster sound, and if a venue has quiet, clean power that won’t present excessive noise issues, it’s more likely to be called into action.
Two by Two
Cinninger’s signal runs to one amp at a time. The Schroeder head, which is used for cleans, was built with military-spec durability by Tim Schroeder in Chicago and is one of 10. Cinninger says it’s got some Dumble qualities, with its clarity, power, consistency, and speed to the speaker, and it connects to a Schroeder cabinet and custom speaker.
The Oldfield Marquis 100-JC, built by Paul Gussler in Charlotte, North Carolina, is the Marshall-flavored side of Cinninger’s rig. It handles dirty signals and is connected to classic Electro-Voice drivers.
Jake Cinninger’s Pedalboard
Cinninger’s board, which he made with his dad, is 25 years old, and it’s constantly changing. His always-on boxes include a Banzai Cold Fusion Overdrive, Fuchs Royal Plush Compressor, and Mesa Boogie Five-Band Graphic EQ, plus a Steel Guitar Black Box tube buffer that adds some “air” in the high end.
On top of those, there’s a Boss TU-3, MXR Smart Gate, Radial Tonebone Hot British, MXR Distortion III, Sarno Earth Drive, TC Electronic Flashback, Boss PS-5, Source Audio Soundblox 2 Multiwave Distortion, Malekko Fuzz, Guyatone MD2, Boss PH-3, Morley Bad Horsie, BBE Mind Bender, and a custom “FuzzBucket” fuzz made by a friend.
Utility units include a Lily P4D, Radial BigShot ABY, and Ebtech Hum Eliminator, plus a 9-channel effects switching system.
Sorry, Mark
Meet Miss Lucy. This is a PRS Mark Tremonti Signature, albeit without Tremonti’s name on the headstock, and tricked out with the Jake Blade. This one runs a bit hotter than Brendan Bayliss’ other PRS guitars, and his tech changes the strings on it—D’Addario XL .010s—every day. Like Cinninger, he digs the Telefunken 2 mm picks.
Also in the stable are another PRS single-cutaway and a double-cut PRS McCarty.
Doubles of the Oldfield
Bayliss runs both a Mesa Boogie Lonestar head and a Gussler-built Oldfield head (which sounds similar to his Lonestar) at the same time. The Mesa runs to a cab with Celestion 12″ speakers.
Brendan Bayliss’ Board
Bayliss’ board also features the Steel Guitar Black Box, a Lily P4D, Radial BigShot ABY, a Boss TU-3, and a Morley 20/20 Bad Horsie wah.
Aside from those, there’s a Keeley Compressor, MXR Custom Badass Modified O.D., Cusack Screamer, MXR Timmy, Cusack Tap-A-Whirl, Audio Blend Edge EQ, Boss OC-5, Boss CE-5, MXR Phase 95, Eventide H9, Stigtronics Delay, and Boss DD-20.