The in-demand Nashville session player unveils what comes with him when he leaves the studio.
Recording artist, hit songwriter, and sought-after session player Jedd Hughes invited PG’s John Bohlinger to his soundcheck before his gig at Nashville’s 3rd and Lindsley. Hughes came in with a home-made T-style, a vintage hollowbody, and some custom acoustics. Check it out.
Brought to you by D’Addario: https://ddar.io/wykyk-rr
Homebrew Tele
Hughes built his Tele using a one-piece lightweight ash body with a Gene Parsons long-pull B-bender. Hughes shaped the maple neck to a soft V profile using StewMac tools. The pickups were both designed by Ron Ellis: There’s a 50B in the bridge and a Killa in the neck position to match the 50B. The harness is from a 1955 Fender lap steel. All of his electrics are strung with D'Addario .010-.046s.
This 1967 Guild ST-403 Studio hollowbody was chopped to make room for full-size humbuckers.
Hughes' Acoustics
This 2004 DeGruchy was built specifically for Hughes, made to replicate a golden-era Martin D-45. The acoustics are strung with D'Addario .012-.052 sets, which Hughes strikes with Fender medium picks. All acoustics have K&K Sound Pure Mini pickups running through them.
Hughes’ second-favorite acoustic is this slope shoulder DeGruchy.
For a nylon string, Hughes goes with his old gut string Del Vecchio.
Party For Two
Hughes uses two amps combined, in a non-stereo setup. Amp number one is his 1952 Gibson GA-20, which has been rehoused in a Tweed Deluxe cab with a Celestion G12-65.
Number two is his tried-and-true 1962 Vox AC30.
The Boardroom
Hughes runs a larger board for his electric and a smaller one for his acoustic guitars. The electric board includes a Prescription Electronics Experience, Clark Gainster, a prototype XTS Shadow Box, Greer Southland, Dunlop volume pedal (with tuner out), VFE Old School tremolo, Boss PS-5 Super Shifter, Guyatone PS-023, EHX Deluxe Memory Man, Echo Fix EF-P2 Spring Reverb, and finally a Shaw Audio Vacuum Tube Splitter Buffer, which splits two mono lines to the amps.
Hughes runs his acoustics into a Grace Design FELiX2 preamp. From there, it hits a Guyatone PS-023, a Universal Audio Golden Reverberator, and a Boss TU-2.
Shop Jedd Hughes' Rig
Vox AC30
Dunlop DVP3 Volume (X) Volume and Expression Pedal
Boss PS-6 Harmonist Pedal
Electro-Harmonix Deluxe Memory Man Analog Delay / Chorus / Vibrato Pedal
Grace Design FELiX 2 Instrument Preamp/Blender - Silver
Universal Audio Golden Reverberator
Boss TU-2
D'Addario NYXL1046 NYXL Nickel Wound Electric Guitar Strings - .010-.046 Regular
- How to Learn a Song Like a Nashville Pro ›
- DIY: How to Convert a Flattop to Nashville Tuning ›
- Last Call: John Bohlinger on Broadway ›
- Jedd Hughes Is Back. But Did He Really Go Anywhere? ›
- AI Songwriting Tool: Successes and Failures Revealed - Premier Guitar ›
We’re giving away more gear! Enter Stompboxtober Day 24 for your chance to win today’s pedal from Maxon!
Maxon OD-9 Overdrive Pedal
The Maxon OD-9 Overdrive Effects Pedal may look like your old favorite but that's where the similarity ends. Improved circuitry with a new chip yields the ultra-smooth dynamic overdrive guitarists crave. Drive and Level controls tweak the intensity and volume while the Hi-Boost/Hi-Cut tone controls adjust brightness. Features true bypass switching, a die-cast zinc case, and 3-year warranty. From subtle cries to shattering screams, the Maxon OD-9 delivers a huge range of tones.
Features
Improved circuitry with a new chip yields ultra-smooth dynamic overdrive
Drive and Level controls tweak the intensity and volume
Hi Boost/Hi Cut tone controls adjust brightness
True bypass switching
Die-cast zinc case
AC/DC operation (order optional Maxon AC210N adapter)
Product Specs
Input: 1/4" mono jack
Output: 1/4" mono jack
Power: 9V DC, 6 mA, center pin minus (not included)
Dimensions: (WxDxH) 74 mm x 124 mm x 54 mm
Weight: 580g
Vintage-style reverb, tremolo, and vibrato sounds abound in a 3-in-1 stomp that might be the only box you need.
The Keeley ZOMA combines two of iconic amp effects—tremolo and reverb—into one pedal.
Key Features of the ZOMA
● Intuitive Control Layout: Three large knobs give you full control over Reverb Level, Tremolo Rate,and Depth
● Easy Access to Alternate Controls: Adjust Reverb Decay, Reverb Tone, and Tremolo Volume withsimple alt-controls.
● Instant Effect Order Switching: Customize your signal path. Position tremolos after reverb for avintage, black-panel tone or place harmonic tremolo before reverb for a dirty, swampy sound.
● True Bypass or Buffered Trails: Choose the setting that best suits your rig.
Three Reverb and Tremolo Modes:
● SS – Spring Reverb & Sine Tremolo: Classic spring reverb paired with a sine wave tremolo for that timelessblack-panel amp tone.
● PH – Plate Reverb & Harmonic Tremolo: Smooth, bright plate reverb combined with swampy harmonictremolo.
● PV – Plate Reverb & Pitch Vibrato: Achieve a vocal-like vibrato with ethereal plate reverb.
Reverb: Sounds & Controls
● Spring Reverb: Authentic tube amp spring reverb that captures every detail of vintage sound.
● Plate Reverb: Bright and smooth, recreating the lush tones of vibrating metal plates.
● Reverb Decay: Adjust the decay time using the REVERB/ALT SWITCH while turning the Level knob.
● Reverb Tone: Modify the tone of your reverb using the REVERB/ALT SWITCH while turning the Rate knob.
Tremolo: Sounds & Controls
● Sine Wave/Volume Tremolo: Adjusts the volume of the signal up and down with smooth sine wavemodulation.
● Harmonic Tremolo: Replicates classic tube-amp harmonic tremolo, creating a phaser-like effect withphase-split filtering.
● Pitch Vibrato: Delivers pitch bending effects that let you control how far and how fast notes shift.
● Alt-Control Tremolo Boost Volume: Adjust the boost volume by holding the REVERB/ALT footswitch whileturning the Depth knob.
The ZOMA is built with artfully designed circuitry and housed in a proprietary angled aluminum enclosure, ensuring both simplicity and durability. Like all Keeley pedals, it’s proudly designed and manufactured in the USA.
ZOMA Stereo Reverb and Tremolo
The first sound effects built into amplifiers were tremolo and reverb. Keeley’s legendary reverbs are paired with their sultry, vocal-like tremolos to give you an unreal sonic experience.
Your 100 Guitarists hosts are too young to have experienced SRV live. We’ve spent decades with the records, live bootlegs, and videos, but we’ll never know quite how it felt to be in the room with SRV’s guitar sound.
Stevie Ray Vaughan was a force of nature. With his “Number One” Strat, he drove a veritable trove of amps—including vintage Fenders, a rotating Vibratone cab, and a Dumble—to create one of the most compelling tones of all, capable of buttery warmth, percussive pick articulation, and cathartic, screaming excess. As he drew upon an endless well of deeply informed blues guitar vocabulary, his creativity on the instrument seemingly knew no bounds.
Your 100 Guitarists hosts are too young to have experienced SRV live. We’ve spent decades with the records, live bootlegs, and videos, but we’ll never know quite how it felt to be in the room with SRV’s guitar sound. So, we’d like to spend some time imagining: How did it feel when it hit you? How did he command his band, Double Trouble? The audience?
SRV was mythical. His heavy-gauge strings tore up his fingers and made a generation of blues guitarists work a lot harder. And his wall of amps seems finely curated to push as much air in all directions as possible. How far did he take it? Was he fine-tuning his amps to extreme degrees? Or could he get his sound out of anything he plugged into?