Since the early ’70s, the guitar legend has trusted his 1960 “Hitmaker” Strat to turn out chart-toppers that have changed the course of music history and shaped cultures around the world. We explore its unusual origins and DNA as well as uncover some ordinary tools making extraordinary grooves.
Guitarist and producer Nile Rodgers has received virtually every significant honorific that exists for musical achievement. He’s a hall-of-famer twice over, having been inducted to both the Rock & Roll Hall of Fame and the Songwriters Hall of Fame. He’s won six Grammys, including the prestigious Lifetime Achievement award.
The accolades hardly begin to capture how monumentally important and influential Rodgers’ music career has been. Since beginning with his disco-funk-rock fusion outfit Chic in 1972, Rodgers has been pioneering musical language that, among other things, sparked the advent of hip-hop. He’s also the producer who introduced the world to Stevie Ray Vaughan via Bowie’s “Let’s Dance.”
Rodgers invited John Bohlinger and the PG team to the Chic show at Nashville’s Bridgestone Arena, where they met with his trusty tech Gert Marckx. Marckx took us through Rodgers’ streamlined touring rig, capped off with Rodgers’ holy grail guitar—the instrument that’s at least partially responsible for the sale of half a billion records around the world.Brought to you by D’Addario XPND Pedalboard.
Need To Make a Hit? Get a Hitmaker
Rodgers’ primary guitar since the ’70s is a 1960 Fender Stratocaster called “The Hitmaker.” We probably don’t need to spell out what it does.
Rodgers acquired the “The Hitmaker” when Chic was just starting out through a fateful trade at a guitar shop in Miami Beach. It features a 1959 neck paired with a 1960 alder body that’s just a touch smaller and more contoured than your average vintage Strat, and shortly after he got it, Rodgers refinished it in white as a tribute to Hendrix. (As you can tell, it's been a while since that initial refinish.) The custom ’59-profile one-piece maple neck has a 9.5” radius fingerboard, and medium jumbo frets.
Up Close with the Hitmaker
Here's some detailed shots of the 1960 Strat that's made the world shake their moneymakers.
Marckx keeps “The Hitmaker” strung with nickel wound D’Addario NYXL .009-.042 Super Lights, and Rodgers prefers D’Addario Duralin Standard Super Light Gauge .50mm picks.
Chip Off the Old Block
Rodgers tours with a backup guitar just in case the original “Hitmaker” should need some time off, but it’ll look pretty familiar.
His number two is his Fender artist model, the Nile Rodgers Hitmaker Stratocaster. It sports the same appointments as its predecessor: a Slim Alder body with special contours, a ’59-profile one-piece maple neck with a 9.5” radius fingerboard, medium jumbo frets and a satin finish.
Rodgers keeps his factory standard, with Fender’s own Nile Rodgers Hitmaker Single-Coil Strat Pickups, hard-tail bridge, and locking tuners. And like the original, junior here stays strung with D’Addario NYXL .009-.042 Super Lights.Hitmaker's Helpers
On stage, Rodgers has two Fender Hot Rod Deville 410s behind him. Only one is in use at a time; the other is a backup.
Nile Rodgers' Pedalboard
Rodgers doesn’t drown his sound in effects, but he maintains a simple, sophisticated signal chain into his Hot Rod Deville. He uses a Pedaltrain Classic 2, loaded up with an Eventide PowerMax Power Supply. The Eventide feeds a Korg Pitchblack PB01 Chromatic Tuner, a Boss DD3 Digital Delay, an Ibanez CS9 Chorus, a Mad Professor “Snow White” AutoWah, an Ibanez TS808 “40th Anniversary” Tube Screamer, and a Jam Pedals “Wahcko” Wah Pedal. The stompboxes are all wired together with Reference Laboratory RIC-01 cabling.
Shop Nile's Rig
If 3 Were 6
With six times the controls found on the 1 and 2 versions (if you discount the original’s on/off slider switch,) the LPB-3’s control complement offers pre-gain, boost, mid freq, bass, treble, and mid knobs, with a center detent on the latter three so you can find the midpoint easily. A mini-toggle labeled “max” selects between 20 dB and 33 dB of maximum gain, and another labeled “Q” flips the resonance of the mid EQ between high and low. Obviously, this represents a significant expansion of the LPB’s capabilities.
More than just a booster with a passive tone, the LPB-3 boasts a genuine active EQ stage plus parametric midrange section, comprising the two knobs with shaded legends, mid freq and mid level. The gain stages have also been reimagined to include a pre-gain stage before the EQ, which enables up to 20 dB of input gain. The boost stage that follows the EQ is essentially a level control with gain to allow for up to 33 dB of gain through the LPB-3 when the “max” mini toggle is set to 33dB
A slider switch accessible inside the pedal selects between buffered or true bypass for the hard-latch footswitch. An AC adapter is included, which supplies 200mA of DC at 9.6 volts to the center-negative power input, and EHX specifies that nothing supplying less than 120mA or more than 12 volts should be used. There’s no space for an internal battery.
Power-Boosted
The LPB-3 reveals boatloads of range that betters many linear boosts on the market. There’s lots of tone-shaping power here. Uncolored boost is available when you want it, and the preamp gain knob colors and fattens your signal as you crank it up—even before you tap into the massive flexibility in the EQ stage.
“The preamp gain knob colors and fattens your signal as you crank it up—even before you tap into the massive flexibility in the EQ stage.”
I found the two mid controls work best when used judiciously, and my guitars and amps preferred subtle changes pretty close to the midpoint on each. However, there are still tremendous variations in your mid boost (or scoop, for that matter) within just 15 or 20 percent range in either direction from the center detent. Pushing the boost and pre-gain too far, particularly with the 33 dB setting engaged, can lead to some harsh sounds, but they are easy to avoid and might even be desirable for some users that like to work at more creative extremes.
The Verdict
The new LPB-3 has much, much more range than its predecessors, providing flexible preamp, boost, and overdrive sounds that can be reshaped in significant ways via the powerful EQ. It gives precise tone-tuning flexibility to sticklers that like to match a guitar and amp to a song in a very precise way, but also opens up more radical paths for experimentalists. That it does all this at a $129 price is beyond reasonable.
Electro-Harmonix Lpb-3 Linear Power Booster & Eq Effect Pedal Silver And Blue
