Premier Guitar's Shawn Hammond is on location in Council Bluffs, Iowa, where he sits down for a green-room chat with Queens of the Stone Age guitarist Troy Van Leeuwen before this stop on the band's Like Clockwork tour. Van Leeuwen chats at length about his favorite Vox AC30s, his upcoming signature Fender Jazzmaster, his new Echopark guitar, and his multiple pedalboards.
Although bandleader Josh Homme (who's famously elusive when it comes to talking shop about his gear) declined to take part in the Rig Rundown, we did shoot photos of his main guitars and amps (his crew asked us not to show his pedalboard). Pics of Homme's gear, as well as bassist Michael Shuman's main rig, appear after the shots of Van Leeuwen's setup.
Troy Van Leeuwen's Gear
The former Perfect Circle guitarist's QOTSA rig consists of three main guitars—an Echopark T-style, his signature Fender Jazzmaster with a Mastery bridge, and a Burns 12-string (not shown). He plays through two Vox AC30s, a combo and a head driving Vox and Marshall cabs.
Van Leeuwen's Effects
Van Leeuwen's main QOTSA pedalboard has a Voodoo Lab Ground Control Pro MIDI controller, a Custom Audio Electronics tap-tempo switch (for his Axe-Fx II, which is primarily used for reverb and delay), a Morley wah, Way Huge Supa-Puss and Pork Loin stomps, what appears to be a fourth-generation DigiTech Whammy, a Dunlop volume pedal, and a Korg tuner.
He also has a rack with two drawers holding Way Huge Green Rhino and Aqua-Puss pedals, an EarthQuaker Devices Dispatch Master, a Fuzzrocious Demon, and an MXR Q Zone, among other stomps.
Josh Homme's Gear
Longtime QOTSA fans will no doubt be bummed, though unsurprised, to hear that Homme didn't take part in our interview—he almost never gives guitar-oriented interviews. We did shoot pics of his guitars and amps, though. His main stage guitar these days is a MotorAve semi-hollowbody nicknamed Ryder. Another MotorAve semi-hollowbody that gets used quite a bit is Camille. He also recently acquired this Echopark guitar that we wrote about here.
Homme's crew asked us not to show his pedalboard, but to be honest, the old adage about tone being in the hands was largely supported by what we saw: There really wasn't much there that wasn't current-production gear from mainstream manufacturers. We did, however, get a shot of his four vintage Ampeg VT-40 combos, which he connects to via a Little Labs distribution box mounted to the back of one.
Michael Shuman's Gear
Though we didn't speak to QOTSA bassist Michael Shuman in our Rig Rundown, we did get some shots of his gear. His rig consists of two main basses, Fender American Vintage series J and P basses, each with thin custom finishes and pickups wound to '60s specs.
Shuman's Amps
He cranked through two Fender Super Bassman heads, one driving a 1x15 cab and one driving an 8x10.
Shuman's Effects
Shuman's pedalboard features a Palmer Triage amp selector, a Radial Engineering JDI direct box, a Korg tuner, three Way Huge stomps—an Angry Troll, a Swollen Pickle, and a Supa-Puss—a Jim Dunlop volume pedal, and a footswitch to activate an offstage Moog unit.
[Updated 10/7/21]
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At the heart of the Harvezi Hazze pedal is a waveshaper designed around a unijunction transistor - a relic from the early days of the semiconductor industry unearthed from the e-waste bins of flea markets in Tbilisi, Georgia, the Eastern European country's largest city.
The unijunction transistor offers unique properties allowing one simple component to replace a number of very complex devices. Therefore. depending on the operating mode, users can access a distortion, a limiter, a waveshaper and a generator - with smooth transitions among each of these.
The name "Harvezi Hazze" translates from Georgian as "a fault on the transmission line" or "signal jamming", and both the semantic and phonetic nature of these translations imply what users can expect: an impediment to the input signal, which can range from pleasant harmonic distortions to complete obliteration. The signal chain of Harvezi Hazze consists of an optical compressor with fixed parameters; a dual-mode distorting amplifier with either softer or harsher clipping; a waveshaper built around a unijunction transistor; and a tone stack section designed to tame these sonic building blocks.
Signal flow and controls
Following the input, the signal goes to the Compressor, Distorting Amplifier, Waveshaper, and then to the Tone Stack and output stages. Harvezi Hazze features six control knobs, a three-way switch and a footswitch.
- Gain Control: This controls the output amplitude of the signal in the distorting amplifier section. Depending on the position of the switch, the distortion introduced by this section is soft (with the switch in the left position) or more aggressive with an abundance of high harmonics (with the switch in the middle position).
- Spoil and Spread: This knob controls the operation of the unijunction transistor (waveshaper section). Spoil sets the point on the amplitude axis at which the wave will fold, and Spread sets the amplitude of the folding. The higher the Spread value, the more severe the distortion will be, while Spoil will change the timbre and response threshold. By adjusting Spoil, users can achieve various gating and cutoff effects; at low Spread values, distortion sounds are mixed into the clean sound.
- Tone: This knob adjusts the brightness of the sound. With higher values, higher harmonics become present in the signal.
- Three-way switch. This feature regulates either the distortion mode in the amplifier section (left and center positions), or turns on the total feedback mode (right position) when the values of all knobs begin to influence each other. In this position, effects occur such as resonance at certain frequencies and self-oscillation.
- Level knob: This controls the output volume of the signal.
- Footswitch: This routes the signal through the effect circuitry or from input to output directly (true bypass).
The array of switches on the side of the unit provides even further tonal options; the lower position of the switch enables the specific function:
- Tone Stack: Routes the signal through the tone stack section (Tone knob).
- Bass Boost: Enhances bass frequencies.
- Tone Mode: Changes the behavior of the Tone knob (tilt or lowpass).
- Notch Freq: Changes the central frequency of the filter.
- High Cut: Attenuates high frequencies.
- Compressor: Routes the signal through the compressor.
Harvezi Hazze is priced at €290. To learn more, please visit https://somasynths.com/harvezi-hazze/.
Ibanez has unveiled its new Blackout series of acoustic guitars to their lineup. Inspired by the popular Iron Label series, these instruments feature an all-black aesthetic, including a matte black finish and black hardware. The Blackout series offers three distinct models: the AEG721 7-string acoustic-electric, the AEWC621, and the TCY621. Each model boasts in-demand woods, including a Spruce top, Sapele back and sides, and Macassar Ebony or Purpleheart for the fingerboard and bridge.
To complement their unique appearance, the Blackout guitars are equipped with high-quality electronics. The AEG721 and AEWC621 feature Fishman’s S-core pickups and Ibanez AEQ-SAP2 preamps, while the TCY621 utilizes an Ibanez under-saddle pickup and AEQ-2T preamp.
For more information, please visit ibanez.com.
AEG721
- AEG body
- 634mm/25" scale
- Spruce top
- Sapele back & sides
- Comfort Grip 3pc Nyatoh/Maple neck
- Macassar Ebony fretboard & bridge
- Black dyed Bone nut & saddle
- Black Die-cast tuners (18:1 gear ratio)
- Fishman® S-core pickup
- Ibanez AEQ-SP2 preamp w/Onboard tuner
- Balanced XLR & 1/4" outputs
- Ibanez Advantage™ bridge pins
- D'Addario® XTAPB1253, plus .070 guage Phosphor Bronze
- String Gauge: .012/.016/.024/.032/.042/.053/.070
- Factory Tuning: 1E,2B,3G,4D,5A,6E,7B
- Recommended case: AEG10C/MAP: $169.99
- Finish: Blacked Out
LIST PRICE: $599.99
ESTIMATED STREET PRICE: $399.99
AEWC621
- AEWC body
- 634mm/25" scale
- Spruce top
- Sapele back & sides
- Comfort Grip Nyatoh neck
- Macassar Ebony fretboard & bridge
- Black Die-cast tuners (18:1 gear ratio)
- Fishman® S-Core pickup
- Ibanez AEQ-SP2 preamp w/Onboard tuner
- Balanced XLR & 1/4" outputs
- Ibanez IACS6C coated strings
- Recommended case: AEG10C/MAP: $169.99
- Finish: Blacked Out
LIST PRICE: $599.99
ESTIMATED STREET PRICE: $399.99
TCY621
- Talman Double Cutaway body
- Neck joint at 16th fret
- Spruce top
- Sapele back & sides
- Okoume neck
- Purpleheart fretboard & bridge
- Black Die-cast tuners
- Ibanez Undersaddle pickup
- Ibanez AEQ-2T preamp w/Onboard tuner
- Ibanez Advantage™ bridge pins
- Recommended case: TM50C/MAP: $179.99
- Finish: Blacked Out
LIST PRICE: $374.99
ESTIMATED STREET PRICE: $249.99
C. F. Martin & Co. is unveiling an exciting lineup of new guitars ahead of The 2025 NAMM Show, including refinements to its trusted Standard Series and two all-new Retro Plus guitars.
With the Standard Series refresh, Martin brings fans enhanced playability, timeless aesthetics, and three stunning new models, while its two new Retro Plus guitars offer thermally aged spruce tops and the classic appearance of an 18-style guitar at an accessible price point. These releases showcase Martin's mission to create instruments that unleash the artist within.
These new guitars and more will be on display at The 2025 NAMM Show in Anaheim, California, through Saturday, January 25, with more releases to come.
Standard Series Refresh
Martin is refreshing its popular Standard Series lineup to bring subtle yet impactful refinements to enhance the look, tone, and playability of these iconic guitars, while introducing three new models to the series: the D-17, 000-17, and OM-45.
One of the key updates is Sitka spruce Golden Era (GE) top bracing, as featured on the Modern Deluxe Series, which offers a more vintage, breathy tone with enhanced sustain. The GE modified low oval neck profile maintains its popular shape but is optimized for vintage appeal with minimal increase in total mass.
It's paired with playability enhancements like a thinner fingerboard with a gently beveled comfort edge and refined string spacing at the nut, while the new GE modern belly bridge features smoother, more comfortable corners.
Standard Series guitars also now feature either bone or ebony bridge pins, along with newly added sunburst and ambertone finish options for select models. Additional aesthetic updates include a long diamond neck transition, a nut cut on angle, and a sleeker vintage-style heel.
These are the changes Martin enthusiasts have been asking for, delivering a blend of vintage appointments and modern playability enhancements. Players will notice improved comfort and vintage tones, particularly with the GE-inspired bracing and aesthetic refinements.
For more information, please visit martinguitar.com.
D-17
The Martin D-17 is a bold new offering in the refreshed Standard Series, combining vintage-inspired appointments with modern refinements for players seeking rich sounds and enhanced playability. Its iconic Dreadnought body shape is a favorite among players for its loud, projective tone and strong bass. This model is handcrafted with a satin-finished solid mahogany body, delivering a warm and woody tone, while vintage-inspired details such as a sleeker heel and nickel open gear tuners give the guitar a timeless, elegant look. With its satin-finished select hardwood neck and 25.4" scale length, whether you’re strumming big chords or picking intricate tunes, the D-17 delivers powerful, dynamic sound with a classic, vintage vibe.
000-17
The Martin 000-17 is another fresh addition to the Standard Series lineup. Its Auditorium (000) body shape offers a balanced tone and comfortable size, making it great for both fingerstyle playing and heavy-handed strumming. Crafted from solid mahogany with a satin finish, it delivers a warm, woody tone with a clear top end and a punchy midrange—ideal for players seeking a vintage-inspired sound with a modern edge. Its satin-finished select hardwood neck and 24.9" scale length contributes to a more relaxed string feel and warmer, mellower tones. Whether you’re playing at home, in the studio, or on stage, the 000-17 delivers the balanced, dynamic sound that players expect from a high-quality Martin.
OM-45
The Martin OM-45 is a pinnacle of craftsmanship in the refreshed Standard Series, combining classic appointments with modern enhancements for a truly exceptional instrument. This all-new full-gloss acoustic is crafted with solid East Indian rosewood back and sides and a solid spruce top, delivering a rich, resonant tone with remarkable sustain. Its genuine mahogany neck ensures a smooth, effortless feel, while the longer 25.4" scale length provides just the right amount of string tension for enhanced clarity, making this guitar great for intricate picking and strumming. Its dazzling pearl inlay, aging toner, and gold open gear tuners offer an elegant touch, making the OM-45 as stunning to look at as it is to play.
De Retro Plus Mahogany
The Martin DE Retro Plus Mahogany is inspired by Martin’s legendary 18-style flagship models. It combines powerful tone and iconic design with cutting-edge craftsmanship at a fraction of the price. Its torrefied solid spruce top is thermally aged for enhanced resonance and a beautifully seasoned sound, delivering the rich, broken-in tone of a vintage instrument from the first strum. It’s the same premium feature long reserved for our Authentic and Modern Deluxe series, now available for the first time ever in the Road Series. It even comes stage-ready with Martin E1 electronics, featuring a built-in tuner and controls for dialing in your perfect live tone.
000E Retro Plus Mahogany
This 000 model blends balanced tone with the same cutting-edge craftsmanship and 18-style appearance as its Dreadnought counterpart, including a torrefied solid spruce top. With solid mahogany back and sides, scalloped spruce X bracing, a Performing Artist neck, ebony fingerboard and bridge, and Martin E1 electronics, these guitars have everything you could want in an acoustic. Ideal as a gigging workhorse or your first step into premium acoustics, they deliver best-in-class quality at an unbeatable value for serious players, and a lifetime of inspiration for anyone who picks one up. Just be warned, you won’t be able to put them down—because nothing compares to a Martin.
Formed during the pandemic, L.S. Dunes is the answer to every early-2000s emo kid’s prayers. Spearheaded by Circa Survive and Saosin frontman Anthony Green, the band was announced to the world in 2022, and their debut record, Past Lives, arrived in November of that year. Along with members of Coheed and Cambria and Thursday, My Chemical Romance guitarist Frank Iero joined the supergroup, and they’re not wasting any time: Following an EP in November 2023, their second full-length record is due out January 31.
Even though L.S. Dunes covers some similar ground to each member’s previous projects, it’s certainly its own beast, and Iero notes that his rig with the band is totally different from his setup with My Chemical Romance. Ahead of Dunes’ performance at Nashville’s Marathon Music Works, PG’s Chris Kies met up with Iero to see which “favorite kids” get brought out on tour.
Brought to you by D’Addario.
Float Like a Butterfly, Sting Like a Ray
Iero loves this Ernie Ball Music Man StingRay RS for its stellar trem system and rock-solid tuning. He can reef on the whammy bar as hard as he wants, and it stays on pitch. (He even thought he broke it one night after hearing a loud “pop,” but his tech couldn’t find any issues.) It’s always in standard tuning, with Ernie Ball Burly Slinky strings.
FrankenFender
This Fender “Jazzmaster” was a special order made by Dennis Galuszka in Fender’s custom shop. Frank’s friend (and occasional PG contributor) Mike Adams (the “Obi-Wan of offsets”) scooped up a ’60s Jazzmaster from the corner of a flooded-out basement somewhere, and after some fix-ups, nicknamed it “Pancake” for its flat, playable neck. Iero was obsessed with it, and asked his friend if he’d loan “Pancake” to Galuszka to scan and recreate the neck. The first result of that collaboration goes on tour with My Chemical Romance, while this second one comes out with L.S. Dunes. It’s got a 25.5′′ scale length—Iero calls it his “Jag and a half”—and comes out for the last three songs of the set. It rocks blacked-out goldfoil pickups in the neck and middle positions, and a P-90 in the bridge. There’s a built-in killswitch on the upper bout, too.
Twin for the Win
Iero’s perfect pedal platform is the Fender Twin Reverb, which he runs into a Marshall 4x12 cabinet loaded with Celestion Vintage 30 speakers.
Frank Iero's Pedalboards
Iero’s main board, which stays at his feet, is controlled by a Carl Martin Octa-Switch II system. It’s got a Jackson Audio 1484 Twin Twelve Pedal, Boss TR-2, EHX POG, Amplified Nation Bigger Bloom, Temple Devices Reel Dealuxe, EHX Holy Grail Nano, Boss DM-2W, Boss CH-1, EHX Synth9, Boss GE-7, SNK Pedals VHD, Fulltone Fat-Boost, and EQD Ghost Echo. All those toys are kept in line by his Ernie Ball volume pedal and a TC Electronic PolyTune 3.
Iero’s second, always-on board stays safe behind his amp. It has a 29 Pedals OAMP, Bowman Audio Endeavors Bowman Overdrive, and 29 Pedals EUNA, which form the basis of his tone.
