Here’s Hurt’s main squeeze—a TV yellow Dunable Cyclops that is constructed with a mahogany body, maple neck, and ebony fretboard. The custom pickup configuration features a Dunable Grizzly (bridge) and an under-wound Banana Slug (neck). Both pickups come with coil-splitting options. It’s topped with Grover locking tuners and all the hardware is aged nickel.
Above is Ross’ second-favorite Dunable—a “pearl” shell pink Cyclops. Like the previous one, this one has a mahogany body, maple neck, and ebony fretboard. However, the pickups are different, with a Lollar Imperial (bridge) and Lollar low-wind Imperial (neck). Both his Dunable 6-strings are typically tuned down a whole step and take GHS Boomers (.012–.052).
The third axe in Hurt’s guitarsenal is a Squier J Mascis Signature Jazzmaster that has been overhauled with “jazzercised” Dunable Grizzlies (humbucker crammed into the JM-style, single-coil covers), Staytrem Jazzmaster vibrato arm paired with a Mastery vibrato and bridge. For post-rock, drone-note layers, he keeps this one tuned to C–G–C–G–C–G.
The third axe in Hurt’s guitarsenal is a Squier J Mascis Signature Jazzmaster that has been overhauled with “jazzercised” Dunable Grizzlies (humbucker crammed into the JM-style, single-coil covers), Staytrem Jazzmaster vibrato arm paired with a Mastery vibrato and bridge. For post-rock, drone-note layers, he keeps this one tuned to C–G–C–G–C–G.
Hurt’s pedal playground has a bit of everything—a little weird, a little wonky, a little wooly, and little whoa!
Below is his signal flow for Burial Waves.
Korg Pitchblack > ZCat Big Reverb TI > DigiTech Drop > DigiTech FreqOut > DigiTech Dirty Robot > Boss ES-8 Effects Switching System controller:
- Loop 1: Electro-Harmonix Mel9
- Loop 2: Antisleep Audio KWB Plus
- Loop 3: 1981 Inventions DRV
- Loop 4: Last Gasp Art Labs Gomorrah subharmonic fuzz
- Loop 5: Lehle P-Split (to send/return to dry amp)
- Loop 6: OBNE Rêver
- Loop 7: (introduces stereo) Wampler Terraform > Meris Polymoon
- Loop 8: Strymon TimeLine > Strymon BigSky—stereo outs into a TC Electronic Ditto X2 Looper.
This is Ross Hurt’s (that Matthew Dowling uses in Burial Waves) Fender Troy Van Leeuwen Jazzmaster that’s been modded with Curtis Novak P-90s and a mastery bridge/vibrato. Hurt loves this because of the utilitarian 2-way toggle that goes between the lead and rhythm circuits (something Hurt sees as invaluable for his playing style). The offset takes GHS Boomers (.012–.052).
Unlike Hurt, Matthew Dowling goes digital-heavy by simply using an Ernie Ball VPJr Volume Pedal into an EarthQuaker Devices Palisades, and it hits the Line 6 HX Effects unit that does the bulk of tone shaping. The RJM MasterMind MIDI Foot Control handles the moody stage lighting. Everything rests on a board from Custom District Pedalboards.
For Burial Waves, bassist Kevin Hilliard borrows Hurt’s Dunable R2 finished in matte black. The swamp-ash 4-string has a 34" scale, a wenge neck, and rosewood fretboard. It has a standard P-bass pickup (neck) and Dunable Bigfoot (bridge). Hilliard rocks GHS Boomers (.045–.105).
Kevin Hilliard’s bass board flows this way: Ernie Ball VPJr volume pedal > Fuzzrocious "Bob" Demon (with blend knob and gated boost) > custom Fuzzrocious TS-808 circuit built with blend knob (Phantasm art) > Sanford and Sonny Bluebeard Fuzz > Akai Headrush delay/looper > kill switch. Everything rests on a board from Custom District Pedalboards.
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D'Addario Auto Lock Strap:https://ddar.io/AutoLockStrap
Billy Gibbons is an undisputable guitar force whose feel, tone, and all-around vibe make him the highest level of hero. But that’s not to say he hasn’t made some odd choices in his career, like when ZZ Top re-recorded parts of their classic albums for CD release. And fans will argue which era of the band’s career is best. Some of us love drum machines and synths and others don’t, but we all love Billy.
This episode is sponsored by Magnatone
Originally released in the 1980s, the Victory has long been a cult favorite among guitarists for its distinctive double cutaway design and excellent upper-fret access. These new models feature flexible electronics, enhanced body contours, improved weight and balance, and an Explorer headstock shape.
A Cult Classic Made Modern
The new Victory features refined body contours, improved weight and balance, and an updated headstock shape based on the popular Gibson Explorer.
Effortless Playing
With a fast-playing SlimTaper neck profile and ebony fretboard with a compound radius, the Victory delivers low action without fret buzz everywhere on the fretboard.
Flexible Electronics
The two 80s Tribute humbucker pickups are wired to push/pull master volume and tone controls for coil splitting and inner/outer coil selection when the coils are split.
For more information, please visit gibson.com.
Gibson Victory Figured Top Electric Guitar - Iguana Burst
Released in 1983, the Roland SDE-3000 rackmount delay was a staple for pro players of the era and remains revered for its rich analog/digital hybrid sound and distinctive modulation. BOSS reimagined this retro classic in 2023 with the acclaimed SDE-3000D and SDE-3000EVH, two wide-format pedals with stereo sound, advanced features, and expanded connectivity. The SDE-3 brings the authentic SDE-3000 vibe to a streamlined BOSS compact, enhanced with innovative creative tools for every musical style. The SDE-3 delivers evocative delay sounds that drip with warmth and musicality. The efficient panel provides the primary controls of its vintage benchmark—including delay time, feedback, and independent rate and depth knobs for the modulation—plus additional knobs for expanded sonic potential.
A wide range of tones are available, from basic mono delays and ’80s-style mod/delay combos to moody textures for ambient, chill, and lo-fi music. Along with reproducing the SDE-3000's original mono sound, the SDE-3 includes a powerful Offset knob to create interesting tones with two simultaneous delays. With one simple control, the user can instantly add a second delay to the primary delay. This provides a wealth of mono and stereo colors not available with other delay pedals, including unique doubled sounds and timed dual delays with tap tempo control. The versatile SDE-3 provides output configurations to suit any stage or studio scenario.
Two stereo modes include discrete left/right delays and a panning option for ultra-wide sounds that move across the stereo field. Dry and effect-only signals can be sent to two amps for wet/dry setups, and the direct sound can be muted for studio mixing and parallel effect rigs. The SDE-3 offers numerous control options to enhance live and studio performances. Tap tempo mode is available with a press and hold of the pedal switch, while the TRS MIDI input can be used to sync the delay time with clock signals from DAWs, pedals, and drum machines. Optional external footswitches provide on-demand access to tap tempo and a hold function for on-the-fly looping. Alternately, an expression pedal can be used to control the Level, Feedback, and Time knobs for delay mix adjustment, wild pitch effects, and dramatic self-oscillation.
The new BOSS SDE-3 Dual Delay Pedal will be available for purchase at authorized U.S. BOSS retailers in October for $219.99. To learn more, visit www.boss.info.