Rig Rundown: Geese

PG’s Chris Kies dropped in on Geese’s pre-tour rehearsals at Rock Nashville, where the band was building out its largest stage production to date ahead of a run that opens at the Ryman. Guitarist Emily Green and bassist Dominic DiGesu walked through rigs that have gotten smaller as the band has gotten bigger. Have a look at some quick highlights below, and tune into the new Rig Rundown for all the details.

Brought to you by D’Addario.

Love at First Reverend

Emily went into Rudy’s Music in Soho to buy a Fender and left with this instead, after someone working there put it in her hands. Eight years on, she calls it her favorite guitar and expects it always will be. The stock humbucker wasn’t hot enough, so she swapped in a Railhammer—in her words, it yells. The floating bridge is part of the appeal; she pushes and pulls it constantly.

Emily’s Pedalboard

Emily’s on the vertical version of the ZVEX Fuzz Factory now; the painted horizontal one started squealing in a way she didn’t like. There’s also a Boss BD-2 Blues Driver, a Crowther Audio Prunes & Custard, a Boss DD-5 Digital Delay, a Source Audio True Spring reverb, a Walrus Audio Fundamental Series Delay, and a Strymon Fairfax. Her board has shrunk over the years; she says if she could just plug into the amp she probably would.

Color Over Canvas

Emily found this Music Man 112 RD in Asheville after playing a friend’s larger version of the same amp. She’s been through a lot of Fender Deluxes, which she calls good blank canvases for pedals, but wanted something with more color of its own. A second Music Man sits behind it as a backup that’s never been needed—she keeps it around because the corduroy covering looks cool.

Custom Shop Lefty

Dominic’s Jazz bass is the first instrument he bought with his own money, ordered from the Fender Custom Shop in 2022 because the left-handed selection everywhere else was thin. He spec’ed the natural finish himself, and it’s fitted with a rosewood neck and Ernie Ball cobalt flatwounds.

Loud and Proud

The second Jazz bass was a gift. Dominic keeps roundwounds on this one and reaches for it on the louder material, like “100 Horses,” “Bow Down,” and “Long Island City Here I Come.” He plays mostly with his fingers and says the pick is for tone rather than dynamics.

Dom’s Pedalboard

Dominic keeps things deliberately minimal, after years of a Boss multi-effects unit that eventually broke. After a TC Electronic Polytune 3 tuner, a Tech 21 SansAmp sits first in the chain and splits off the DI so front-of-house gets a clean signal while the mic picks up everything else; the crew taped the knobs down so the settings can’t move. A Boss SY-1 handles the rising synth part in “2122.” A Highwind Amplification Direwolf Overdrive is there for when a song needs an extra kick.

Tube Upgrade

Dominic moved up from a Fender Rumble to this Super Bassman within the last few months. The distortion in it is clear enough that he’s been using it in place of the fuzz, and like Emily he values having a sound that’s easy to build on.