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Rig Rundown: Vince Gill & Paul Franklin [2023]

Rig Rundown: Vince Gill & Paul Franklin [2023]

Nashville guitar heroes Vince Gill and legendary pedal-steeler Paul Franklin talk about the tones and tools on their new album, Sweet Memories: The Music of Ray Price & The Cherokee Cowboys. Prepare for rare Martins and Paul’s signature pedal and amp.

A decade ago, Vince Gill and Paul Franklin recorded Bakersfield, a tribute to the raw-boned country music that came out of the rough-and-rowdy clubs patronized by oil-field hands and agricultural workers in the ’50s and early ’60s—packed with songs by Merle Haggard and Buck Owens. And we visited with them for a Rig Rundown then.

Now, just for the good times, these two legends of modern country music—the real deal kind—have recorded Sweet Memories: The Music of Ray Price & The Cherokee Cowboys. Price was known for his warm, baritone approach to melody, which is a perfect springboard for Gill’s and Franklin’s nuanced approaches to their own instruments.

If you don’t know Gill’s work, it’s about time you got informed. He has won more CMA Awards than any performer in history, plus 21 Grammys. He’s also sold more than 21-million albums and is currently in the Eagles, where his sweet tenor voice and skill with harmonies makes him a perfect match. (You can also hear Gill talk about his work on Cory Wong’s Wong Notes podcast, from November 2020.)

Although Franklin spends his time over the pedal steel, this artist is no slouch. He’s played on more than 500 albums, has been named Best Steel Guitarist by the Academy of Country Music multiple times, and is in the Steel Guitar Hall of Fame and the Musician’s Hall of Fame. Franklin is the most nominated artist in CMA history. He is also a member of Grammy-winning outfit the Time Jumpers.

Along with the PG video team, I met them at Gill’s Nashville studio, where they recorded Sweet Memories. The goal: to get a close-up look at Franklin’s steel rig and some of the incredible acoustic guitars Gill used on this album.

Brought to you by D’Addario XS Strings.

Wall-to-Wall Eyeball

If you can keep your eyes off the wall of Telecasters in the background for a few seconds, you’ll see Vince Gill’s 1939 Martin D-18 Sunburst front and center. The D-18 was manufactured with a spruce top and mahogany back and sides for the first time in 1931, and very few were done in sunburst. Gill strings his acoustics with D’Addario Phosphor Bronzes, .012—.053.

More Martin Madness

Now, here’s an ultra-rare 1935 Martin D-28 with herringbone binding, even rarer for its sunburst finish.

Well Played, My Friend

With those marks, I’d call this a beater—if it wasn’t a 1937-’38 Gibson Advanced Jumbo sunburst. This round-shoulder model features a rosewood back and sides, ornate diamond and arrowhead fretboard inlays, and binding on the top, back, and fretboard. Wow!

One More Martin

This 1930s Martin 00-18 in sunburst features an Adirondack spruce top, Honduran mahogany sides and neck, and an ebony fingerboard and bridge. Yes, you want this one, too!

Paul's Big Ride

Paul Franklin’s father has been building steel guitars for him—and a lot of other artists—since Paul was a kid. All in, Franklin has 11 Franklin Pedal Steel Guitars. For this Rundown, he plays his double neck in C6 and E9 tunings, strung with D’Addario NYXL .010 sets.

Two Names, Four 6L6s

Paul Franklin plays a Little Walter Paul Franklin Signature ’89 amp. This super-clean 100-watt killer is loaded with four 6L6 tubes and runs a Little Walter 1x12 cabinet.

Sound Station

Although Franklin collects pedals, his philosophy is to start with a great organic tone and go from there. Where he goes is typically to his all-analog Benado Effects Steel Dream Signature stompbox for reverb, delay, and drive, as needed. Bad news—this device is sold out, according to the Benado website.

Vince Gill & Paul Franklin's Gear

  • Franklin double-neck pedal steel
  • Little Walter Paul Franklin Signature Tube Amp
  • Benado Effects Steel Dream
  • 1930s Gibson AJ
  • 1930s Martin D-18
  • 1940s Martin D-28
  • 1930s Martin 000-18
  • 1950s Telecaster
  • 1940s D-45

On her new record with her trio, Molly Miller executes a live-feeling work of structural harmony that mirrors her busy life.

Photo by Anna Azarov

The accomplished guitarist and teacher’s new record, like her lifestyle, is taut and exciting—no more, and certainly no less, than is needed.

Molly Miller, a self-described “high-energy person,” is fully charged by the crack of dawn. When Ischeduled our interview, she opted for the very first slot available—8:30 a.m.—just before her 10 a.m. tennis match!

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John Mayall in the late ’80s, in a promo shot for his Island Records years. During his carreer, he also recorded for the Decca (with the early Bluesbreakers lineups), Polydor, ABC, DJM, Silvertone, Eagle, and Forty Below labels.

He was dubbed “the father of British blues,” but Mayall’s influence was worldwide, and he nurtured some of the finest guitarists in the genre, including Eric Clapton, Peter Green, Mick Taylor, Harvey Mandel, Coco Montoya, and Walter Trout. Mayall died at his California home on Monday, at age 90.

John Mayall’s career spanned nearly 70 years, but it only took his first four albums to cement his legendary status. With his initial releases with his band the Bluesbreakers—1966’s Blues Breakers with Eric Clapton; ’67’s A Hard Road, with Peter Green on guitar; plus the same year’s Crusade, which showcased Mick Taylor—and his solo debut The Blues Alone, also from 1967, Mayall introduced an international audience of young white fans to the decidedly Black and decidedly American genre called blues. In the subsequent decades, he maintained an active touring and recording schedule until March 26, 2022, when he played his last gig at age 87. It was reported that he died peacefully, on Monday, in his California home, at 90.

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Featuring enhanced amp models, a built-in creative looper, AI-powered tone exploration, and smart jam features.

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Donner andThird Man Hardware’s $99, three-in-one analog distortion, phaser, and delay honors Jack White’s budget gear roots.

Compact. Light. Fun. Dirt cheap. Many cool sounds that make this pedal a viable option for traveling pros.

Phaser level control not much use below 1 o’clock. Repeats are bright for an analog delay. Greater range of low-gain sounds would be nice.


Donner X Third Man Triple Threat


A huge part of the early White Stripes mystique, sound, ethos, and identity was tied to guitars and amps that, at the time, you could luck into for cheap at a garage sale. These days, it’s harder to score a Crestwood Astral II, or Silvertone Twin Twelve with a part-time job in the ice cream shop. Back in the late ’90s, though, they were a source of raw, nasty sounds for less than a new, more generic guitar or amp.

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