A pair of Fender amps and a custom-built Baranik helped the Boston band’s guitarist come back from a broken arm.
When Brandon Hagen broke his arm a few years ago, his life changed in an instant. He’d been fronting Boston indie rock outfit Vundabar since 2013, and suddenly, he was unable to do the things he’d built his life around. Recovery came, in part, in the form of a custom guitar prototype built by Mike Baranik of Baranik Guitars. Hagen deconstructed and rehabilitated his relationship to the 6-string on that instrument, an experience that led to Vundabar’s sixth LP, Surgery and Pleasure, released on March 7.
On tour supporting the record, the band appeared at Grimey’s in Nashville for a performance on March 11, and PG’s Chris Kies caught up with Hagen to hear about his journey and learn what tools the guitarist has brought on the road. As Hagen tells it, his setup is less about expertise and received wisdom, and more about “intuitive baby mode”—going with what feels and sounds good in the moment.
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An A1 B4
Hagen’s No. 1 is this Baranik B4, a custom job that he received two days before leaving for tour. Hagen’s arm was broken when Vundabar was playing a festival in California a couple years ago, and Baranik, a fan of the band, stopped in to see them. He offered to send a custom prototype to Hagen—who was new to the field of boutique guitars—and the B4 was born, borrowing from the Baranik B3 design used for Unknown Mortal Orchestra’s Ruban Nielson and the Hofner 176 played by Jamie Hince of the Kills. The guitar helped Hagen fall back in love with guitar as his arm healed.
Hagen was searching for Strat-style clarity and jangle but with a hotter sound, so Baranik put in Lindy Fralin P-90s in the neck and bridge positions, plus a sliding, unpotted gold-foil pickup in the middle, wound by Baranik himself. A wheel control on the lower bout beside the traditional pickup selector switch lets Hagen blend the pickup signals without outright switching them on or off. Along with traditional master volume and tone controls, the red button beside the bridge activates a Klon clone pedal built into the back of the guitar. Hagen used a Klon on every track on the new Vundabar record, so it made sense to have one at his fingertips, letting him step away from the pedalboard and still create dramatic dynamic differences.
Hagen uses Ernie Ball Slinky strings (.011s), a step up from the .10s he used to use; he was chasing some more low end and low mids in his sound. His guitars stay in standard tuning.
Jazz From Japan
Hagen also loves this 2009 Japan-made Fender Jazzmaster ’62 Reissue JM66, which splits the difference between classic Fender chime and a darker, heavier tone.
Blending Fenders
Hagen’s signal gets sent to both a Fender Hot Rod Deville and a Blues Junior. He likes to crank the Junior’s single 12" speaker for a nastier midrange.
Brandon Hagen's Board
Hagen runs from his guitar into a JHS Colour Box, which adds a bit of dirt and can be used to attenuate high or low frequencies depending on which room Vundabar is playing. From there, the signal hits a Keeley Compressor, EHX 2020 Tuner, EHX Pitch Fork, EHX Micro POG (which is always on with subtle octaves up and down to beef things up), Boss Blues Driver, Way Huge Swollen Pickle, MXR Carbon Copy (which is also always on), and a Boss DD-7—Hagen loves the sound of stacked delays.
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Vox’s Valvenergy Tone Sculptor
I spent a day workshopping ideas in my studio using just the Vox Valvenergy Smooth Impact compressor and Tone Sculptor EQ, and a dash of amp tremolo and reverb to taste. In the process, I produced more arresting sounds than I had heard from my guitars in many days. There were radical direct-to-desk-style Jimmy Page/Beatles distortion tones, sun-sized, cosmic electric 12-string, Bakersfield twang that could burn through crude, and many other sweet and nasty colors. Most decent EQ and compressor combinations can achieve variations on all those themes. But the Smooth Impact and Tone Sculptor also reveal interesting personalities in unexpected places.
The individuality and energy in the Vox Valvenergy pedals is attributable, in part, to the Nutube vacuum tube used in the circuit. Though it looks little like a vacuum tube as most guitarists know them, the thin, wafer-like Nutube is, in fact, a real vacuum tube like those used in fluorescent displays. Fluorescent display tubes have limitations. A maximum operating voltage of around 40 volts means they aren’t useful for bigger power tube applications like a 6L6, which has an operating voltage of about 400 volts. But it can work quite well as a preamp tube in concert with an op amp power section, which is how the Nutube is used in the new Valvenergy pedals, as well as older Vox products like the Vox MV50 and Superbeetle amps.
Valvenergy Tone Sculptor
When you think about “cinematic” effects, you likely imagine big reverb or modulation sounds that create a vivid picture and feeling of space or motion. But narrow, hyper-focused EQ profiles can evoke very different and equally powerful images. Radical EQ settings can add aggression, claustrophobic intimacy, and stark, explosive dark-and-light contrasts more evocative of Hitchcock’s Psycho than Ridley Scott’s Blade Runner.
Any of these moods can be summoned from the Valvenergy Tone Sculptor. Six sliders cut or boost 10 dB frequency bands spanning 100 Hz to 5.6 kHz. A seventh slider cuts or boosts the master output by 12 dB. This platter of options might not sound like much. But you can use these seven controls together to very specific ends.
“Radical EQ settings can add aggression, near-claustrophobic intimacy, and stark, explosive dark-and-light contrasts.”
For example, bumping the high-midrange and the master output produces narrow cocked-wah-like filter sounds with enough push to produce extra amp overdrive—effectively turning the Tone Sculptor into a buzzy, almost fuzz-like filter effect. But unlike a wah, you can carefully scoop high end or add a spoonful of bass to blunt harsh frequencies or give the tone a bit more weight. You can also broaden the palette of an amp/guitar pairing. I matched a particularly trebly Jazzmaster bridge pickup with a very hot and toppy Vox AC15-flavored amp for this test—a recipe that can be spiky on the best days. But with the Tone Sculptor in the line, I could utilize the same sharp, fuzzy, and filtered Mick Ronson wah tones while shaving some of the most piercing frequencies.
EQ pedals exist on many points along the cost spectrum. And at $219, the Tone Sculptor lives on the high side of the affordable range. Does it offer something less expensive models can’t deliver? Well, for one thing, I found it relatively quiet, which is nice whether you’re shaping toppy high-contrast effects or performing more surgical adjustments. And the sliders feel nuanced and nicely tapered rather than like a dull axe with a few basic frequency notches. But in many situations I also liked the color imparted by the circuit—generated, presumably, by the Nutube. “Color,” in audio terms, is a broad and subjective thing, and one should not necessarily expect the warm, tube-y glow of a vintage tube Pultec. Still, the Tone Sculptor has many forgiving, flattering qualities—typical of studio EQs—that enable fine tuning and experimentation with more radical and creative applications of the effect.
Valvenergy Smooth Impact
As with the Tone Sculptor, the Smooth Impact’s use of Nutube engenders certain expectations. It’s easy to surmise that because Smooth Impact has a vacuum tube in the circuit that it will behave like a little Teletronix LA-2A leveling amplifier. That’s a big ask for a $219 stompbox. On the other hand, the Smooth Impact exhibits some appealing characteristics of studio tube compression. At lower compression levels, it works well as a thickening agent—adding mass without much additional noise. And at higher compression levels it can sound snappy, crisp, and tight without feeling like you’ve bled every trace of overtone from your signal.
The Smooth Impact’s controls aren’t totally atypical. But because it lacks some familiar features like variable attack and release, yet is more complicated than a 1-knob DynaComp, you have to trust your ear to navigate interactions among the controls. The most unfamiliar of these is the 3-way vintage/natural/sag toggle. The first two are defined by preset attack and release settings: Vintage is slow attack and long release, and natural is the opposite. The sag mode’s compression is more like what you get from tube saturation, and it’s useful for adding thickness and complexity to a thin amp tone at modest compression levels.
Though the vintage and natural modes certainly have a different feel, they don’t always sound worlds apart. And like the sag mode, the thing they have in common is the way they enrich lifeless amp output at low to medium compression, with a bit of grind from the tube gain and a little extra makeup gain from the output. At the most aggressive settings, the tube gain can get a little crispy. And really crushing the compression can flatline your tone without adding much in the way of extra sustain. These are limitations common to many compressors with similar features. But unless I was chasing very ultra-snappy Prince and Nile Rodgers fast-funk caricatures, I enjoyed the Smooth Impact most in its in-between ranges, where mass, mild, harmonious drive, and low noise showcase the pedal’s sometimes studio-like personality.
Boss’ firstWaza Tube Amp Expander, built with an integrated power amp that enables boosted signal as well as attenuated sounds, was and remains the OX’s main competition. Both products have copious merits but, at $1,299 (Boss) and $1,499 (Universal Audio), each is expensive. And while both units are relatively compact, they aren’t gear most folks casually toss in a backpack on the way out the door. The new Waza Tube Expander Core, however, just might be. And though it sacrifices some refinements for smaller size, its much-more accessible price and strong, streamlined fundamental capabilities make it a load-box alternative that could sway skeptics.
Micro Manager
The TAE Core is around 7 1/2" wide, just over 7 " long, and fewer than 4 " tall, including the rubber feet. That’s about half the width of an original TAE or OX. The practical upside of this size reduction is obvious and will probably compel a lot of players to use the unit in situations in which they’d leave a full-size TAE at home. The streamlined design is another source of comfort. With just five knobs on its face, the TAE Core has fewer controls and is easier to use than many stompboxes. In fact, the most complicated part of integrating the TAE Core to your rig might be downloading the necessary drivers and related apps.
Connectivity is straightforward, though there are some limitations. You can use TAE Core wirelessly with an iOS or Windows tablet or smartphone, as long as you have the BT-DUAL adaptor (which is not included and sets you back around 40 bucks). However, while desktop computers recognize the TAE Core as a Bluetooth-enabled device, you cannot use the unit wirelessly with those machines. Instead, you have to connect the TAE Core via USB. In a perfectly ordered world, that’s not a big problem. But if you use the TAE Core in a small studio—where one less cable is one less headache—or you prefer to interface with the TAE Core app on a desktop where you can toggle fast and easily between large, multi-track sessions and the app, the inability to work wirelessly on a desktop can be a distraction. The upside is that the TAE Core app itself is, functionally and visually, almost identical in mobile and desktop versions, enabling you to select and drag and drop virtual microphones into position, add delay, reverb, compression, and EQ effects, choose various cabinets with different speaker configurations and sizes, and introduce new rigs and impulse responses to a tone recipe in a flash. And though the TAE Core app lacks some of the photorealistic panache and configuration options in the OX app, the TAE Core’s app is just as intuitive.Less Is More
One nice thing about the TAE Core’s more approachable $699 price is that you don’t have to feel too bad on nights that you “underutilize” the unit and employ it as an attenuator alone. In this role, the TAE Core excels. Even significantly attenuated sounds retain the color and essence of the source tone. Like any attenuator-type device, you will sacrifice touch sensitivity and dynamics at a certain volume level, yielding a sense of disconnection between fingers, gut, guitar, and amp. But if you’re tracking “big” sounds in a small space, you can generate massive-sounding ones without interfacing with an amp modeler and flat-response monitors, which is a joy in my book. And again, there’s the TAE Core’s ability to “expand” as well as attenuate, which means you can use the TAE Core’s 30-watt onboard power amp to amplify the signal from, say, a 5-watt Fender Champion 600 with a 6" speaker, route it to a 2x12, 4x12, or virtual equivalent in the app, and leave your bandmate with the Twin Reverb and bad attitude utterly perplexed.
The Verdict
Opting for the simpler, thriftier TAE Core requires a few sacrifices. Power users that grew accustomed to the original TAE’s super-tunable “resonance-Z” and “presence-Z” controls, which aped signal-chain impedance relationships with sharp precision, will have to make do with the simpler but still very effective stack and combo options and the “air feel level” spatial ambience control.The DC power jack is less robust. It features only MIDI-in rather than MIDI-in/-through/-out jacks, and, significantly, 70 watts less power in the onboard power amp. But from my perspective, the Core is no less “professional” in terms of what it can achieve on a stage or in a studio of any size. Its more modest feature set and dimensions are, in my estimation, utility enhancements as much as limitations. If greater power and MIDI connectivity are essentials, then the extra 600 bones for the original TAE will be worth the price. For many of us, though, the mix of value, operational efficiencies, and the less-encumbered path to sound creation built into the TAE Core will represent a welcome sweet spot that makes dabbling in this very useful technology an appealing, practical proposition.
Guitarist Dave Harrington concedes that while there are a few mile markers in the music that he and musician Nicolas Jaar create as Darkside, improvisation has been the rule from day one. The experimental electronic trio’s latest record, Nothing, which released in February on Matador, was the first to feature new percussionist Tlacael Esparza.
Taking the record on tour this year, Darkside stopped in at Nashville’s Brooklyn Bowl, where Harrington broke down his complex signal chains for PG’s Chris Kies.
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Express Yourself
Harrington bought this mid-2000s Gibson SG at 30th Street Guitars in New York, a shop he used to visit as a kid. The headstock had already been broken and repaired, and Harrington switched the neck pickup to a Seymour Duncan model used by Derek Trucks. Harrington runs it with D’Addario NYXL .010s, which he prefers for their stretch and stability.
The standout feature is a round knob installed by his tech behind the bridge, which operates like an expression pedal for the Line 6 DL4. Harrington has extras on hand in case one breaks.
Triple Threat
Harrington’s backline setup in Nashville included two Fender Twin Reverbs and one Fender Hot Rod DeVille. He likes the reissue Fender amps for their reliability and clean headroom. Each amp handles an individual signal, including loops that Harrington creates and plays over; with each amp handling just one signal rather than one handling all loops and live playing, there’s less loss of definition and competition for frequency space.
Dave Harrington’s Pedalboards
Harrington says he never gives up on a pedal, which could explain why he’s got so many. You’re going to have to tune in to the full Rundown to get the proper scoop on how Harrington conducts his three-section orchestra of stomps, but at his feet, he runs a board with a Chase Bliss Habit, Mu-Tron Micro-Tron IV, Eventide PitchFactor, Eventide H90, Hologram Microcosm, Hologram Chroma Console, Walrus Monument, Chase Bliss Thermae, Chase Bliss Brothers AM, JHS NOTAKLÖN, two HexeFX reVOLVERs, and an Amped Innovations JJJ Special Harmonics Extender. A Strymon Ojai provides power.
At hip-level sits a board with a ZVEX Mastotron, Electro-Harmonix Cathedral, EHX Pitch Fork, Xotic EP Booster, two EHX 45000 multi-track looping recorders, Walrus Slöer, Expedition Electronics 60 Second Deluxe, and another Hologram Microcosm. A Live Wire Solutions ABY Box and MXR DC Brick are among the utility tools on deck.
Under that board rest Harrington’s beloved Line 6 DL4—his desert-island, must-have pedal—along with a controller for the EHX 45000, Boss FV-50H volume pedal, Dunlop expression pedal, Boss RT-20, a Radial ProD2, and another MXR DC Brick.
Announced at the 2025 NAMM show, Cory Wong’s new collaboration with Ernie Ball Music Man scratched an itch—namely, the itch for a humbucker-loaded guitar that could appease Wong’s rock-and-R&B alter ego and serve as complement to his signature Fender Strat. Inspiration came from no further than a bandmate’s namesake instrument. Vulfpeck bassist Joe Dart has a line of signature model EBMM basses, one of which uses the classic StingRay bass body profile. So, when Wong went looking for something distinctive, he wondered if EBMM could create a 6-string guitar using the classic StingRay bass body and headstock profile.
Ernie Ball Music Man StingRay II ReviewErnie Ball Music Man StingRay II ReviewDouble the Fun
Wong is, by his own admission, a single-coil devotee. That’s where the core of his sound lives and it feels like home to him. However, Wong is as inspired by classic Earth, Wind & Fire tones and the pop-punk of the early ’90s as he is by Prince and the Minneapolis funk that he grew up with. The StingRay II is a guitar that can cover all those bases.
Ernie Ball has a history of designing fast-feeling, comfortable necks. And I can’t remember ever struggling to move around an EBMM fretboard. The roasted maple C-shaped neck here is slightly thicker in profile than I expected, but still very comfortable. (I must also mention that the back of the neck has a dazzling, almost holographic look to the grain that morphs in the light). By any measure, the StingRay II’s curves seemed designed for comfort and speed. Now, let’s talk about those pickups.Hot or Not?
A few years ago EBMM introduced a line of HT (heat-treated) pickups. The pickups are built with technology the company used to develop their Cobalt and M-Series strings. A fair amount of the process is shrouded in secrecy and must be taken on faith, but EBMM says treating elements of the pickup with heat increases clarity and dynamic response.
To find out for myself, I plugged the StingRay II into a Fender Vibroverb, Mesa/Boogie Mark VII, and a Neural DSP Quad Cortex (Wong’s preferred live rig). Right away, it was easy to hear the tight low end and warm highs. Often, I feel like the low end from neck humbuckers can feel too loose or lack definition. Neither was the case here. The HT pickup is beautifully balanced with a bounce that’s rich with ES-335 vibes. Clean tones are punchy and bright—especially with the Vibroverb—and dirty tones have more room for air. Individual notes were clear and articulate, too.
Any guitar associated with Wong needs a strong middle-position or combined pickup tone, and the StingRay II delivers. I never felt any significant signal loss in the blended signal from the two humbuckers, even if I could use a bit more midrange presence in the voicing. The midrange gap is nothing an EQ or Tube Screamer couldn’t fix, though. And not surprisingly, very Strat-like sounds were easy to achieve for having less midrange bump.
Knowing Wong’s love for ’90s alt-rock, I expected the bridge pickup to have real bite, and it does, demonstrating exceptional dynamic range and exceptional high-end response that never approached shrill. Nearly every type of distortion and overdrive I threw at it sounded great, but especially anything with a scooped-mid flavor and plenty of low end.
The Verdict
By any measure, the StingRay II is a top-notch, professional instrument. The fit and finish are immaculate and the feel of the neck makes me wonder if EBMM stashes some kind of secret sandpaper, because I don’t think I’ve ever felt a smoother, more playable neck. Kudos are also due to EBMM and Wong for finding an instrument that can move between ’70s George Benson tones and the hammering power chords of ’90s Blink-182. Admittedly, the nearly $3K price could give some players pause, but considering the overall quality of the instrument, it’s not out of line. Wong’s involvement and search for distinct sounds makes the StingRay II more than a tired redux of a classic model—an admirable accomplishment considering EBMM’s long and storied history.
Ernie Ball Music Man StingRay II Cory Wong Signature Electric Guitar - Charcoal Blue with Rosewood Fingerboard
