See how dense, complex, serrated post-hardcore pummels and blooms—thanks to some pawnshop prizes, a scratch-and-dent steal, and a unison bass tuning.
Shiner sprouted from the fertile, black-dirt underground rock scene of the Midwest. Cofounded by guitarist/vocalist Allen Epley in 1992, the band toured with contemporaries Sunny Day Real Estate, Chore, Jawbox, Season to Risk, the Jesus Lizard, and Girls Against Boys, recorded with Shellac’s Steve Albini, and released four albums between 1996 and 2001. Injections of new blood for 1997’s Lula Divina (bassist Paul Malinowski) and 2000’s Starless (Josh Newton on keyboards/guitars and Jason Gerken on drums) helped carve fresh ground and broaden their sound.
Shiner’s sweet spot lives among the smoldering soundscapes that brood, blossom, and bolster their cannonball core. The Egg, from 2001, was a crowning achievement—the early career apex of the band’s evolution from noisy dissonance and powder-keg rock to mosaic, prog-like orchestrations that were equally brutal and beautiful. And after nearly two years of touring behind The Egg, the quartet split up in 2003.
Over the next 15 years, Shiner reunited for special one-off appearances and very short tours. And with the help of the internet and streaming services, their low-key, dormant profile was elevated. Finally, in 2020, Shiner came back to the table with Schadenfreude–a shockingly logical evolution from and continuation of The Egg’s sonic flavor. The album has the lyrical earworms, head-nodding rhythms, gut-punch oomph, and palette-cleansing space travel you’d expect from a band that said goodbye with the jewel “The Simple Truth.”
Ahead of Shiner’s show at Nashville’s DIY arts collective, Drkmttr, PG hopped onstage to dissect the current setups of Epley and Malinowski. Epley details how a lunch-break pawnshop visit landed a remarkable Hohner T for under $100. Malinowski reveals the unique tuning (and demonstrates the monkey-grip it requires to play) that allows his setup to charge like a rhino. And both walk us through their practical-but-powerful pedalboards.
(Unfortunately, renowned gearhead, resident of Pudgemont County, and a regular at the Chug Suckle, Josh Newton, was not on this run as he was tech’ing for Kings of Leon. Spotlights’ Mario Quintero played the role of Newton for this batch of shows, and we featured his setup—along with wife/Spotlights bassist Sarah Quintero’s rig—back in 2021.)
Brought to you by D’Addario Nexxus 360 Rechargeable Tuner.
A “Trashy Toy Tele” Becomes the One
If you’ve seen Shiner and Allen Epley, you’ve seen this T-style that’s been to hell and back. Epley’s live staple is a Hohner HG-428N—a Japan-made copy of a Fender Telecaster Deluxe. While Epley has owned the instrument for 30-plus years, he contends that its abuse was dished out prior to scoring this prize at Sol’s Pawn in Kansas City, Kansas. Shiner bassist and extreme bottom feeder Paul Malinowski did the wheeling and dealing and helped Epley land it for under $100. It’s been overhauled several times, to keep it running strong, but Epley feels this one provides a live tone that’s unmatched by anything he owns and adds to Shiner’s sting. He goes with Dunlop Performance+ strings (.011–.050) and is locked into D-standard tuning.
Blacktop Backup
If anything haywire happens to the Hohner, Epley has this Fender Blacktop Jazzmaster HS that was picked from Chris Metcalf, who plays drums in Allen’s other band, the Life and Times. It’s been upgraded with a Staytrem bridge by fellow Shiner bandmate and tech extraordinaire Josh Newton.
Mind the Gap
The solid, stratified sound of Shiner starts with Epley’s stereo setup. The first part of the potent platform is his 1997 Vox AC30 Top Boost reissue that he bought brand new. He loves how it sits in the mix and “fills the gaps in the middle” like double-meat in a club sandwich.
Tommy's Hiwatt?
Surrounding and supplementing the Vox’s mid-focused heft is the above 1971 Hiwatt Custom 100 that chimes in with glassy highs and plenty of low-end heft. He plucked this gem from fellow KC rocker Duane Trower of Season to Risk for $500 cash and a lesser amp. (Epley clearly won that trade.) During the Rundown, he semi-confidently asserts that the head was used for the touring production of the Who’s rock opera Tommy. He uses it with guitar and bass, and it’s been souped-up by turning the normal volume control into a throttle for the pre-gain, giving the amp more grind and growl. The Custom 100 hits a 2x12 cab (procured by Josh Newton) that has a pair of 35-watt speakers.
Allen’s Arsenal
The first two parts of Epley’s pedalboard start on the floor. The TC Helicon Harmony Singer integrates with his guitar—reading whether the chord he’s playing is major or minor—and then accompanies his vocals with a predetermined harmony either above or below his singing key. Next in line on the floor is the Ernie Ball 6166 Mono Volume Pedal. After that is a double dose of dirt compliments of MXR: a Super Badass Distortion and Micro Amp+. Following those is an Electro-Harmonix Micro POG that Epley calls a “kaleidoscope of sound.” A MXR M300 Reverb provides plenty of canyon far and wide, while the Line 6 DL4 spreads Epley’s tone to both amps for stereo delay. A Boss TU-2 Chromatic Tuner keeps his guitars in check and a MXR ISO-Brick M238 powers the pedals.
Paul’s Project P
This P bass started its life as a ’90s MIM Squier model. The only thing stock on the entire instrument is the body. It has a new pickguard, enhanced electronics, a custom-wound pickup from Fountain City Guitarworks (Kansas City), a NOS Kramer Schaller bridge from the ’80s, and a custom neck finished and fine-tuned by KC producer/luthier Justin Mantooth. The secret sauce to Paul Malinowski’s setup and rhino-charging tone has nothing to do with gear, but rather the unison tuning (C-G-C-C) that he employs for most of Shiner’s songs. He hammers away on Dunlop strings (.050–.110) with Dunlop Tortex .73 mm picks (yellow).
A Blast From the Past
Prior to bringing the project P into the mix, Paul would rely on this 1983 Fender Elite Precision Bass II. As with a lot of instruments made in the ’80s, there was some serious innovation on deck. Fender’s high-end attempt at an active bass features noise-cancelling, split-coil passive pickups (Paul mentions the bridge pickup is thin sounding and never stood a chance in Shiner), an active preamp that boosts output and improves control operation, and a Bi-Flex truss rod (allowing adjustments in both directions). This one often rides in D-standard tuning (D-G-C-F). Paul feels this instrument has “a little more throat to it” than the Squier P. And a big reason this Elite looks anything but is because Paul shredded away its finish when he played with flexible copper picks for years.
Pulverizing With Peavey
During Shiner’s initial run, Malinowski pumped his Ps through a Mesa/Boogie 400+ and 2x15 cab. After the band stopped touring, he sold the rig to a friend. On the lookout for a new setup, he found luck with this Peavey Classic 400 that he scooped for $50 from the Musician’s Friend scratch-and-dent warehouse in Kansas City. The fault was resolved with a fresh fuse cap. The 400-watt bruiser runs off 14 tubes (eight 6550s, five 12AX7s, and one 12AT7). Malinowski lives in the crunch channel.
Ranger Rock Ready for Duty
This custom-made Ranger 2x15 was built by fellow Kansas City dweller Scott Reed. The design removed the industrial vibes of the ported Mesa Diesel cab he previously used for an heirloom furniture look. It does have a pair of EV15L drivers in it, too.
Malinowski’s Mass Distortion
The signal from the P goes into the Ernie Ball VP Jr that feeds the Boss TU-2 Chromatic Tuner. The first two tone ticklers are both always on. The Boss GEB-7 Bass Equalizer simply slides out the 500k frequency and the Maxon OD808 Overdrive reissue aggressively agitates the Classic 400. When Pete needs to restrain his buffalo bass tone, he pulls back the volume or changes his playing dynamics. The MXR EVH Phase 90 gets used along with an EBow. The DigiTech Bass Whammy gets used with the EBow and phaser, but is also engaged (in the low-octave setting) when he’s playing riffs on just the unison high strings to thicken everything up. The Boss MT-2 Metal Zone gets center stage for the Starless song “Giant’s Chair” or anytime he wants to ride the feedback bull. The MXR Tremolo has its moment during the intro of “Giant’s Chair” (joining the MT-2 to create a buzzsaw super chop). And the TC Electronic Flashback dazzles and delays in spacy sections.
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Montana’s own Evel Knievel
If artists aren’t allowed to take risks, and even fail, great art will never be made. Need proof? Check Picasso, Hendrix, Monk, and Led Zeppelin.
In sixth grade, I went to a strict Catholic school. When you have an Italian-Irish mother, that’s just part of the deal. The nuns had the look and temperament of the defensive line of the ’70s Oakland Raiders. Corporal punishment was harsh, swift, and plentiful–particularly toward boys—and we all feared them. All but one second grader. I can’t remember his first name; nobody used it, because his last name was Knievel. His uncle was Evel Knievel, the greatest and perhaps only celebrity ever to come from my home state, Montana. On the playground, we would watch in awe as this wild Knievel kid raced by us, nuns chasing in an awkward, sluggish pursuit as he knocked kids over, dust, books, and gravel flying behind his path of terror. This kid was fearless. It was truly inspiring to watch.
I hadn’t thought about my schoolmate for decades, until recently, when I saw Dave Chappelle talking about a terrible show he had in Detroit where the audience rebelled against him and began chanting, “We want our money back. We want our money back.” Chappelle told the angry mob: “Good people of Detroit. Hear me now. You are never getting your f*****g money back. I’m like Evel Knievel. I get paid for the attempt. I didn’t promise this shit would be good.”
Good art is a gamble. Look at Picasso. In 1907, he spent nearly a year drawing rough sketches and eventually painting his jagged, raw, unpretty Les Demoiselles d’Avignon. Picasso kept Les Demoiselles d’Avignon in his Montmartre, Paris, studio for years after its completion due to the mostly negative reaction of his immediate circle of friends and colleagues. After its first public showing in 1916, critics were hostile. Today, the painting is hailed as a pivotal moment in art history—the first true work of both Cubism and modern art. Many argue that the 20th century began culturally in 1907, with this painting that today hangs in the Museum of Modern Art in New York. Picasso wasn’t paid to make folks comfy; he got bank for shoving boundaries.
Similarly, I remember my sister and I watching a clip of Hendrix’s feedback-drenched “Star-Spangled Banner” at Woodstock. I couldn’t really process it at the time, but I knew I was watching something that had never been done. When he got to the “bombs bursting in air” part, it sounded like a barrage of explosions. Then, he references the mournful military bugle call “Taps,” played on bases at the end of each day and at funerals. My sister was offended. When I asked why, she said it was “unpatriotic.” I watch it now and I see a Black Army veteran who justifiably had a complex relationship with the country he had served. Martin Luther King was assassinated a year earlier, police brutality toward Black citizens was common. Black Americans were disproportionately stuck in low-wage jobs, and unemployment rates for Black workers were roughly double those of white workers. And although Hendrix was discharged, many of his Army buddies were overseas fighting a war they did not understand or support. So, yes, unpatriotic seems appropriate. But Hendrix’s performance was iconic because he dared to try to show his complex feelings through his guitar.“That’s the sweet spot: Fearless doesn’t mean flawless.”
Listen to Led Zeppelin’s groundbreaking “Black Dog.” The B section is so wonky, sticking out like a sore thumb with that weird timing that always feels wrong to me, but it would not be the rock masterpiece it is without that unsettling section. Maybe that’s the sweet spot: Fearless doesn’t mean flawless. Thelonious Monk’s janky genius proves that; those off-kilter notes hit you in the gut, not the head. Beck, Bowie, Coltrane… they didn’t polish away the edges; they leaned into them. That’s what makes you feel like a kid at an amusement park, wide-eyed and along for the ride.
When somebody hires me, they get what they get. I want to nail it, but art is subjective, so my idea of what feels right may not jibe with theirs. Humans are not great at communicating, so often I walk away from sessions and gigs wondering if my contribution was good, great, or garbage. But that’s a stupid question I try not to allow myself to indulge. You can’t do great work playing scared. There are times when music is not creative, just painting by numbers, trying to give the customer what they think they want. I do a lot of that to make a living, but that’s more like being a vending machine spitting out custom orders, not an artist.
Real artists are like that Knievel kid—leaving a trail of chaos, and not apologizing for it. I think artists who do it the best flip the script. Their audience isn’t just a judge, but a co-conspirator in the mess. They’re betting on the artist’s next move, not buying a finished product. They’re paying for the front-row seat to potential, not a flawless show. The paycheck was for the swing, not the home run. If the audience pays for “enjoyment” that turns artists into jukeboxes, not creators… if artists aren’t free to fail… innovation dies.
Stringjoy has introduced the Ariel Posen Signature String Set, a heavy-gauge Nickel Wound set designed in close collaboration with acclaimed slide guitarist and singer-songwriter Ariel Posen.
The Ariel Posen Signature String Set from Stringjoy
Ideal for B Standard, Open C, and other lower tunings, this set offers exceptional tone and feel for players who want to explore new sonic territory while maintaining their guitar's unique voice.
Each string in this set is built with Stringjoy’s trademark quality: wound at tension with high compression winds for maximum output, durability, and smooth playability. The result? Strings that hold up under pressure while delivering a natural, expressive voice—perfect for hybrid playing and expressive slide work.
Ariel Posen Signature Set Specs:
• .014 – .018p – .026w – .038 – .050 – .062
• Wound 3rd string
“If you didn’t know these were 14-62 gauges, you’d swear they were just 11s tuned down,” said Ariel Posen. “They feel like home and preserve the sound of the guitar, even in lower tunings. That’s the biggest thing—it still sounds like guitar.”
“We’ve spent ten years experimenting and testing together to find the right combination,” said Scott Marquart, Stringjoy Founder & President. “This release is more than just a new product—it’s the culmination of a shared journey between friends and musicians. Ariel’s set is uniquely him, and I think players will love how it feels and responds.”
Stringjoy’s Ariel Posen signature string set carry a street price of $13.99. Learn more at at stringjoy.com.
Kemper updated the entire product range introducing the all-new Kemper Profiler MK 2 Series. More Power. More Flexibility.
KEMPER PROFILER - The all-new PROFILER MK 2 Series
Kemper today announces the immediate availability of the all-new KEMPER PROFILER MK 2 Series. Kemper continues to raise the bar with the upcoming Profiler MK 2 Series — a bold evolution of the Profiler lineup (All PROFILERs: Head, Rack, Stage, the Player, and the powered versions), delivering more power, more flexibility, and more creative potential than ever before.
At the heart of the PROFILER MK 2 Series works an upgraded processing engine, unlocking faster performance, with boot times clocking in around 20 seconds, and a host of new features that expand the boundaries of what a modern guitar or bass rig can do.
A New Era of Effects:
20 Blocks in Series, the most powerful effects architecture ever found in a Kemper unit - The PROFILER MK 2 Series now offers seven additional effect blocks, raising the total number of simultaneous audio effect blocks to an incredible 20 — all running with zero added signal latency. It’s like having an entire, fully integrated pedalboard with pedal essentials at your feet — but one that boots in seconds, never needs rewiring, and always remembers your settings.
A new Era of Profiling:
Kemper announces a new profiling technology for the MK 2 series. Availabilty is expected during Summer. Currently in extended testing with some selected third-party profile vendors the new profiling offers:
- More than 100,000 individual frequency points meticulously analyzed for the most precise amp recreation ever achieved.
- Next-Level Speaker & Dynamically adjustable Cabinet Resonance – Capturing the true dynamics of your setup with the longest and most complex impulse responses in the industry.
- Liquid Profiling Technology – Seamlessly integrate the original amp’s gain and tone controls, transforming a single profile into a fully dynamic, living amplifier.
- Unparalleled Precision & Feel – A cutting-edge hybrid approach combining precise, deterministic analog measurement with Kemper’s industry-leading profiling intelligence.
Overview - All that’s new in the PROFILER MK 2 in more Detail:
All-New FX Section – 7 Additional FX Slots - ThePROFILER MK 2-Series introduces an expanded FX section with seven dedicated “pedalboard essential” FX slots, featuring: A new second Noise Gate (Palm Ninja), Compressor, Pure Booster, WahWah, Vintage Chorus, Air Chorus, and Double Tracker.
Adding these to the pre-existing 10 audio blocks, Spectral Noise Gate, Transpose Effect, and Volume Pedal - in total this provides users with 20 simultaneous audio effect blocks, setup gig-ready right out of the box while maintaining full flexibility for customization.
This new layout makes it convenient to cover all the bases and offers 8 flexible FX blocks available for the acclaimed tone shapers and studio-grade unique FX the KEMPER PROFILER is famous for.
Performance Meets Portability - With a smarter internal design and new lightweight aluminum components, the Profiler Stage Mk 2 has shed excess weight — making it even more gig-friendly without sacrificing the tank-like build quality musicians rely on. Whether for touring the world or heading to a local session, this is the most travel-ready full-featured Profiler yet.
Mk 2-ready Player! - For all guitarists and bassists already rocking the compact PROFILER Player, there is good news: it’s been “MK 2”-ready from day one, meaning it’s fully aligned with the power and potential of the new series, and now, on LVL 1 already, it features 16 simultaneous FX in total. This new extended signal flow becomes available for all Player owners as a free update, and yes, it will get Profiling, too. Making the PROFILER Player out of the box the features richest and most professional performance and recording solution - with its travel-friendly footprint and convenient price point!
8-Channel USB Audio Support for the new Mk 2-Series - Native 8-channel USB audio support to all KEMPER PROFILER MK 2 Series units, enabling seamless multitrack recording and reamping directly into your DAW – no external interface required.
Loop Longer, Play Harder - The integrated Looper also gets a serious upgrade. With up to two full minutes of recording time, the MK 2 Series lets you capture extended phrases, build layered soundscapes, or craft entire performances — all on the fly. (Looper available from LVL 3 for the Player)
Speed and Responsiveness Upgrades - Major improvements under the hood. Boot times, preset switching, and UI responsiveness are noticeably faster and smoother, especially in Performance Mode.
Christoph Kemper, Founder & CEO:
“The new PROFILER MK 2-Series makes the PROFILERs feel more like a complete rig than ever before. With instant access to essential FX, full USB audio integration, and improved playability, we’re giving our users a platform that adapts and grows with them.”
Pricing & Availability:
The new KEMPER PROFILER MK 2 Series models are available now from dealers worldwide and directly from the Kemper Online Store. All the new features require a KEMPER PROFILER MK 2 Series device. Visit www.kemper-amps.com for downloads and release notes.
PROFILER Head $1,348.00
PROFILER Rack $1,398.00
PROFILER Stage $1,498.00
PROFILER Player $ 699.00
PROFILER PowerHead $1,798.00
PROFILER PowerRack $1,798.00
PROFILER Remote $ 469.00
At a glance!
The Kemper Profiler MK 2 Series isn’t just about doing more. It’s about doing it better, faster, and without compromise. With unmatched tonal power, surgical precision, and effortless usability, this is the most complete and forward-thinking Profiler platform yet.
The Billy Idol guitarist rides his Knaggs into Nashville.
There’s nothing subtle about Billy Idol, so it tracks that there’d be nothing subtle about the guitars used onstage by his longtime guitarist, Steve Stevens. Famous for his guitar work with Idol and the Grammy-winning symphony of sustain “Top Gun Anthem,” Stevens brought a brigade of eye-popping signature electrics and some choice other jewels out on the road with Idol this spring.
The tour touched down at Bridgestone Arena in downtown Nashville in May, and while Stevens was jetting into town, PG’s John Bohlinger met up with tech and guitar builder Frank Falbo to learn the ins and outs of Stevens’ rig.
Brought to you by D’Addario
Cherry Pie
This cherryburst is one of a score of single-cut Knaggs Steve Stevens signature models in Stevens’ arsenal. He plays with heavier Tortex picks and uses Ernie Ball strings, usually .010–.048s.
More, More, More (Sustain)
This Knaggs Steve Stevens Severn XF, complete with a Sustainiac pickup system, was designed to mimic the look of one of his old guitars, and the stage lights make this finish go insane. It comes out for three to four songs in any given set, including “Rebel Yell.”
Songs from the Sparkle Lounge
This Knaggs Steve Stevens, finished in silver sparkle, is outfitted with a killswitch, push-pull control knobs, and Fishman Fluence pickups. Falbo was on the R&D team that helped design the Fluences.
Other guitars backstage include a red sparkle Knaggs with PAFs, a Godin LGXT with piezo saddles and Seymour Duncan pickups that sends three signals (synth, electric, and piezo), a pair of piezo- and MIDI-equipped Godin nylon-string guitars, a dazzling Gibson Les Paul with stock Gibson pickups, a Suhr T-style electric, and a Ciari Ascender for travel and dressing-room rehearsal.
Tube Heart, Digital Brains
Stevens runs through a pair of Friedman heads—a B100 and Steve Stevens SS100, plus a third backup—with each panned hard to either the left or right. Both signals run through a Neve 8803 rack EQ into two RedSeven Amplification Amp Central Evo loadboxes, and through their impulse response programs to front of house. A Neural Quad Cortex is on hand as a backup and for fly dates.
Steve Stevens’ Pedalboard
Stevens’ pedal playground is masterminded by an RJM Mastermind GT, which lives on its own board alongside a Fractal FM3 MK II. He orchestrates most of the changes himself, but Falbo is ready to flip switches backstage in case Stevens is away from his board for a key moment.
The centre hub, built on a Tone Merchants board, carries a TC Electronic PolyTune2 Noir, Xotic Effects Super Sweet Booster, Vox wah, Ernie Ball volume pedal, Mission Engineering expression pedal, DigiTech Whammy Ricochet, Suhr Discovery, JHS Muffuletta, DigiTech Drop, ISP DECI-MATE, Walrus Voyager, Suhr Koji Comp, Zvex Super Ringtone, DryBell Vibe Machine, and Ammoon EX EQ7. An Ebtech Hum Eliminator, two Strymon Ojais, and a Strymon Zuma keep the wheels greased.
The board to the right carries a Boss RV-500, Fender Smolder Acoustic OD, Lehle Dual Expression, Boss GM-800, Empress Bass Compressor, Grace Design ALiX preamp, Fishman Aura, and a Peterson tuner. Utility boxes include an Ernie Ball Volt and a Radial J48.