We get the scoop on the gear behind Mick Thomson’s and Jim Root’s brutal sound thanks to their signature guitars and 100-watt rock-boxes.
In Cedar Rapids, Iowa, on Mother’s Day 2015, Slipknot guitarists Mick Thomson and Jim Root took some time before their somewhat hometown show and hung with PG to talk about signature guitars, tube heads, and the handful off effects they need to punish arenas each night.
Mick Thomson is a creature of habit—give him a few of his Ibanez MTM signature guitars packed with his Seymour Duncan EMTY Blackout pickups and he’s a happy dude. Each one of his guitars features a mahogany body, maple neck, and rosewood fretboard.
As far as he’s concerned, the best guitar he has out on the road right now is his white-and-black “storm trooper” Ibanez MTM that’s kept tuned to dropped-B. According to Thomson, it’s perfect for rhythm work and can stand up against any other 6-string in his collection for leads. Nearly all of 2008’s All Hope is Gone and the bulk of the rhythm material for last year’s .5: The Gray Chapter was done with the storm trooper. For this run, the band is primarily using two tunings and he uses a different set of D’Addario EXL117 strings for each one. For dropped-A tunings, he goes with .011–.058 and for dropped-B tunings he goes with .012–.068. Thomson recently worked with Dunlop to create a custom Jazz III pick made of a graphite composite because he feels they’re slicker, harder, and doesn’t make any scraping or scratching sounds when they wear down.
This is #7’s backup to the storm trooper—his very first prototype he got for his signature line back in the early 2000s.
Thomson starts the night out with this Oakland Raiders-themed Ibanez MTM that’s tuned to dropped-A for “Sacrastrophe.”
Thomson’s newest signature model features a carbon-fiber cap on the body and headstock and is tuned to dropped-A.
All of Thomson’s Audio-Technica wireless packs on his guitars are protected by Trojan condoms to keep them from getting wet from water, beer, sweat, and blood.
Much like his guitars, Mick rocks only the gear with his name on it—for this tour, he’s been using two Rivera KR-7 heads. One head goes to front of house and the second head runs through a 1x12 iso cabinet with a Celestion G-12K-100 because it meshes well with the third channel of the KR-7 and allows more headroom giving more clarity to the drop-tuned notes.
The secret weapon of his amp setup is the Rivera RockCrusher because he runs the FOH signal through the unit allowing him and his tech to color and dial in the sound from room to room or venue to venue. In addition, the RockCrusher can emulate most speakers on the market making it an invaluable tool for Mick in the studio.
Thomson’s rack of effects is slim—but utilitarian. He only uses six effects plus a Voodoo Lab Pedal Power ISO-5 and Peterson Stomp Classic tuner. His noisemakers include a Maxon OD-820 Overdrive Pro for lead boosts, an Electro-Harmonix Bassballs that’s kicked on for “Disasterpiece,” an MXR Carbon Copy Delay for parts of “Vermillion,” a Death By Audio Fuzz War, and a custom-made octave fuzz created by Thomson’s tech Kevin Allen. Mick commissioned his tech to make the filthiest, gnarliest, most obnoxious-sounding fuzzbox possible because as the guitarist sees it, “the fuzz better fuck your sound up.” He uses the custom octave fuzz on parts of “Duality.”
His rackmounted gear includes Audio-Technica wireless units, a Furman power conditioner, a Boss GT-Pro, and a Dunlop Custom Shop DCR-2SR Cry Baby Rack Wah. Thomson uses the GT-Pro to mimic the vocal sounds he originally recorded on tracks like “Spit It Out,” “Surfacing,” “Prosthetics,” and others off their 1999 self-titled debut. He switched to the GT-Pro from the Boss GX-700 during the recording of All Hope is Gone because of the updated algorithms, added MIDI capabilities, and to preserve the 700’s life.
Tech Kevin Allen uses a Voodoo Lab Ground Control Pro backstage to do all of Thomson’s switching throughout a show.
Like his 6-string counterpart, Jim Root uses various body stylings of his signature Fender guitars that feature mahogany bodies, maple necks, rosewood fretboards—ebony for his Jazzmasters—single volume knob, and EMG pickups. All of his axes are equipped with Dunlop .011–.056 strings for dropped-A and .012–.058 for dropped-B tunings. And for guitar picks, #4 recently collaborated with Dunlop to customize a Jazz III nylon pick that is the shape of a Tortex III pick.
His newest signature guitar is a sandblasted Jazzmaster that he recently created with Fender. The company describes the process as “leaving the surface grain pattern wonderfully textured with parallel ruts and grooves in which the black grain-filler coat shows beneath the color finish coat.” Root commented that he feels the removal of some of the wood makes this particular Jazzmaster more resonant. This sig offset has an EMG 81 in the bridge and a 60 in the neck.
This signature model Jazzmaster is a flat-black model that is loaded with the EMG JH Het Set pickups that Root feels has more headroom and offers a more “rounder” saturation than the standard 81-60 pairing.
Jim’s favorite stage guitar has been his first signature Tele that was conceptualized with Fender in the early 2000s. The dual-humbucker, mahogany-bodied Telecaster has been used on every album and every tour since he received it nearly 10 years ago. Root hopes to convince Fender to do a limited run of relic’d copies of this guitar in the future.
His lone signature Strat has a matte silver finish with a patina copper pickguard. He currently uses this one the least because it is extra bright.
While he does a have a signature Orange head—#4 Jim Root Terror—he’s currently using a pair of Rockerverbs for his live sound. His main live amp is a Rockerverb 100 that runs into an isolated Orange 4x12 cab loaded with Celestion Vintage 30s that is close-mic’d with three Audio-Technica AT4050s.
His backup head is a Rockerverb 100 MKII.
Root’s batch of effects are fairly simple and straightforward as he has an old Boss NS-2 Noise Suppressor—he claims the updated circuitry and lead-free solder in the new versions are less desirable and impact his sound too much—an MXR Auto Q Wah, a Maxon AF-9 Auto Filter, a Maxon PT-9 Pro+ Phase Shifter, two MXR Carbon Copy Delays—each is set with varying decay and repeat lengths—an Electro-Harmonix Holy Grail Reverb, and an Electro-Harmonix Micro POG. A T-Rex FuelTank Classic powers his stomps.
His satellite board that sits out front onstage includes a Cry Baby controller for the rack-mounted wah, a third MXR Carbon Copy so he can create oscillating chaos, a Maxon FV10 Fuzz Elements Void, an MXR GT-OD for a backup dirt box, and a Dunlop JH1D Jimi Hendrix Signature Wah. He feels the Hendrix wah has a different vibe that is a bit more traditional sounding effect that harkens back to the earliest Vox models. The Hendrix wah sits on a G-Lab True Bypass Wah-Pad that allows Root to leave the wah half-cocked without having to ride the foot pedal.
Octave magic awaits! Enter the I Love Pedals giveaway to win the Electro-Harmonix (EHX) POG3. Return every day to increase your chances!
Electro-Harmonix POG3 Polyphonic Octave Generator Pedal
The world’s best octave effect just got better! The POG3 is the most powerful pedal in Electro-Harmonix’s revered line of polyphonic octave generators that continues to inspire and captivate musicians of all styles. At its core, the POG3 delivers lightning-fast tracking and perfect polyphony over 4 octaves with smoother tone and performance than ever before. From 12-string jangle to 6-voice drawbar organ sounds, the POG3 delivers an endless possibility of tone creation. The pedal has received many updates that further expand its tone shaping possibilities to enhance your performance on stage and in the studio.
There’s no disputing the influence B.B. King has had on the history of electric guitar music. We’re talking about his sound, his best records, his guitars, his showmanship, and his collabs, from an all-star jam at the 2010 Crossroads festival to, yes, even his 1988 U2 collab, “When Love Comes to Town.”
There’s no disputing the influence B.B. King has had on the history of electric guitar music.
With Lucille in hand—as well as other guitars—he carved out his sound by developing a signature one-of-a-kind vibrato and pick attack. His note choice, phrasing, and feel have basically become the fundamental vocabulary of electric blues. Even more than any other of his blues peers, his playing shaped blues and rock guitar. And that’s not to mention his singing.
So, on this episode of 100 Guitarists, we’re celebrating the King. We’re talking about his sound, his best records, his guitars, his showmanship, and his collabs, from an all-star jam at the 2010 Crossroads festival to, yes, even his 1988 U2 collab, “When Love Comes to Town.”
In our current listening segment, we’re talking about Brian John McBrearty’s recent meditation-jazz release Remembering Repeating and Julian Lage’s latest, Apple Music Nashville Sessions.
This episode is sponsored by Gibson.
A terrific twosome or a terrible twinning? It all depends on how you tame your treble.
Rein in those icy high frequencies with these handy tips.
Classic vintage Fender amps are renowned for their clean, shimmering tones. However, dialing in the “sweet spot” isn’t always straightforward, especially when you're playing on a new or borrowed amp. Pair these amps with Fender guitars—also known for their brightness—and the combination can sometimes result in ear-piercing treble and overwhelming volume. An amp that’s too powerful or an unsuitable guitar pairing can easily derail the musical moment you’re trying to create. So, controlling treble is crucial, particularly with louder amps.
In this article, I’ll share my experiences with Fender amps and how I’ve tamed treble issues through guitar tweaks, speaker swaps, amp modifications, and pedals. My goal is to help you achieve those glorious vintage Fender tones without losing your ears—or your audience—in the process.
Backline Bargaining
I’m extra cautious about bringing my brightest Strats or Teles to gigs with rented backline amps. Newer Deluxe Reverbs, for example, can be particularly tricky with dialing in a smooth tone. These amps often feature bright ceramic speakers and the EQ options are limited—there’s no bright switch to dampen the top end and no mid knob to add warmth.
Here’s what I do: I start by turning down the tone knob on my Okko Twinsonic overdrive pedal, which is very transparent. My old Ibanez Tube Screamers naturally rolled off much of the high end, making them easier to pair with brighter amps.
I also adjust the microphone placement set up by the sound crew. The tone gets brighter the closer the mic is to the center of the speaker cone. I angle the SM57 slightly and aim it closer to the outer edge of the cone, leaving a 3–4 cm gap from the grill cloth. Larger 12" or 15" speakers are more forgiving in this process, while smaller 10" speakers are less so. I’ve encountered challenging amps, like a Super Reverb loaded with 10" JBL speakers featuring aluminum dust caps. These amps sounded much harsher through the PA than they did on stage, making mic placement even more critical.
Dimming the Bright Caps
Bright caps are key components in shaping an amp’s treble response. On the Deluxe Reverb, the bright cap is always enabled, which can make brighter guitars sound harsh, especially at low volumes or when using fuzz pedals. Cranking the amp helps by adding more upper mids to the mix.
For my own Deluxe Reverbs, I sometimes disable the 47 pF bright cap or, more often, install a 25k mid pot on the back panel to add warmth. It depends on the tones I’m chasing.
Smaller amps like the Fender Champ and Princeton don’t have bright caps, which naturally gives them smoother tones. But if they sound too dark or muddy, you can add a bright cap. I installed a 100 pF bright cap on my 1966 Princeton Reverb (which has a Jensen C10N speaker from the same year, though not original to the amp). After experimenting, I settled on a 47 pF cap for just the right amount of clarity.
If you’re up for a bit of DIY, experimenting with bright cap values can significantly shape your tone. Black-panel and silver-panel Fenders typically use 120 pF bright caps, with exceptions like the Deluxe (47 pF) and the Princeton and Champ (none).
Guitar Tweaks for Warmer Tones
Your guitar’s setup can also make a big difference. Thin strings combined with pickups set too close to the strings can result in a thin, overly bright tone. Here’s how I address this:
● Lower the pickups slightly. I start with a 2–2.4 mm gap on the high E string and 2.4–3.3 mm gap on the low E, measured between the pickup pole and the string when fretted at the highest fret. Then, I fine-tune by ear to balance output across pickup positions.
● Use thicker strings for a warmer, fuller tone. I tune my guitars down to Eb to deepen the sound and increase sustain. Keep in mind, though, that this can create a looser, flabbier bass response on smaller amps.
● Hotter pickups add mids and bass, naturally reducing treble dominance. Alternatively, lowering the resistance of the volume pot can smooth out the tone by filtering high frequencies. However, changing pot or cap values will alter how your guitar responds when rolling down the tone or volume knobs.
Speaker Swaps
Finally, and perhaps most importantly, speakers play a huge role in shaping your tone. Swapping speakers or experimenting with extension cabinets is one of the most effective ways to adjust treble, mids, or bass. I’ve written extensively about this in previous articles, but it’s worth emphasizing here: The right speaker pairing can make or break your tone.
I hope these insights help you conquer any treble troubles and coax balanced tones from your Fender amps. Happy tinkering!
Tighten up your rhythm playing by focusing on how to get a great sound, balancing your wrist and elbow, and understanding how to subdivide rhythms.