Metalheads Diamond Rowe and Josh Fore keep it old school, with EMG-outfitted ESP speedsters hitting primed-and-dimed 5150s.
To most people, WWJD spells out “What Would Jesus Do?” But in the case of sworn shred disciple Diamond Rowe of Tetrarch, it stands for “What Would James (Hetfield) Do?”
“The longer you talk to me, you’re going to find out that I’m super old school with my rig,” admits Rowe. “We’ll go on tours and play festivals and people will approach us and ask, ‘why aren’t you doing this’ or ‘why aren’t you doing that’ and I’m just like, I don’t know … because Metallica did it this way [laughs].”
Tetrarch was founded in Atlanta during 2007 by friends (and guitarists) Diamond Rowe and Josh Fore. (Fore is also the band’s lead singer and handled drums for their 2013 EP Relentless). Ryan Lerner has been locked in at bass since 2009 and drummer Ruben Limas has been onboard since 2015.
The band hustled and self-released three EPs and their debut album Freak over the course of 10 grinding years. During that time, their thrashy roots broadened to incorporate nu-metal sounds delivered in a polished, more melodic, hook-laden package. That growth resulted in a deal with Napalm Records, where they released a LP (Unstable) and EP (Addicted) last year. The evolution of their sound and songcraft also saw a progression in gear.
“On the [early] EPs, I never did anything with delay pedals, phasers, or whammys—nothing—and I really wanted to try it,” Rowe told PG in 2017, around the recording of Freak. “Some of my all-time favorite bands have textural stuff like that. A lot of it came out sounding cool and we kept it. I was pretty happy about that. It’s fun to do live, too.”
Ironically, as the size of stages they played grew, Rowe’s gear footprint decreased. “I am one of those types of people,” she told PG. “I get emotional connections to my gear. The idea of switching my rig around gives me so much anxiety.”
The simplification of their rigs has only helped sharpened Tetrarch’s collective blade. And, specifically, Rowe’s reduction in pedals onstage has allowed the young flamethrower to torch crowds with a more immediate, powerful, direct punch to the gut.
Before Tetrarch’s opening slot for Sevendust at Nashville’s Wildhorse Saloon, PG’s Perry Bean stopped by to inspect the condensed-but-crushing setups of guitarists Rowe and Fore. Rowe shows off a sneaky upgrade—you’ll get plenty of clues in these captions—to her ESPs, allowing them to handle severely dropped tunings. Fore reveals how straight-forward his setup is so he can pull off riffing and singing. And both pile on the praise for their EVH bedrocks of gain.
[Brought to you by D’Addario XPND Pedalboard.]
Import Incinerator
Diamond Rowe has been a longtime endorsee of ESP guitars. She typically locks in with their single-cut 6-string models, but for Freak she went even heavier.
“The 7-string I liked was the Carpenter,” Rowe told PG in 2017. “It’s a beautiful guitar. It has a big body. It is heavy weighted like I like guitars to be. It’s a perfect fit for me. I love that guitar.” Since then, the band has evolved into using drop-A and drop-B tunings while shifting back to the standard 6-string format. The above shred machine (ESP LTD Deluxe EC-1000ET) helps facilitate familiar tension thanks to its EverTune bridge. Its voice comes to life with a set of EMG 81/60 active pickups. She puts on either Ernie Ball Skinny Top Heavy Bottom (.010–.052) or EB Skinny Top/Beefy Bottom (.010–.054) strings. She attacks the strings with Dunlop Jazz III and Tortex 1.14 mm picks.
Flamethrower
Here’s another one of Diamond’s ESP LTD Deluxe EC-1000ETs. This one is rocking a pair of EMG (57/66) active pickups, too. It rides in drop-B [B–F#–B–E–G#–C#] for the song “Take a Look Inside.”
Go for the Gold
Diamond started her playing career on a Gibson Les Paul Standard. All the guitars that followed had to pass her “toy test.”
“It’s probably because my first main guitar was a Gibson Les Paul Standard and it’s a heavy-weighted guitar,” Rowe admitted to PG. “Anytime I pick up anything lightweight I feel like I’m playing with a toy. It’s just a preference. I like feeling like I have something around my neck.”
The above ESP LTD Deluxe EC-1000T CTM is the heaviest, mightiest single-cut on tour with her. The gold-capped EMGs are still her preferred 81/60 combo. This sees the stage for songs from the band’s earlier EPs, when they lived in drop-C or D-standard tunings.
Mean Green
Rowe’s latest acquisition is this ESP E-II Eclipse Full Thickness that came to her stock with a set of EMGs (57TW/66TW) that offer coil-splitting for each pickup with individual push-pull controls on each volume knob.
Super-Smooth Smasher
Rowe had done several tours with her reliable Mesa/Boogie Triple Rec. However, whenever the band hit the studio, they’d track with a Peavey 6505.
“[For Freak] we used a Peavey 6505, and that’s the secret to studio tone for metal,” stated Rowe. “That or an EVH. That’s the tone that’s flawless for metal records and that’s predominantly what we used on this record. I think that’s on every recording we’ve ever done.”
So, when she was approached by EVH/Fender to try out some amps, she already knew things would get cooking. She tested the 50W EVH 5150 III alongside her Boogie for a few tours. But her world got rocked once introduced to the 100W EVH 5150 III 100S EL34. “I started playing it and immediately loved it,” said Rowe. “It has a smooth, saturated, high-gain tone that just meshes with Josh’s 50W 5150 III.”
Dirt and Dive Bombs
Diamond keeps things succinct on her pedalboard. For now, she only has two effects living in her stage setup: an always-on Ibanez TS9 Tube Screamer and a DigiTech Whammy for pure fun and note obliterating. A pair of Boss utilitarian stomps—NS-2 Noise Suppressor and TU-3 Chromatic Tuner—keep the guitars clean. Voodoo Lab has her pedals running and organized with a Pedal Power ISO-5 and Ground Control Pro MIDI switcher.
“Freak Tone”
Diamond has a rack that holds the pieces that make up her “freak tone” patch. It engages a Boss RV-6 Reverb, Boss DD-7 Digital Delay, Boss CE-5 Chorus Ensemble, and a MXR Uni-Vibe. Around back she has a pair of MXR Carbon Copy delays, too. The rack goodies are juiced with a Voodoo Lab Pedal Power 2 Plus.
Simple Screamin’ Demon
“I’m so simple as a guitarist, man” concedes Tetrarch frontman Josh Fore. “I never use the neck pickup and I might have tried the coil-split once [laughs].” Josh Fore’s go-to stage ace is an ESP LTD Deluxe TE-1000 EverTune that has a duo of EMGs (60TW-R and 81) and is finished with stealthy charcoal metallic satin. This one stays in drop-A tuning. All of Fore’s instruments take Ernie Ball Mammoth Slinkys (.012 –.062).
The Bee’s Knees
His first T-style from ESP was this honeycomb burst LTD Deluxe TE-1000 EverTune that barks with EMGs (57/66) and typically lives in drop-B tuning.
Bonded in Blood
Fore’s newest score is this slick ESP E-II Eclipse EverTune that is loaded with passive Seymour Duncans—Pegasus (bridge) and Sentient (neck)—and decked out with 22 jumbo frets, Dunlop Straploks, Gotoh locking tuners, and a graphite nut. If you look closely down by the controls, you’ll notice a darkened smudge on the binding that’s actually Josh’s blood from a rowdy show in Santa Ana. He sliced his finger during the second song of the set and, with a true showman’s attitude, continued playing while also personalizing his new prize. The bloody bomber hunkers down in drop-C tuning for Tetrarch’s earliest material.
Take Your Pick
Matching Rowe’s sonic swarm, Fore totes around a couple of EVH heads. Currently, he’s been preferring the 50W EVH 5150 III, but when additional sting is needed, he’s got the 100W down below. The only pedals in his entire chain are a duet of Boss NS-2 Noise Suppressors—one in front of the amp and one after—that kills any unwanted buzz and hiss.
For anyone serious about mixing their own recordings, it’s a tool worth considering.
In the world of music production, the tools we choose profoundly influence the final sound of our recordings. I want to make the case for adding one tool that is rarely, if ever, in the “must have” or “sexy gear” spotlight but can deliver huge results to your mixes: the console summing mixer. Tighten up your belts—the Dojo is now open.
While digital audio workstations (DAWs) have revolutionized music production, offering unparalleled editing and flexibility, many producers, including me, still mix back into an analog console for the sonic character and three-dimensionality that it imparts. But buying a professional console isn’t cheap! This is where console summing boxes come into play, offering a unique way to enhance your mixes and elevate them to a professional level.
How Does It Work?
Very simply put, recording consoles have two basic sections: an input section (all the channels of mic pres, and EQ) and a center section (that sums all of the channels together and routes those signals to various configurable outputs such as inserts and aux buses). A console summing mixer is essentially the center section of a console and is designed to sum the individual audio channels, aux buses, stems, and submixes from your DAW in an analog domain.
In a DAW, digital summing—the process of combining multiple tracks and buses into a stereo mix—is handled through complex binary algorithms that, while precise, can sometimes lead to a mix that feels lifeless and one-dimensional, lacking the warmth, depth, and cohesion that analog consoles impart.
One of the most significant advantages of using a summing box is the introduction of harmonic distortion, a natural byproduct of analog circuitry. This isn’t like amp or pedal distortion, but rather a subtle harmonic saturation that adds richness and character to the sound. Low-end frequencies gain girth and definition, while high frequencies have a smooth, silky quality. You can achieve natural compression through subtle variations in phase and amplitude, but that depends on how hard you push the summing mixer box.
But the best benefit, in my opinion, is its ability to produce an undeniably open stereo image. Digital summing, while accurate, often lacks dimension or a sense of space. Analog summing introduces subtle variations in phase and amplitude, creating a sense of width and depth that makes each instrument feel like it occupies its own space in a more 3-D stereo field, which results in a more engaging and polished mix. I’ve also found summing boxes encourage a more deliberate and thoughtful approach to mixing, as it requires submixing certain elements.
API’s ASM164 ($3,195 street) is wildly flexible, offering VU meters, multiple inserts, two separate stereo mix options, and more.
For those who work “in-the-box” and aren’t in the market for a summing box, let alone a console, incorporating a summing box can also serve as a valuable learning tool. By running stems through a summing box and comparing the results to an entirely digital mix, you can train your ear to recognize the subtle qualities that make a mix feel warm, cohesive, spatial, and dynamic. This heightened awareness can then inform your in-the-box mixing decisions, even when you’re not using a summing box.
“Whether you want to add depth and dimension to your tracks, enhance your stereo image, or bring a touch of analog magic to your mixes, a summing box can be a gamechanger."
It’s important to choose the right summing box for your needs and budget, as different models offer varying sonic characteristics. Good summing mixers typically start around $2,000, such as Rupert Neve Design’s 5057 Orbit Summing Mixer. While more expensive, API’s ASM164 ($3,195 street) is wildly flexible, offering VU meters, multiple inserts, two separate stereo mix options, and more. The key here is to understand your needs.
Pairing a summing box with high-quality outboard processors, such as compressors or EQs, will allow you to shape your mix in ways that are impossible within a purely digital setup.
Whether you want to add depth and dimension to your tracks, enhance your stereo image, or bring a touch of analog magic to your mixes, a summing box can be a gamechanger. For anyone serious about mixing, it’s a tool worth considering—one that can make the difference between a mix that’s good and one that’s truly exceptional. Until next month, namaste
A satin finish with serious style. Join PG contributor Tom Butwin as he dives into the PRS Standard 24 Satin—a guitar that blends classic PRS craftsmanship with modern versatility. From its D-MO pickups to its fast-playing neck, this one’s a must-see.
PRS Standard 24 Satin Electric Guitar - Satin Red Apple Metallic
Standard 24 Satin, Red App MetA reverb-based pedal for exploring the far reaches of sound.
Easy to use control set. Wide range of sounds. Crush control is fun to explore. Filter is versatile.
Works best as a stereo effect, which may limit some players.
$299
Old Blood Noise Endeavors Dark Star Stereo
oldbloodnoise.com
The Old Blood Dark Star Stereo (DSS) is one of those pedals that lives beyond simple effect categorization. Yes, it’s a digital reverb. But like other Old Blood designs, it’s such a feature-rich, creative take on that effect that to think of it as a reverb feels not only imprecise but unfair.
The Old Blood Dark Star Stereo (DSS) is one of those pedals that lives beyond simple effect categorization. Yes, it’s a digital reverb. But like other Old Blood designs, it’s such a feature-rich, creative take on that effect that to think of it as a reverb feels not only imprecise but unfair.
In this case, reverb describes how the DSS works more than how it sounds. I’ve come to think of this pedal as a reverb-based synthesizer, where reverb is the jumping-off point for sonic creation. As such, the sounds coming out of the Dark Star can be used as subtle sweetener or sound design textures, opening up worlds that might otherwise be unreachable.
Reverb and Beyond
Functionally speaking, the DSS starts with reverb and applies a high-/low-pass filter, two pitch shifters, each with a two-octave range in each direction, plus bit-crushing and distortion. Controls for lag (pre-delay), multiply (feedback), and decay follow, with mini knobs for volume, mix, and spread. Additional control features include presets, MIDI functionality, plus expression and aux control.
The DSS can be routed in mono, stereo, or mono-in/stereo-out. Both jacks are single TRS, and it’s easy to switch between settings by holding down the bypass switch and selecting via the preset button.
Although it sounds great in mono, stereo is where this iteration of the Dark Star—which follows the mono Dark Star and Dark Star V2—really comes alive. Starting with the filter, both pitch shifters, and crush knobs at noon—all have center detents—affords the most neutral settings. The result is a pad reverb, as synthetic as but less sparkly than a shimmer. The filter control is a fine way to distinguish clean and effect signals. In low-pass mode, the effect signal can easily get dark and spooky while maintaining fidelity and without getting murky. On the other end, high-pass settings are handy for refining those reverb pads and keeping them from washing out the clarity of the clean signal.
Lower fidelity is close at hand when you want it. The crush control, when turned counterclockwise, reduces the bit rate of the effect signal, evoking all kinds of digitally compromised sounds, from early samplers to cell phones, depending on how you flavor it. Counterclockwise applies distortion to the reverb signal. There’s a lot to explore within the wide ranges of the two pitch controls, too. With a four-octave range, quantized in half steps, the combinations can be extreme, and Dark Star takes on a life of its own.
Formless Reflections of Matter
The DSS is easy to get acquainted with, especially for a pedal with so many features, 10 knobs, and two footswitches. I quickly got a feel for the reverb itself at the most neutral filter and pitch settings, where I enjoyed the weight a responsive, textural pad lent to everything I played.
With just the filter and crush controls, there’s plenty to explore. Sitting in the sweet spot between a pair of vintage Fenders, I conjured a Twin Peaks-inspired hazy fog to accompany honeyed diatonic arpeggios, slowly filtering and crushing that sound into a dark, evil low-end whir as chords leaned toward dissonance. Eventually, I cranked the high-pass filter, producing an early MP3-in-a-good-way “shhh” that was fine accompaniment to sparser voicings along my fretboard. It was a true sonic journeyThe pitch controls increase possibilities for both ambience and dissonance. Simple tweaks push the boundaries of possibility in exponentially deeper directions. For more subtle thickening and accompaniment sounds, adding octaves, which are easy to tune by ear, offers precise tone sculpting, dimension, and a wider frequency range. Hearing simple harmonic ideas plucked against celeste- and organ-like reverberations kept me in the Harold Budd and Brian Eno space for long enough to consider new recording projects.
There is as much fun to be had at the highest feedback settings on the DSS. Be forewarned: Spend too much time there and you might need a name for your new ambient band. Cranking the multiply and decay knobs, I’d drop in a few notes, or maybe just a chord, and get to work scanning the pitch knobs and sculpting with the filter. Soon, I conjured bold Ligeti-inspired orchestral sounds fit for a guitar remix of 2001: A Space Odyssey.
The Verdict
The Dark Star Stereo strikes a nice balance between deep control, a wide range of sonic rewards, playability, and an always-sounds-great vibe. The controls are easy to use, so it doesn’t take long to get in the zone, and once you do, there’s plenty to explore. Throughout my time with the DSS, I was impressed with its high-fidelity clarity. I attribute that to the filter, which allows clean and reverb signals to perform dry/wet balance and EQ functions. That alone encouraged more adventurous and creative exploration. Though not every player needs this kind of tone tool, the DSS is a must-check-out effect for anyone serious about wild reverb adventures, and it’s simple and intuitive enough to be a good fit for anyone just starting exploration of those zones. However you come to the Dark Star, it’s a unique-sounding pedal that deserves attention. PG
Introducing the new Firebird Platypus, a tribute to the rare transitional models of 1965.
In early 1965, the original Firebird design transitioned through several different iterations. One of the significant transitions that occurred flipped the headstock to the Non-Reverse shape. Unlike the original Reverse Firebird headstock design, which featured a two-layered headstock with a holly veneer, the new headstock was flat, like the bill of a platypus.
Mahogany body and glued-in mahogany neck
The Firebird Platypus has a mahogany body with the appearance of a traditional neck-through Reverse Firebird body for that classic Reverse Firebird appearance, while the neck of the Firebird Platypus uses glued-in, set neck construction like the Les Paul and SG and delivers outstanding sustain and resonance.
Platypus transitional headstock design
The headstock features the flat, transitional style “platypus” design that was found only on rare models from the 1965 transitional period when the Firebird was gradually switching over from the features found on the original models that were released in 1963 to the features that were used for the later Non-Reverse Firebird models.
Firebird humbucker pickups
It’s outfitted with two Firebird humbucker pickups. These pickups are equipped with Alnico 5 magnets and have a unique sound that is not quite like any other humbucking pickup, with unmatched clarity, chime, and bite. They sound great for both clean and overdriven tones.
Exclusive Cherry Sunburst finish
This exclusive Cherry Sunburst finish is available only on Gibson.com and at the Gibson Garage.
For more information, please visit gibson.com.