Tag: Bass pedalboard

Rig Rundown: Train

Like King Ghidorah, these rock fretmasters prove three heads are better than one.


After a five-year break in studio releases, Train came roaring back this year with AM Gold and a tour with dates stretching into 2023 that’s delivering their new songs and a sampling of the group’s 28 charting singles from their nearly 30-year history. PG’s John Bohlinger stopped in on the band’s two guitar players, Jerry Becker and Taylor Locke, and bassist Hector Maldonado, before their June 21 show at Nashville’s Ascend Amphitheater. They displayed the big bevy of instruments they use to recreate the Train sound live.

PS: Special thanks to techs Wayne Davis and Stephen Ferrera-Grand for help running down the rigs.

Brought to you by D’Addario Nexxus 360 Tuner.

Yellow Fever

Taylor Locke’s No. 1 is this all-stock, scarred Gibson Custom Shop Les Paul Special in TV yellow. For the record, Locke uses Shubb and Kyser capos, strings his axes with Dunlops, and uses the latter company’s picks and slides.

Hum-Doozie

When the song calls for a guitar with humbuckers, Locke goes with his all-stock Gibson Custom Shop R7 Les Paul Goldtop. It’s essentially a re-do of a 1957 Paul right down to the chunky C-profile neck and Indian rosewood fretboard.

Double Trouble

Some of Train’s songs require both electric and acoustic tones, and for those Taylor employs an Epiphone Casino, which tech Stephen Ferrera-Grand has outfitted with Fishman’s PowerBridge pickup system. The jack on the Casino is stereo, which enables splitting the stock electric pickups and a piezo pickup to two separate wireless packs, mounted side-by-side on Taylor’s guitar strap. The piezo signal hits a Sound Sculpture Volcano expression pedal volume controller that routes to an on/off switch on his Line 6 HX Effects stomper. The piezo sound is sent to front-of-house and monitors via a Fishman Aura Spectrum DI preamp.

Fab Filtration Across the Nation

When it’s time to go Filter’Tron, Locke straps on this tuxedo’d G6128T Vintage Select ’89 Duo Jet with a trusty Bigsby. In case the colors aren’t shining though in the photo, it’s an impressive black with metallic green sparkle, and Locke keeps it tuned a half-step down and strung with Dunlop .011s

Old Frontier

Locke aims for a couple of classic acoustic guitar tones, and for vintage vibe he reaches for this 1964 Epiphone Frontier. It’s from the original ’58 to ’70 run, with a Sitka spruce top and maple back and sides. These days, the model has been restored to the catalog courtesy of Gibson’s acoustic builders in Bozeman, Montana.

Clydesdale Tone

The workhorse sound of the Gibson J-45 resonates in the Train catalog, and this is one of many the band keeps in their 6-string arsenal.

Reso-Phonics

When the language of roots guitar needs to be spoken, Locke grabs his Gretsch resonator—part of the company’s Roots Collection of guitars. This one uses Gretsch’s patented Ampli-Sonic biscuit cone.

Playing the Dozens

When it’s time to wrangle acoustic jangle, this all-stock 1971 Ovation Glen Campbell 12-string gets to shine and shimmer. Unlike modern 6-string Campbell signature Ovations, this guitar lacks a cutaway. It has a Sitka spruce top, a walnut bridge, and an ebony fretboard—and sounds killer.

It’s Pronounced Oo-koo-lay-lay in Hawaiian

The hit “Hey, Soul Sister,” which reached No. 3 on Billboard’s pop chart in 2009, is guaranteed set-list material for every show. So, of course, Locke always has a requisite ukulele onstage. Here’s a look at the pair of Godin ukes in his rack.

Lean, No Cheese, 35 Watts

Locke uses a Top Hat King Royal 2×12 combo kept slightly off stage but loud enough to be audible. The 35-watter has three 12AX7s and four EL84 power tubes, and a GZ34 governing the rectifier. There’s a fat-off-bright switch, too. How does he run it? See the next photo.

All Set!

Here are his settings for the Top Hat. Note the master volume riding at 1 o’clock and his preference for the hi-input jack.

Is That a Banana, or….

Locke isn’t monkeying around: If his Top Hat goes down, he’s got a Vox C4 tucked aside as a spare. And a banana—maybe to snack on while Ferrera-Grand powers the amp up?

The Great Switcheroo

Locke’s electric guitar signal hits a Shure Axient Digital wireless and zooms into a Radial SW4 switcher. Tech Stephen Ferrera-Grand does the wireless switching on the Radial unit, in his guitar rack.

Above the SW4, you’ll see, peeking out, the acoustic boss: a Countryman DI. The Godin ukuleles follow the same signal flow as the acoustics, but along a different path into a separate Countryman DI.

Treading the Treadles

From the rack, the signal is sent out to a Pedaltrain ’board, outfitted with a Best-Tronics patchbay. The board contains a Dunlop DVP1XL volume pedal to a Line 6 HX. A second DVP1XL controls certain effects parameters, such as delay repeats and Leslie speed. The signal is then sent into a Boss NS-2 noise suppressor and on to the Top Hat amp.

Each speaker gets its own microphone: a Shure SM57 and an Audio-Technica AT4040.

For the majority of the set, Taylor keeps his HX set up with the following effects models: a Tone Bender fuzz (for leads and solos), a Klon Centaur (primary overdrive sound, almost always on), an MXR Timmy OD (neutral volume boost), EHX Deluxe Memory Man (modulated slap delay), Boss DM-2 Delay (long delay), and a Fender Vibratone (rotary). Taylor scrolls to other pedalboard scenes for song-specific effects, using tremolo for “Meet Virginia,” a Small Stone phaser for “AM Gold,” and so on.

Butterscotch Bliss

Another entry from the realm of the classics: Jerry Becker’s 2011 all-stock Fender American Vintage ’52 Telecaster has an ash body, a large U-profile neck, and, of course, a maple fretboard. It is strung with Dunlop DEN1046 Electric Nickel Performance+ string sets, running .010–.046. PS: Becker uses Levy’s straps and wireless pouches, Dunlop custom graphic signature picks, and Kyser Quick-Change capos.

Red Horse

This Gibson SG Classic from 2010 is stock and strung with Dunlop Performance+ .010–.046 sets—as are all his electrics. It has P-90s, a rosewood fretboard, and pearloid dot inlays up the neck.

Guitar of the Beast

This second-generation Gibson Les Paul Special reflects the body style that led Les Paul himself to cut ties with Gibson in the early 1960s. Nonetheless, with their two P-90s and lighter slab bodies, these are killer guitars. The double-horn cutaways make this 1973 a rare beast. It’s stock.

All Stock and Ready To Rock

Here’s Becker’s 1973 Gibson Les Paul Custom, left as it came from the factory. As you may recall, this model comes with “banjo”-style fret wire, to earn their reputation as—as Gibson put it on the model’s introduction in 1954—fretless wonders.

Modern Classic

This Gibson ES-339 was built in the first year the model was issued: 2007. The company introduced this guitar as a smaller—Les Paul sized—take on the ES-335, with a laminated maple-poplar-maple body, a maple center block, and spruce contour braces.

One More 45

Here’s yet another of Train’s Gibson J-45s. This one is a 2013 Custom Shop model in a wine red finish, and it is strung with Elixir 11050 80/20 Bronze Polyweb lights, gauged .012 to .053.

Nashville Tuning

Becker’s 1966 Gibson B-25 is set up in Nashville, or high strung, tuning. In this tuning, the wound E, A, D, and G strings are replaced with lighter-gauge strings tuned an octave higher than usual. In the old days, this had to be done by raiding 12-string sets, but some modern string makers produce Nashville tuning sets. So, Becker uses D’Addario EJ38H Phosphor Bronze .010–.027s.

Canadian Nylon

This 2017 Godin Multiac Nylon Duet Ambiance Natural HG has Fishman electronics that allows the internal blending of four microphone settings. It also sports a slim nut width (1.9″), a Richlite fretboard, and a chambered mahogany body. The strings: D’Addario EJ31 Pro-Arté Rectified Nylon Hard Tensions.

In the Pedal Pond

Becker uses a Fractal Audio Systems FX8 MkII combined with a Mission Engineering SP-1 Expression Pedal. There’s a Lehle D.Loop SGoS Loop Switcher, a Boss TU-3 Tuner, a Radial JR-2 Remote, and a Lehle P-Split Passive Splitter. It’s all powered by a Voodoo Labs Pedal Power 2 Plus.

But Wait, There’s More

Guitar tech Wayne Davis mapped out Becker’s signal flow for us. The electric guitars hit a Shure Axient Digital Wireless receiver and flow into a Radial JX62. There, the 6-strings can be directed into the Lehle D.Loop in and then out via a loop A send to the Fractal FX8. The loop A return then reroutes through a D.Loop out to the Radial again. Then there are amp options: a Matchless DC-30 or a Leslie combo preamp and 145 rotary speaker cabinet. Acoustic guitar arrives via the wireless and hits the PA via the JX62 DI out.

Green Sound Machine

This envy-shaded DC-30 is Becker’s big gun. It was the company’s first design and gets huff from four EL84s, with two preamp sections: one powered by two 12AX7s and the other by a single EF86. That’s a lot of tonal versatility.

The Understudy

This Vox AC30 acts as Becker’s back up.

Coming Up Roses

Bassist Hector Maldonado’s long search for an early ’60s P bass landed him this 1960 Fender Precision days before Train’s current summer tour. The gem was professionally refinished by Joe Riggio of Riggio Custom Guitars at some point, but other than that it’s as Leo intended over 60 years ago. Riggio helped connect Maldonado to the seller so he could acquire his dream bass.

No. 2

With the arrival of his new old P, this off-the-rack Fender American Vintage ’62 P bass reissue got demoted to the No. 2 slot. But Maldonado says it plays better than some of his vintage instruments, and this 4-string has been around the world a few times with Train. Both Fenders take D’Addario roundwounds (.045–.100).

Sir Paul’s Highball

If you’ve spent time with any of the last three Train albums, you’ve heard this limited-run Hofner Gold Label Violin Berlin model. It is made of German Nussbaum wood and has the company’s 511B staple pickups in a normal-spacing configuration. Hofner’s Gold Label instruments are highly limited editions.

Get Back!

For the ultimate Beatles’ vibe, Maldonado uses this Hofner B-Bass HI-Series Violin model. It provides the desired “pluck” sound of 1964. Both of his stage Hofners take D’Addario XL Chromes, flatwound (.045–.100).

Spanish Flair

“Cleopatra” off AM Gold has a flamenco guitar part. Maldonado is classically trained, so he was the obvious choice to handle it, plus Becker and Locke are already busy with their own guitar chores on the song. Hector’s setup on his Yamaha CG172SF is creative. He uses a blend of strings from his Fender Bass VI and nylon guitar strings to hold down the low end and shred fingerstyle.

Racked and Ready

A Mesa/Boogie Subway D-800+ powers his basses, while an Avalon U5 Class A Active Instrument DI give a clear signal to front-of-house. And like his compatriots, he’s running a Shure AD4D rackmount wireless system.

More on the Floor

Maldonado has more pedals on the floor than his fellow Trainmen. His stomp station consists of a trio of mini MXRs—a Carbon Copy, Phase 95, and Vintage Bass Octave—plus an Electro-Harmonix Holy Grail Nano reverb, a Tech 21 SansAmp Bass Driver DI, a DigiTech Bass Driver OD, an Origin Effects Cali76 compressor, and a Mesa/Boogie Five-Band Graphic EQ. A Dunlop Volume (X) DVP3 and a Boss TU-3s mini Chromatic Tuner keeps his instruments reined.


Rig Rundown: The War on Drugs [2022]

Bandleader Adam Granduciel on how single-coils, the Dead’s Wall of Sound, and cascades of chorus build his live tones. Plus, bassist David Hartley gets weird, wild, and wonky.


For nearly two decades and across five albums, The War on Drugs’ founder and frontman Adam Granduciel has narrated our complex modern lives while his band has scored our dreams.

The captivating moods of their music, much like us, morph from dense melancholy to saturated, swirling madness and everywhere in between. Granduciel often layers his Springsteen-meets-Young proletariat prose atop a post-rock soundscape, but the heartbeat of their impressive, expansive live shows is their gear and how it is implemented.

“I could play the whole tour with two or maybe three guitars—a White Falcon, Strat, and maybe a Jazzmaster—but I bring all these out just for fun,” he says with a laugh as he considers his trove of axes.

So, let’s have some fun already! Before a full evening of The War on Drugs’ jams in support of 2021’s I Don’t Live Here Anymore, PG was invited to Nashville’s historic Ryman Auditorium. We covered Granduciel’s growing guitar collection, got the skinny on how Jerry Garcia’s monstrous setup played into the bandleader’s theatre rig, and we took in a cockpit view of his stompbox squadron full of tone ticklers, sizzlers, and wigglers. In addition, bassist David Hartley showed off a trio of Ps, an armada of Ampegs, and demo’d a fuzz that has ended his quest for razing tones.

Brought to you by D’Addario XPND Pedalboard.

Keeping It in the Family

If you’re a fan of Rig Rundowns or Kurt Vile & the Violators, you’ve already seen this Strat. The above Fender American Vintage ’57 reissue was once owned by Jesse Trbovich, who’s flanked Vile for years. Trbovich landed a true-blue ’70s Olympic white Strat and needed to unload this to make room. Granduciel quickly raised his hand as a landing spot because he really enjoyed how comfortably the neck played. And since bonding with it, he likes its low-output single-coils because he can “juice it with pedals.” (It’s worth noting that Trbovich put in a Seymour Duncan Antiquity II Strat Surfer Series in the middle position, allowing him to have hum-canceling operation in the second and fourth position.) All of Granduciel’s electrics take Ernie Ball 2220 Power Slinkys (.011–.048).

It’s the One

“When this thing is in my hands, I can react with it, and it becomes this whole other animal. It can be unwieldy, but this guitar plugged into a cranked Princeton or small tweed sounds incredible,” allows Granduciel. So, as you can imagine, this 1969 Gibson SG is Adam’s right-hand when it comes to recording, but, as he explains later in the video, it doesn’t coexist pleasantly with his live setup. He scooped this gem at Rivington Guitars in New York City.

Story Time

Flip a Coin

Granduciel had lusted after this vintage offset for weeks when seeing it listed on Reverb by Chelsea Guitars. The listing was removed and he thought that it was gone forever. A few months later, he was in NYC and decided to stop into the shop and, low and behold, the sunburst Jazzmaster was on their bench in pieces. Apparently, the original buyer from the Reverb listing was after a birth-year model (1964, as listed on the Reverb page), but when he removed the neck its pocket revealed a 1963 date. He traded in the guitar for a proper ’64 and, fatefully, Granduciel didn’t let a second pass before offering to buy it. Alongside the SG, this is another heavy hitter for recording.

Down Under with Terry

During a 2018 tour of Australia, Granduciel scored this 1966 Fender Jazzmaster that looks swanky with a matching black headstock. He claims the rhythm circuit in this one “sounds killer,” while the lead circuit is “super bright and used on ‘Occasional Rain.’” In addition to being a remarkable instrument, he loves that it reminds him of a short span of time that included a wonderful tour of Down Under, earning a Grammy for Best Rock Album, and the Philadelphia Eagles winning the Super Bowl.

Checked Past

Cracks aren’t meant to be beautiful, especially on guitars, but looking at the ’66’s backside reveals a twisted thumbprint.

Fly, Firebird Fly

This 1965 non-reverse Firebird was upgraded by its previous owner with a set of Lollar P-90s. If you recall the last Rundown with TWOD, Granduciel added a Bigsby, but that has since been removed.

Ol’ Reliable

This Fender American Vintage ’65 Jazzmaster has been a dependable dynamo for Adam. He prefers it because he knows what he’s going to get sonically and he can throw it around without worry. The newer pickups offer a snarlier tone, so it gets used for songs like “Pain,” and the top-end sear helps him cut through the seven-piece live band.

Hummingbird Season

This new-ish Gibson Hummingbird gets busted out for C# tunes and features a LR Baggs M1 soundhole pickup.

Bastion of Tone

Not quite the famed Wall of Sound procured by the Dead and audio engineer Owsley “Bear” Stanley, but Granduciel’s evolving setup is heading in that direction.

Alembic Ace

Since our last Rundown, Adam has ditched the Hiwatts (although he admits to enjoying that era of TWOD) for the Alembic F-2B Stereo Preamp that was used by Jerry Garcia and David Gilmour. He describes its circuity as mimicking the front end of a Fender Dual Showman. “There’s just so much clean headroom and they’re so creamy. And I don’t know what it is, but single-coils and P-90s just come to life here in a way that other amps don’t, so maybe that’s why Jerry and David used them so much.” The Mesa/Boogie Stereo Simul-Class 295 powers the Alembic. He does run a direct line signal from the F-2B to FOH for a clean DI option.

Take a Guess

In the video, Granduciel challenged me to guess how many speakers are in the oversized cab, and I said four. Seemed logical but, as he quickly pointed out, the Marshall 2041 Lead Organ has only a pair of Celestion (pre-rola) 12″ speakers. The Alembic runs through this pillar of power.

Fender Firepower

The other side of Adam’s grand equation is a 1960s Fender Bandmaster head that hits a Marshall 1960BV 4×12.

The Swart Solution

As we alluded earlier, his beloved 1969 SG doesn’t jive with his Alembic-Fender setup, so he incorporates its humbuckers into his live rig by plugging into the 5W Swart STR-Tremolo. The SG and Swart typically dance for “Thinking of a Place,” but Granduciel admits to kicking it on with the Fenders during the heat of battle and treating it like a tremolo pedal for parts of “Pressure” and other jams. To the right of the Swart you’ll notice a pair of Rockman Tom Scholz (yeah, the Boston legend) Power Soak attenuators throttling the Alembic and Fender.

Keeping Time in the Loop

The band uses this AKAI Professional MPC Live II for additional drum machines for the show.

User Input

They are harnessed by four Boss FV-500L Foot Volume Pedals controlled by Adam that allow him to bring the samples into the room mix. Additionally, the band syncs their modulation to it, so everyone is locked in. (The MPC clocks or syncs the pulsing of the tremolo for the band. Adam uses a Lightfoot Labs Goatkeeper 2, while bassist David Hartley uses a Malekko Goatkeeper.)

Horseshoe of Madness

Here’s a crow’s-nest view of Adam Granduciel’s massive pedal playground.

Bradshaw’s Boardroom

Most of what Adam does with his feet is simplified by this Custom Audio Electronics R-ST 24 + 2x PSS MIDI controller.

The Fun Begins

Here’s one of the sections of Granduciel’s expanding pedalboard that includes a Wren and Cuff Tri Pie 70, a MXR/Custom Audio Electronics Boost/Line Driver, an Ernie Ball Expression Tremolo, anElectro-Harmonix 1440 Stereo Looper, a Lightfoot Labs Goatkeeper 2, a Strymon TimeLine, a Boss DC-3 Digital Dimension, and a Morley ABC Pro (for switching amps). A Boss TU-3s Chromatic Tuner keeps his guitars in check.

To the Moon, Adam, to the Moon!

Here’s the meat and potatoes of Granduciel’s spreading stomp setup: (top left) a Boss FT-2 Dynamic Filter, another MXR/Custom Audio Electronics Boost/Line Driver, DigiTech Hardwire RV-7 Stereo Reverb, ADA Flanger, JHS Bun Runner, J. Rockett Audio Designs Archer, MXR Flanger, Moutainking Electronics Loud Box, Crowther Audio Prunes & Custard, a Fulltone OCD, and a trifecta of Eventides that rest on the right side—a Space, TimeFactor, and H9. Everything gets current by either a MXR Custom Audio Electronics MC403 Power System or the Eventide PowerMax.

Clovis the Rough Rider

At first glance, you’d probably mistake this for a ’60s or ’70s Fender P, but as bassist David Hartley attests, this is a 2002 Fender Precision named Clovis that he acquired brand new almost two decades ago. Part of Clovis’ charm for Hartley is that it’s the lightest P he’s ever held, making their “Evening With” shows a little easier on the back. It’s stock aside from him swapping out the standard anodized gold pickguard for the tortoiseshell. He uses La Bella 760FS Deep Talkin’ Bass Flats (.045–.105).

Jam Like Jamerson

Another 4-string that does a lot of heavy lifting for Hartley is this 1983 Fender Fullerton ’62 Reissue Precision Bass. While this one isn’t as light as the previous P, he does love how much it sustains.

Find the Note

And occasionally you’ll see Hartley put down all the guardrails and dance with this Fender Tony Franklin Fretless Precision Bass. The connection with this one came through when he heard how much vocal tonality it has. It’s a highly expressive instrument.

Ampeg Assault

The Ps come to life thanks to this boulder of bass tone: a pair of Ampeg Heritage 50th Anniversary SVT amps that hit an Ampeg Heritage SVT-810AV. The SVT on the left is a backup and Hartley plugs into the normal channels.

Simple but Not

Prior to this run, Hartley toyed with the idea of just plugging his Ps into a DI and his Ampeg. Clearly, that plan changed and he’s probably having more fun because of it. His stomp station contains a pair of Boss GE-7 Equalizers (one to help Clovis pop a bit more and the other helps brighten up the ambient drone of the Gamechanger), an Eventide H9, a Gamechanger Audio Plus Sustain Pedal, a Mountainking Electronics Megalith, a Malekko Goatkeeper, a Keeley Super Mod Workstation, and a MXR Phase 90. A Boss TU-3 Chromatic Tuner keeps his Ps sounding right.

Rig Rundown: Shinedown’s Zach Myers & Eric Bass [2022]

The arena-filling rockers cheekily exude excess with a cavalcade of signature gear and some custom creations—including a pink number that made some see red.


Musical acts currently filling arenas fall into a few categories: pop, electronic, country, and legacy. The notion of modern or contemporary rock bands packing enormo-domes feels like a fossil, but don’t tell that to platinum-selling Shinedown, who’s been packing thousands-of-seats houses for years.

The group was founded by vocalist Brent Smith in 2001, after his previous band, Dreve, disbanded). He enlisted Jasin Todd (guitarist), Brad Stewart (bass), and Barry Kerch (drums). Zach Myers joined the fold in 2005 (as a touring member). He and current bassist Eric Bass (no joke) first earned album credits with 2008’s smash The Sound of Madness. (Rig Rundown alumnus Nick Perri was a short-time member of Shinedown and earned lead guitar credits on TSOM before fully handing over the 6-string reins to Myers.)

The quartet’s ability to fuse post-grunge pyrotechnics, four-on-the-floor rockers, and glossy, arms-in-the-air anthems, and their dynamic acoustic performances, have earned them 17 No. 1 hits on Billboard’s Mainstream Rock chart. (If you include the other Billboard charts, they’ve got three more.) They also have three platinum albums (three more are certified gold in the U.S.), and six additional platinum singles. If guitar truly is in a slump in pop culture and the mainstream, somebody forgot to tell Shinedown.

When PG’s Chris Kies first talked tone tools with Myers and Bass in 2013, they had some gear, and even some cool signature stuff. But this time, the war chest was on another level. Before their May 4 headline show at Nashville’s Bridgestone Arena, supporting their new, seventh album, Planet Zero, the duo flexed their rockstar credentials and carted out 40-plus instruments. Myers contends he uses every one of his guitars on a nightly basis. And Bass details his signature line of Prestige basses, which incorporate an ingenious thumb rest. Myers also shows off an irreplaceable PRS created by the late American fashion designer and entrepreneur Virgil Abloh (Off-White), and he explains how a custom-painted Silver Sky earned him some serious eye rolls and scoffs. Plus, their techs break down the power and might that help them rock the rafters.

Brought to you by D’Addario XS Electric Strings.

The Pink Problem

prs silver sky john mayer guitar

If you’re a fan of PRS, you know they don’t offer relic’d instruments. So, Zach Myers took matters into his own hands and had his personal Silver Sky (originally white) refinished in shell pink by McLoughlin Guitars before the custom distressor gave it their “ultimate” treatment—one that equates to a snake shedding its skin. Myers had no idea Mr. Mayer and PRS were going to release additional colors for his Strat-style signature. Needless to say, some people weren’t happy with Zach crashing the pink party, but he loves the guitar, loves John, and even admits in the video that the custom relic is an homage to Mayer’s black 2004 Custom Shop Strat. He plays it every night for the song “Monsters.”

He uses .011–.049 strings (S.I.T. and Elixirs) on standard-tuned guitars, and for lower tunings he typically rocks with .011–.052 sets. And as you’ll see in the video, his tech Drew Foppe throws curveballs at him by putting various sized, textured, and gauged picks on his guitars.

Off-White

Myers is a big sneakerhead and follower of fashion. He was lucky enough to have designer Virgil Abloh customize one of his PRS SE Zach Myers signatures before the fashion icon’s untimely passing in 2021. (Abloh reached unparalleled zeniths as CEO of the Milan-based Off-White outfit and artistic director of Louis Vuitton’s menswear—the first person of African descent to earn such a title.) As you can see, within his Off-White brand Abloh would utilize obvious labels for things (“switch” and “guitar”). He always incorporated one element of orange in his designs, and the video game button is a killswitch. The axe gets played on “Cut the Cord.”

Tagged

Here, you can see Off-White’s signature tag on Myers’ signature headstock.

Branding

You can’t argue that anyone would mistake Off-White’s work.

I Spy

Here’s another one of Zach’s SE chambered semi-hollow signatures that was done up by L.A. street artist Joshua Vides, who has worked with Fendi, Mercedes-Benz, and Major League Baseball. The black-and-white color scheme gives a very Spy-vs.-Spy vibe, featured forever in Mad.

The Cat’s Meow

This is a PRS Private Stock Paul’s 85 that gets busted out for “Get Up” and rides in a “sort of” double drop-D tuning (both E strings tuned down to D), with custom-gauge strings (.010–.049). This run of Private Stocks features an African mahogany body, figured maple top, a dark Peruvian mahogany neck, and a Honduran rosewood fretboard, and is finished in a striking electric tiger glow.

An Extra Pair

Here is Zach’s PRS DW CE 24 Floyd—one of his two touring guitars with 24 frets. It’s a signature model for Rig Rundown pal Dustie Waring of Between the Buried and Me and comes stock with PRS’ hottest ceramic pickups. It gets stage time for “How Did You Love.”

Sweet Tea

This is one of Zach’s latest additions: a PRS 594 McCarty used on “The Saints of Violence.” Zach puts it in coil-tap mode, and Foppe rewired the guitar from LP-style to a more familiar PRS-style setup.

Santana Myers Model

When you have Paul Reed Smith on speed dial, you can get this made. Myers had the silky-looking Santana model transformed into a semi-hollow matching his SE signature format. This gets brought out for the fan favorite “Second Chance.”

Elephant on the Fretboard

Paying homage to his dear friend and Shinedown singer, Brent Smith, Myers had PRS add an inlay of elephants. (The largest existing land animal is Smith’s favorite beast.)

Old Friend

This might be one of Zach’s oldest touring guitars currently out with Shinedown. The PRS NF3 gets some action during “45” and never can be replaced, since its sound is so unique, with 57/08 Narrowfield pickups that he says are unlike any others in his live arsenal.

I’ve Got a Mira by the Tail

If you caught our 2013 episode with Shinedown, you’ll recognize this Buck Owens-inspired Mira with 57/08 humbuckers that he gets busy with on “Unity.”

Workhorse

It might be a stretch to label this Martin J-40 with such a name, seeing it’s only featured on two songs (“Simple Man” and “Daylight”). But most of the guitars in this Rig Rundown only get used for one jam per night. The J-40 takes Elixirs (.011–.052).

Blue Jean

Here’s a custom take on the earliest versions of Zach’s PRS signatures that gets the spotlight for “Enemies.” It is tuned down a whole step, to D standard. Note the distinctive bright hue on the guitar’s side, by the horn.

Scorpion

This custom McCarty 594 pays its dues for the song “Bully.” It takes an .011–.052 set and rumbles in C# tuning.

Maple, Maple, Maple!

This McCarty model is made entirely of maple and makes hay on the song “Save Me.”

More Maple?!

Another all-maple McCarty, but this is chambered and struts out for “State of My Head.”

Zach’s Blues

Here’s the latest incarnation of Zach Myers’ SE signature that debuted in early 2021. Subtle updates include a lusher “Myers Blue” (he admits it’s pretty pretentious) finish, black bobbins on the pickups, black tuning pegs, and a matching headstock veneer. This blue bombshell makes an appearance for “Fly from the Inside.” And whenever Myers sees a kid having the time of his life at a Shinedown show, he’ll call on Foppe to bring out one of his new signature models and he’ll gift it to the youngster. How cool is that?!

Rack Control to Major Drew

With a rig this big, doing this much, in front of thousands, you need a primed pilot at mission control. And lucky for Myers, tech Drew Foppe is up to the task. Everything starts at the Fractal Audio Axe-Fx IIIs. (There’s a main and a backup.) There are four channels of Shure UR4D+ wireless units (three for electric and one for acoustic). From there they run an AES digital out to the Antelope Audio Trinity Master Clock and Antelope Audio 10MX Rubidium Atomic Clock. This helps fatten the fully stereo, digital rig by converting it to analog and then sending it back. After that they use IRs off the Axe-Fx (left and right) into a pair of Neve DIs that then feed a Fryette G-2502-S Two/Fifty/Two Stereo Power Amplifier. (There’s another for backup.) And finally, they send parallel signals to two ISO cabs and two Universal Audio OX Amp Top Box reactive load boxes (both left and rights). Altogether, there are eight channels of guitar.

Zach Attack

zach myers pedalboard

While Drew oversees the main operation, Zach still has some control at his toes. He’s got a Dunlop MC404 CAE Wah, DigiTech Whammy V, Ernie Ball 40th Anniversary Volume Pedal, and the Fractal Audio FC-6 Foot Controller. Peeking out from the mini board is a Voodoo Lab Pedal Power 2 Plus, giving life to these effects units.

Bass’ Bass

Since our last gear chat, Eric Bass teamed up with Prestige Guitars to make a childhood dream come true. A memory that’s stuck with him since he was a young musician was how cool Stone Temple Pilots’ bassist Robert DeLeo looked harnessing a Telecaster bass. So, when Prestige asked for some of his ideas, he knew where to start. The slightly offset double-cutaway has a solid ash body, a 1-piece, hard rock maple neck (with a bolt-on connection), and a pau ferro fretboard. The neck has a slim C-shape (similar to a J-style bass). There’s a Seymour Duncan SCPB-3 Quarter Pound pickup and Hipshot hardware (4-string A-Style bridge and HB-7 tuning machines). One thing that won’t show up in the spec sheet is the sneaky thumb rest that has a small ‘E’ on it. It’s a design inspired by the top of a humbucker, because Eric was so used to resting his thumb atop of a ’bucker that he was a bit lost without it. They initially tried standard flat thumb rests, but Bass was inclined to use the curved pocket on top of the humbucker as leverage to throw around the instrument onstage. Bass’ personal instruments have brass nuts, whereas the production models will have bone.

Bass uses three or four tunings each night that will include standard, drop D, C#, and drop C. For standard and D, he’ll go with his set of signature S.I.T. Strings (.050–.110), and for the lower tunings he extends the low string to a .115.

Three on the Tree

Here’s the sleek reverse headstock for Eric Bass’ signature models.

Go for the Gold

This was the second prototype for Bass’ signature. It featured a belly-cut contour that he ultimately did away with. He prefers the bigger slab-body style and the dual edges allow for some sick double binding seen on the production models.

Kerns the Conspirator

Bass isn’t afraid to get down on someone else’s signature cruiser, and he does so each night with the Prestige Todd Kerns Anti-Star 4-string. (Kerns is in Slash Featuring Myles Kennedy and the Conspirators and fronts Canadian rock band Age of Electric.) This one has a 7-piece mahogany/walnut body, mahogany neck, and ebony fretboard, and comes off the rack with Seymour Duncan USA Todd Kerns pickups.

Kerncidentally

Here’s Bass’ signature Prestige sporting a set of Todd Kern’s Seymour Duncan pickups.

Show and Tell

Eric sent a few basses over to Relic Guitars The Hague in Netherlands so they could mess them up in the most beautiful way possible. He gave them some instruction and creative carte blanche.

And here’s a close-up of the artwork.

Here’s Looking at You, Bass

Here’s another example of the handiwork happening inside Relic Guitars The Hague. The inspiration is the oil painting “Girl with a Pearl Earring” by Johannes Vermeer, from 1665.

Nash Bash

This Nash PB52 preceded his Prestige signature, but you can see how he got the wheels turning for mapping out his own instrument. Bass affectionately calls this one “Grimace.”

Move It On Over

Each night, Bass takes over 6-string duties and makes music with this Prestige Legacy OM.

Refrigerator Rig

Tech extraordinaire Jeramy “Hoogie” Donais helped create this efficient fridge-sized setup for Bass. As he explains it, the Prestige basses hit the Shure UR4D+ wireless units (similar to Myers, he has three channels for bass and a channel for acoustic), then a Neve DI, and into a Radial JX44 signal manager (he does have a 100′ cable for backup but hasn’t used it in his eight years with Shinedown) that feeds it into an Ampeg SVT-7 Pro for clean tone (with an extra for backup).

Tube Tone with Teeth

The right-hand rack features a pair of Mojotone Deacon (inspired by the sound of Queen bassist John Deacon) 50W heads that run on a pair of KT66 power tubes. One beast gets engaged for Shinedown’s heavier songs and one sits below as a reserve.

Noise? What Noise?!

To help keep the rig calm and quiet, Bass has a Revv G8 Noise Gate to remove any unwanted buzz and hiss.

Eric Bass’ Gas Station

Onstage sits Bass’ pedalboard that includes a Dunlop 105Q Cry Baby Bass wah, a DigiTech Bass Whammy, and an MXR M299 Carbon Copy Mini Analog Delay. The ‘Gas’ switch engages the Mojotone Deacon, a Radial SGI-44 1-channel Studio Guitar Interface connects with his rackmount JX44, the BossTU-3W Waza Craft Chromatic Tuner keeps his instruments in check, and a hidden Voodoo Lab Pedal Power 2 Plus feeds juice to everything.