Jun19 DigitalPress PedalboardsoftheStarsVol3

KITS DIY
amps.mods.pedals
Pedalboards of the Stars

VOL. 3
From Morello to the Struts, and the Breeders to
Red Fang, EJ, and the Edge—PG gets up close
and personal with your heroes’ stomp stations.”
Digital Press
PRO
PEDALBOARDS
Some players wow us by divining
delectable sounds from a plethora
of pedals, while others school us by
squeezing maximum tone from minimal
stomps. These 16 boards from our last
year’s worth of Rig Rundowns illustrate
the beauty to be found anywhere along
the effects-use spectrum.
| BY THE PREMIER GUITAR STAFF |
PREMIER GUITAR - DIGITAL PRESS PEDALBOARDS OF THE STARS VOL. 3 2

PR
SP EM
AC IU
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SA O
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SIG
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For more info
.
visit boss.info
julien baker
Top: Photo by Nolan Knight
While her band, boygenius, performs as a trio (occasionally with backing musicians), Julien Baker
is the only performer onstage during her solo set—a scenario that requires a lot of different sound-
generating gear. To switch between her two amps—a Fender ’�� Custom Twin Reverb and a Fender
Blues Deluxe—she employs Morley George Lynch Tripler and ABC switchers, and to create audio
loops she uses a Boss RC-� Loop Station. The units she uses to effect her guitar signal include an
Click here to watch this Rig Rundown now.
2 PREMIER GUITAR - DIGITAL PRESS PEDALBOARDS OF THE STARS VOL. 3

Electro-Harmonix Mel�, a Strymon blueSky Reverberator, a trio of Walrus Audio pedals—a Fathom,
a Bellwether, and a Descent—a ZVEX Fuzz Factory, an Emerson Custom Paramount Overdrive,
and a pair of Old Blood Noise Endeavors stomps: the Excess, and the Dweller. Her guitars—typi-
cally a blue Fender Tele or a butterscotch Tele with G&L ASAT pickups, are kept in tune with a
TC Electronic PolyTune� Mini.

nick reinhart
Tera Melos’ notorious tone-bastardizer, Nick Audio Nemesis, a Meris Enzo, a Boss CE-�
Reinhart, combines quirkily modded pawnshop Chorus, and a Rainger FX Bleep. There are
axes with boutique pedals and yesteryear’s cutting- also two Bosses: a TU-� tuner and an LS-� Line
edge guitar-synth technology. With regard to the Selector, the latter of which switches between
latter, the tonal insanity begins at his circa-�� magnetic and synth pickups on Reinhart’s main
Top: Photo by Piero F Giunti
Roland GR-�� floorboard. axe, a ’��s Squier Super-Sonic.

Post GR-��, the wildness continues with a Reinhart’s second board (opposite page) features
board holding EarthQuaker Devices Arrows a paint-splattered Line � DL� Delay Modeler,
and Aqueduct stomps, a Mantic Isaiah, a Source Red Panda Context and Tensor pedals, an Ibanez

DML�� Modulation Delay III, a pair of EarthQuaker Devices devices—a Tone Job and a Rainbow
Machine—an Electro-Harmonix Micro POG, Boss BF-� Flanger and DD-� Digital Delay stomps,
and a Cameltone Nard. Along the bottom is a Keith McMillen �� Step controller that Reinhart uses
to access combined patches and vocal effects. To the right of the board is a Jim Dunlop Volume (X)
Mini for altering the Tensor’s pitch, and atop that is a pressure-sensitive Igor pad for warping the
Rainger FX Bleep’s response.

eric johnson
During his �� tour, tone connoisseur Eric the Echoplex’s lovely-sounding preamp. Johnson
Johnson went to typically meticulous lengths to also uses a TC Electronic Stereo Chorus+ Pitch
recreate the sounds from his breakthrough �� Modulator & Flanger stomp (top).
album, Ah Via Musicom—although not without You can practically smell the “vintage” emanat-
some twists. For instance, while he continued ing from this pedalboard, with all the gray patch
to rely on vintage Echoplex tape delays, the two cables and power cords from yesteryear. However,
he took on this tour were modded by Bill Webb besides the loop activator for Johnson’s old Electro-
Top: Photo by John Bland
of Austin Vintage Guitars to bypass the finicky Harmonix Deluxe Memory Man—which he typically
magnetic-tape portion of the apparatus and uses with clean sounds—most of what’s going on
instead route the signals from a Catalinbread Belle here has to do with switching between four amps:
Epoch Tape Echo pedal and two MXR Digital Time a ��-watt �� Marshall plexi driving a Marshall
Delay rack units (all three not shown) through �x��, the guts from a pair of �� Fender Twin

Reverbs retrofitted to head cabinets driving EVL-loaded Marshall �x��s, and a Two-Rock Traditional
Clean head driving a Marhsall �x�� stocked with Celestion Vintage ��s.
Johnson’s second board (opposite page) has a split personality: The Dunlop Cry Baby wah feeds his
Marshall head via an Echoplex and a B.K. Butler Tube Driver pedal (both not shown), while a ’��s Dallas-
Arbiter Fuzz Face, a vintage Ibanez TS�� Tube Screamer, and an MXR Flanger/Doubler (not shown)
feed the Two-Rock setup.

monster magnet
For crunch and buzz, Monster Magnet’s Phil Caivano travels with a board full of troublemakers,
including three Analog Man stomps—a Sun Bender, a silver-modded Ibanez TS� Tube Screamer,
and a Bad Bob—a Daredevil Atomic Cock, a Real McCoy Custom RMC� Wizard wah, an SIB
Top: Photos by Elliot Levin
Electronics Mr. Echo, a Metropoulos Supa-Boost, Maxon AD�� analog delay and ST-� Super Tube
Pro Plus Distortion pedals, and a Malekko Spring Chicken. (Also shown, though not used for the
date when we caught up with the band, are a Daredevil Logan Square Destroyer, an Analog Man
King of Tone, and a D*A*M Super Bee Germanium Fuzz.)

Compared to Caivano’s setup, bandmate Dave Wyndorf ’s board is practically barebones, with
nothing more than a Line � Relay wireless receiver and a Morley A/B box feeding three delays: an
MXR Carbon Copy, a TC Electronic Flashback, and an SIB Electronics Mr. Echo.

the edge
For years now, U� guitar legend the Edge has tapped rig-maker to the stars Bob Bradshaw to route
and program his über-elaborate switching system. The effects are controlled by two Bradshaw
RS�� controllers. One is onstage (center), and the other is offstage being overseen by longtime tech
Dallas Schoo. Adjacent to the onstage RS�� are a DigiTech WH-� Whammy, a Boss ��V expression
pedal (which governs a CAE remote wah), two Dunlop Volume (X) pedals (one controlling reverb
parameters and one controlling delay settings), and a Dunlop Volume (X) Mini for manipulating
Top: Photo courtesy of U2start
pitch shifting.
Edge’s “pedalboard” controls two large rack units (opposite page) containing a variety of rack
processors, stompboxes, and auxiliary devices, including a Korg Pitchblack rack tuner, multiple
Fractal Audio Systems Axe-Fx II XLs, three Line � units—a custom DM� Pro Rack, a Pod Pro, and
an M� Stompbox Modeler—a Korg SDD-��, an Ibanez TS� Tube Screamer, six Boss stomps—an

FA-� FET boost, a CS-� Compression Sustainer, an OC-� Super Octave, and three SD-� Super
Overdrives—a Fender prototype distortion pedal, a Diamond Pedals VIB� Vibrato, an Electro-
Harmonix B�, a DigiTech Synth Wah, a Voodoo Lab Pedal Power Mondo, four MIDI Solutions
Mergers, a JHS Crayon, a Sobbat DB-� Drive Breaker, and several Bradshaw-designed Custom
Audio Electronics splitters, loop boxes, and interfaces. All of it runs through Furman PL-PRO
DMC E power conditioners.

red fang
Besides a tuner, the only pedal Red Fang’s Bryan Giles uses is an Electro-Harmonix Pitch Fork, which
he employs to add a bit of an octave effect. He also sometimes dimes the Pitch Fork’s shift knob to
approximate sounds that would normally require lugging around a separate, drop-C-tuned guitar.
Top: Photos by Izaac Cioban
In comparison to Giles’ board, co-guitarist David Sullivan’s (opposite page) is almost self-indulgent,
with four times the number of signal mashers: a Mr. Black Thunderclaw, an EarthQuaker Devices
Dispatch Master, an MXR Phase ��, and a DigiTech Drop, with a TC Electronic PolyTune� Mini
keeping the guitars in tune.

the breeders
Alt-rock icon Kelley Deal’s pedalboard is lean and mean, sporting a Boss TU-� tuner, an Ibanez
Top: Photo by Rich Osweiler
Tube king, an EarthQuaker Devices Afterneath, a Boss DD-� digital delay, a TC Electronic Hall of
Fame Reverb, a Boss GE-� Equalizer, and a Boss PN-� Tremolo/Pan (barely visible, off the board to
the left). Another GE-� that’s kept on top of Deal’s Marshall head is used to boost her Stratocaster’s
level to match her Les Paul’s.

Deal also runs a second pedalboard for vocals. The chain starts with a Radial Engineering Voco-Loco
that enables her to route her XLR mic input through a side loop of �/�" cables to standard guitar effects,
such as a Boss RV-� Digital Delay/Reverb, an Electro-Harmonix Holy Grail Nano, and an EarthQuaker
Devices Ghost Echo. All are powered by a Truetone � SPOT.
Breeders bassist Josephine Wiggs’ board (opposite page) features three Boss units—a TU-� tuner,
a GEB-� Bass Equalizer, and a DD-� digital delay, all feeding an Ampeg SCR DI and a Frantone
Peachfuzz (the latter of which was not seeing active duty when we caught up with the band).

RIG RUNDOWNS
THE STRUTS
Adam Slack’s go-to is

this Gibson Custom
Shop Mike McCready
Collector’s Choice 1959
Les Paul Standard. He
landed on it after a
marathon guitar tast-
ing session at Chicago
Music Exchange.
Click here to watch this

Rig Rundown now.

Left: One of Adam Slack’s goals he dreamed up as a 13-year-old Green Day superfan was if he found
any success in the music business, he was to get an original Gibson Les Paul Jr. Last year, after find-
ing that success he got this original ’58 from Norman’s Rare Guitars.
Right: Last but not least is Adam Slack’s Gibson Collector’s Choice 1959 “Black Burst” Les Paul
Standard. According to Slack, this one is so bright he has to roll the tone done a bit. All guitars are
strung with DR Strings, gauged .010-.053.
One half of Adam Slack’s two-amp setup

is this Vox AC30 head with matching
2x12 cab loaded with Celestion G12M
Greenback speakers.

Opposite page top: The other
half of Adam Slack’s setup
is a Friedman Small Box 50
that feeds another Vox 2x12
cab loaded with the same
Celestion speakers.

Opposite page bottom: Adam Slack
runs a cable from his guitar to a TC
Electronic PolyTune Tuner. From
there, the signal hits a Dunlop Volume
X pedal, a Fulltone Ultimate Octave,
a Shin OD-X, a SoloDallas Schaffer
Replica, a J. Rockett Audio Designs
Archer, a Mythical Overdrive by
Rimrock Effects, an MXR Carbon
Copy Deluxe, an MXR Analog Chorus,
a Strymon Flint, and a Radial BigShot
ABY that splits the signal to both amps.
Right: Jed Elliott’s No. 1 bass is his

KZ Guitar Signature Jed “O” Bass, or
“Jedo.” This 2018 prototype is strung
with DR Pure Blues (.050–.110) strings
and features Aguilar Hot pickups.
Bottom bass: Jed Elliott’s backup bass

is this somewhat mysterious Fender P
Bass. Elliott is not sure on the details,
but thinks the body is from the ’70s
and the neck has been replaced at
some point.
Below: A rather modest pedalboard

sits at Jed Elliott’s feet. It includes a
Boss TU-3 tuner, Aguilar Agro, and a
Tech 21 SansAmp Bass Driver DI that
adds a bit of drive.
BUY THE GEAR

RIG RUNDOWNS
JAKE E. LEE
Ja ke E . L e e i s b e s t
known for rocking white
Charvels, and his cur-
rent signature model car-
ries on that tradition. It
has a bolt-on neck and
a unique pickup con-
figuration with both
the middle and neck
DiMarzio SDS-1s slant-
ed towards the bridge. A
Seymour Duncan JB alni-
co 2 humbucker rounds
out the trio.

Rig Rundown now.

Right: On the Red Dragon
Cartel’s current album Patina,
Lee played a1965 Gibson ES-335,
so he brought out this vintage
beauty to cop the tone. This
stock semi-hollow is feedback
prone, but Lee likes it for its
lively unpredictability.
Below: Lee tours with a trio of

high-powered heads. Here’s
his signature Friedman.
Depending on the venue, he
might run only one or two of
them. If you look closely, you’ll
see Lee isn’t afraid to dime
the volume.
BUY THE GEAR

Middle: On this particular show, Lee was running through this Friedman Small Box. It’s a 50-watt
head that goes after those classic plexi tones.
Lee’s board runs entirely on 9V batteries. He starts with Mogami cables running from his guitar to a
Prescription Electronics Experience before hitting a mysterious silver fuzz pedal. (Lee claims it was
once owned by Paul Gilbert.) Next, Lee’s signal hits a Boss TU-3, a Majik Box Jake E. Lee Body Blow, an
MXR Stereo Chorus, an Analog Man Bi-Chorus, an MXR Carbon Copy, and a Vox wah (not pictured).

And
Feel
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WWW.ROCKETTPEDALS.COM
RIG RUNDOWNS
TOM MORELLO
The guitar that’s probably most

associated with Tom Morello
has to be his Frankensteined
“Arm the Homeless” “super
strat” that he’s had since 1986.
The final conglomeration of
parts have been in place for 30
years and includes a set of EMG
pickups, a knock-off graph-
ite Kramer neck scooped up
from the bargain bin at Nadine’s
Music, and an Ibanez Edge
trem/bridge.

Rig Rundown now.

Left: Here’s another long-
time mainstay of Morello’s—a
run-of-the-mill 1982 Fender
Telecaster coined “Sendero
Luminoso.” He wanted to start
writing/performing songs in
drop-D tuning, but all of his
other guitars at the time had
a locking nut, so he traded
with a former roommate for
the Tele and Morello had
to part ways with a 50-watt
Marshall.
Belowt: When it’s time for

Morello to cover Woody
Guthrie’s “This Land Is Your
Land” or dig back into the
Nightwatchman (his acous-
tic troubadour alter ego)
catalog for “The Garden of
Gethsemane,” he grabs this
Ibanez GA60SCE-14-01.

Left: All of Morello’s gear was
stolen after a Valentine’s Day gig
back in the ’80s and he had to
scramble to replace everything
before an upcoming session.
He went to his neighborhood
shop to buy anything they had,
and what they did have was this
Marshall JCM800 2205 50-watt
head.
Below: Morello doesn’t change

his gear much and his pedal-
board is no exception. It includes
an MXR Phase 90, two Boss
DD-3 Digital Delays (one lon-
ger for solos and one tighter for
rhythms), an original DigiTech
WH-1 Whammy, Dunlop GCB95
Cry Baby wah, and the DigiTech
Space Station XP300. Everything
runs off the Voodoo Lab Pedal
Power 2 Plus and relies on two
Boss TU-3 Chromatic Tuners
(acoustic and electric).
BUY THE GEAR

RIG RUNDOWNS
TYLER CHILDERS BAND
Bandleader Tyler Childers’ has been long

associated with Martin flattops, but 2018
saw him shift over to primarily using this
Collings DS1 with a slotted headstock.
Tyler Childers’ relies on the following

boxes—a L.R. Baggs Para Acoustic D.I.,
L.R. Baggs Align Series Equalizer, and a
TC Electronic PolyTune. The pedals are
juiced thanks to the Strymon Ojai.

Rig Rundown now.

Top right: Here is the backside
of Jesse Well’s B-bender.
Top left: Multi-instrumentalist
Dr. Jesse Wells (he teaches at
Morehead State’s Kentucky
Center for Traditional Music)
spends most of his time on this
special-made paisley (“pepperoni
finish”) T-style that is equipped
with a B-bender and built by
Nashville’s own Forrest Lee Jr.
Below left: When Jesse Wells isn’t bending on the custom Forrest model, he goes with this pine-
bodied Fender Custom Shop 1951 Heavy Relic Telecaster that stays in standard tuning.
Below right: The lone vintage guitar Jesse Wells brings out on the road is his daughter’s 1966
Fender Mustang and gets work during “Charleston Girl.”
Top left: When it comes time for Tyler
Childers’ big hit “Whitehouse Road”
you’ll see Jesse Wells grab this Gretsch
G5265 Jet Baritone. This one, like a
few of his other more standard fares,
are enhanced with an RS Guitarworks
modern upgrade wiring kit that uses
SoZo NextGen .022 capacitors and
500K RS Short-Shaft SuperPots. All
of his instruments are equipped with
various D’Addario strings.
Bottom left: And for “Universal Sound,”

you’ll see Jesse Wells put on this lil’
booger—an Airline Mandola he scored
from Chicago Music Exchange. It is
loaded with a Firebird mini-humbucker.
Bottom right: Just before starting the

3-day run at Nashville’s Exit/In, Jesse
Wells scored this 1965 Fender Twin
Reverb that was once owned by fellow
Rig Rundown alum JD Simo. It’s been
overhauled with JBL K120s in it making
it a heavy 2x12 combo.

Top: Jesse Wells carries two pedalboards
with him on tour. First up, is a stomp station
that is dedicated to his guitar signal. It is
home to a Strymon Flint and El Capistan,
JHS The Milkman, Mad Professor Tiny
Orange Phaser, Sarno Music Solutions
Earth Drive, Timmy Drive, Wampler
Pantheon, and Origin Effects Cali76.
Everything is brought to life thanks to
a Truetone 1 SPOT and is kept in check
with a TC Electronic PolyTune 3.
Right: Jesse Wells’ other board col-

ors his fiddle tone by way of a Grace
Design FELiX, T-Rex Effects Octavius,
MXR Phase 90, Strymon BlueSky, Boss
DD-6 Digital Delay, and TC Electronic
PolyTune 2 Mini. Everything is powered
by the Voodoo Lab Pedal Power 2 Plus.

Top left: Multi-instrumentalist James
Barker spends time between guitar
and pedal steel. His main 6-string ride
is this Fender Highway One Telecaster
that was modded to fit a Lollar Imperial
humbucker in the neck, outfitted with
compensated brass saddles, and even
got a facelift with a customized leather
pickguard thanks to Daniel Romano.
Top right: One of James Barker’s backups

is this Fender Eric Johnson Signature
Strat finished in candy apple red.
Left: And James Barker’s other guitar

riding the bench (it saw a lot of stage
time during his rock ’n’ roll days) is this
Gibson Les Paul Junior Special.

When it’s time to make that lonesome
whippoorwill cry, James Barker sits
down and tussles with this early ’80s
Sho-Bud LDG.
Bottom left: James Barker amplifies his guitars by way of this custom-voiced Hall combo. The right
channel (his prime choice) is modeled after a Trainwreck Rocket and the left channel is similar to a
Gibson GA-40.
Bottom right: When it’s pedal-steel time, this silverface Fender Super Reverb that has the first
channel’s tone stock removed (by hitting the bright switch) giving the amp a lot of volume and gain.

Top: Unlike his multi-instrumentalist
counterpart, James Barker routes everything
through one board. He has a Strymon Mobius
and TimeLine, Way Huge Overrated Special, JHS
Double Barrel, Fulltone Full-Drive2 MOSFET, a
JHS-modded Fulltone OCD, Keeley Compressor,
and a JHS Haunting Mids. Everything is tuned
up with a Peterson StroboStomp.
Left: Bassist Craig Burletic keeps things

extremely simple with an airplane-ready setup.
His lone bass on this run was a 2011 Fender
P that has La Bella 760FS Deep Talkin’ Bass
Flatwound Bass Strings.
Below: Burletic’s only other piece of gear is

this Trace Elliot GP12 SMX head that ignites a
matching 4x10 cab. (The Gallien-Krueger MB
Fusion 500 is a precautionary reserve.)
BUY THE GEAR

RIG RUNDOWNS
THE DEVON ALLMAN PROJECT

WITH DUANE BETTS
Left: This limited-run Gibson Robbie
Krieger signature model SG is a recent
acquisition. “When we do ‘Dreams’ and
‘One Way Out,’ I pick up this guitar,”
says Allman, who makes it a point to
play as least a few Allman Brothers
tunes every night.
Bottom left: According to Betts, Norman

Harris of Norman’s Rare Guitars says
this Strat is a mid-’50s. The hardtail
is Dickey’s, and it once had a stacked
humbucker in the neck slot. Duane
returned it to all single-coils, with a
new neck pickup custom-made by
Johnny Stachela.
Bottom right: Among the guitars once

owned by his father, Gregg Allman, on
this tour, is this 1961 Fender Stratocaster,
which might sport a ’50s neck. The pick-
ups were replaced with an unknown
boutique brand and an anodized gold-foil
pickguard has been installed.

Rig Rundown now.

Top: Duane Betts’ Super
Reverb was a gift from another
member of his extended royal
family of rock: Derek Trucks.
Only the right channel oper-
ates, to make it push harder.
Middle: Sitting in at a jam

at Chicago’s House of Blues,
Allman fell in love with the
sound of the Victoria onstage.
After using of the company’s
1x12 combos for five albums,
he’s moved up to a Golden
Melody 2x12.
Bottom: ADevon Allman’s

pedalboard ain’t fancy, but it
has all the boxes he needs to
speak his sonic vocabulary.
There’s an Analog Man King
of Tone, a Waza Craft edition
of the Boss DM-2, with a vener-
able Boss CE-2 chorus along-
side, plus there’s an L.R. Baggs
Align Active D.I. for his Johnny
Cash signature Martin, and a
Boss TU-3 tuner. The near-
ubiquitous Voodoo Lab Pedal
Power 2 Plus runs the show.
BUY THE GEAR

RIG RUNDOWNS
LIZ COOPER & THE STAMPEDE

Liz Cooper started her 6-string
life on flattops, but partaking in
jams with fellow local Nashville
bands Desert Noises and Okey
Dokey helped cultivate a love for
broad sonic expression and power
held in electric guitar. While doing
some research and rubbing elbows
with guitar lovers in the Northeast,
Cooper heard of Creston Lea’s
custom, one-off creations. After
a few conversations, Lea quickly
got to work on the guitar you see
above. It features a salvaged spruce
body (from a barn), a 40-year-old
piece of Indian rosewood for its
neck, a Lollar P-90 Jazzmaster
bridge pickup paired with a Lollar
Jazzmaster neck pickup, and every-
thing is held down with Mastery
hardware. Cooper allowed Lea
to craft the guitar free of much
direction, but he was aware of her
heavily-acoustic background so the
neck is chunky and thick. She was
bouncing between .011- .012-gauged
strings, but at this show she was
sticking with D’Addario NYXL
.011–.049 strings.
Right: Being a self-admitted Beatles
fanatic, Liz Cooper had always been
drawn to the aesthetic and tone of Vox
amps. She scored this particular head-
turning red AC15 combo at a Guitar
Center because it was the cheapest
option of all the similar Voxes.

Rig Rundown now.
Top: Liz Cooper is relatively new to the electric-guitar game, but she’s jumped right in and wel-
comed the weird with a host of mind-bending modulation pedals including an Old Blood Noise
Endeavors Reflector, Boss TR-2 Tremolo, BBE Soul Vibe, Boss AW-3 Dynamic Wah, and a Dr.
Scientist BitQuest. The other stomps are a TC Electronic Hall of Fame, MXR Echoplex, Big Ear
Frank, and a TC Electronic PolyTune.
Left: Grant Prettyman can often be seen

loitering at a local Nashville gear shop,
Eastside Music Supply, and his strongest
love affair was with this ’70s Baldwin
704 hollowbody bass. One day Liz, her
dad, and Grant were hanging at the
shop checking out pedals when Grant
mentioned that this cherry 704 had
been the apple of his eye for months.
Fast forward a few weeks: Liz’s dad asks
Grant if he can go to the shop and pick
up a pedal he’d bought for Liz, since
Grant lived close by. “No problem,”
says Grant. He gets to the shop, and
the EMS crew retrieves a big case from
downstairs… Liz’s dad surprised her
longtime bassist with the 704.

Top: Grant Prettyman trusts his live tone to this
Acoustic Model 220. As you can see in the EQ
sliders, he pushes down the 820 Hz and 2000
Hz parameters, so the Baldwin doesn’t howl at
loud volumes. He’s always loved the studio tone
of the amp, but grew frustrated onstage with its
sound until he matched it with an 8x10 speaker
cab, which blossoms the sound to a full, pleasant
representation of the record.
Left: “This is more pedals than I ever imagined

I’d have when I started this gig,” says Grant
Prettyman. For bass purists, this seems overkill,
but pedals like the Electro-Harmonix Micro
POG, Mooer Ensemble King, Paul Cochrane
Timmy, and Electro-Harmonix Canyon are
used for occasional spice and song transitions.
The bulk of pedal duties is relegated to the Way
Huge Saffron Squeeze Compressor that’s on
all the time to give the Baldwin a little tighter,
focused punch. Everything is kept in check with
a D’Addario Planet Waves Chromatic Tuner.
BUY THE GEAR

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KITS DIY

Pedalboards of the Stars

PREMIER GUITAR - DIGITAL PRESS PEDALBOARDS OF THE STARS VOL. 3 2

Top: Photo by Nolan Knight

Click here to watch this Rig Rundown now.

2 PREMIER GUITAR - DIGITAL PRESS PEDALBOARDS OF THE STARS VOL. 3

PREMIER GUITAR - DIGITAL PRESS PEDALBOARDS OF THE STARS VOL. 3 3

Roland GR-�� floorboard. axe, a ’��s Squier Super-Sonic.

Click here to watch this Rig Rundown now.

4 PREMIER GUITAR - DIGITAL PRESS PEDALBOARDS OF THE STARS VOL. 3

PREMIER GUITAR - DIGITAL PRESS PEDALBOARDS OF THE STARS VOL. 3 5

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6 PREMIER GUITAR - DIGITAL PRESS PEDALBOARDS OF THE STARS VOL. 3

PREMIER GUITAR - DIGITAL PRESS PEDALBOARDS OF THE STARS VOL. 3 7

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8 PREMIER GUITAR - DIGITAL PRESS PEDALBOARDS OF THE STARS VOL. 3

PREMIER GUITAR - DIGITAL PRESS PEDALBOARDS OF THE STARS VOL. 3 9

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12 PREMIER GUITAR - DIGITAL PRESS PEDALBOARDS OF THE STARS VOL. 3

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16 PREMIER GUITAR - DIGITAL PRESS PEDALBOARDS OF THE STARS VOL. 3

PREMIER GUITAR - DIGITAL PRESS PEDALBOARDS OF THE STARS VOL. 3 17

Adam Slack’s go-to is

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18 PREMIER GUITAR - DIGITAL PRESS PEDALBOARDS OF THE STARS VOL. 3

One half of Adam Slack’s two-amp setup

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Right: Jed Elliott’s No. 1 bass is his

Bottom bass: Jed Elliott’s backup bass

Below: A rather modest pedalboard

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Below: Lee tours with a trio of

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24 PREMIER GUITAR - DIGITAL PRESS PEDALBOARDS OF THE STARS VOL. 3

The guitar that’s probably most

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26 PREMIER GUITAR - DIGITAL PRESS PEDALBOARDS OF THE STARS VOL. 3

Belowt: When it’s time for

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Below: Morello doesn’t change

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TYLER CHILDERS BAND

Bandleader Tyler Childers’ has been long

Tyler Childers’ relies on the following

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30 PREMIER GUITAR - DIGITAL PRESS PEDALBOARDS OF THE STARS VOL. 3

Bottom left: And for “Universal Sound,”

Bottom right: Just before starting the

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Right: Jesse Wells’ other board col-

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Top right: One of James Barker’s backups

Left: And James Barker’s other guitar

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