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Lucky for us, we had the amp builder himself on hand, and here’s what he said about his creation: “It’s a 4-stage, high-gain amplifier with three E元4s in the output, three 12AX7s in the preamp, and it has a Hiwatt Partridge output transformer. (During the Rundown, Ben alludes to a forthcoming 100W version that will be used on their winter run and into 2022.)įor those who can’t read Hebrew, the controls are as follows: (top, from left) preamp gain, master volume, and presence, while below you have treble, mids, and bass. In flight, he uses either the Twin Reverb (clean) or the Dale (heavy).
A 2x12 open-back Dale cab is loaded with a set of Warehouse Guitar Speakers ET65s. Built by Nashvillian Elad Shapiro ( Dale Amps is the company), it features a Hiwatt output transformer and Mullard E元4s. This mysterious box of rock is a very angry interpretation of a 50W JCM800. And all his guitar maintenance is handled by Eastside Music Supply tech and PG contributor Derek Ness, who authored our 2019 edition of No-Brainer Mods.
MEGA MAN 10 ARRANGED ETANK BLADE MAN FULL
And, although it was mentioned last time, it’s worth noting that the pickguard was removed because McLeod is a big fan of Duane Allman and he didn’t feel like covering the full burst.Īll the guitars take D'Addario NYXLs (.010–.046) and are typically tuned to D standard or drop C (C-G-C-F-A-D). The stock bridge Classic ’57 humbucker was swapped out for a DiMarzio Super Distortion. He says it not only helps with intonation but gives the guitar a silkier, smoother sound. He replaced the plastic nut with one made of bone. However, he’s a big proponent of precise volume manipulation, so he put back the speed knobs for the two volume controls.
McLeod had removed the stock speed knobs, opting for witch-hats (of course).
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He’s done several mods to make this instrument a third appendage. Starting off the Rundown, just like the 2016 episode, we have Ben’s beloved 2010 Gibson Les Paul Traditional. The resulting conversation covers their modified war horses, deciphers their esoteric stacks, and reveals the secrets of the “doom broom.” Plus, we get hip to new builder Elad Shapiro of Dale Amps. welcomed PG’s Chris Kies onstage to re-chronicle their setups. Just before their sold-out show at Nashville’s historic Ryman Auditorium (on Halloween, no less), Witches guitarist Ben McLeod and bassist/vocalist Charles Michael Parks Jr. (Drop the needle on closer “Rats in Ruin” and let it wash over you.) And 2020’s Nothing as the Ideal shows the temporary power trio (drummer Robby Staebler completes the line-up) striking a levitating balance within a menacing, mortar of metal that binds and anchors their emotive, effervescent excursions. For 2018’s ATW, the band’s IV-like retreat (substitute Headley Grange for a Tennessee cabin) extracted a doomier, more chaotic side A equally matched by a side B that’s a psychedelic painkiller. Sleeping Through the War, in 2017, explored more purposeful, mystical songcraft cloaked in hypnotic, rambunctious rock.
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Just after soundcheck, Hardy and guitarist Travis Hill introduced PG to their favorite battle axes, walked us through their Odd Couple pedalboards, and Hill explained how an outdated laptop and trial version of Logic Pro provides a universal "poor man's Kemper" for guitars and bass. Finally able to tour in support of that album, Microwave packed Nashville's Mercy Lounge on October 15. While their loudest, most aggressive tendencies were unleashed in Death Is a Warm Blanket, Microwave's melodies and hooks can still be sticky and sweet as honey. Stovall and Much Love harness the teeter-totter dynamics mastered by Nirvana and also felt in Microwave's post-hardcore contemporaries like early Citizen and Turnover. Musically, the band has matured alongside Hardy's contemplative subject matter. All three albums are honest, coarse evaluations of the pushing and pulling in Hardy's head and heart.
And 2019's Death Is a Warm Blanket is a dark, heavier, raging deep dive into his nihilistic thoughts. Two years later, Much Love focused on realities versus the romance of the rock 'n' roll lifestyle. Stovall, in 2014, saw him question his Mormon missionary upbringing.