Rig Rundown - Jason Isbell & the 400 Unit [2019]

[Music] [Applause] hey what's up guys this is Perry with Premier Guitar Hero the beautiful Ryman Auditorium in Nashville Tennessee with the man Jason Isbell Jason body good to see you again good to see you again thanks for joining us again yeah this is fun I like this I like showing guitars people yeah you're you're one of my favorite rundowns ever because you are a serious guitar dork really into it I love God I'm not as nerdy as some people but I do I continue like I watched videos on different guitars pretty much all the time when I'm not you know chasing the toddler or actually playing a show so it's still and it hasn't like that the feeling hasn't waned the obsession it's it's as bad as it was when I was fifteen well considering what you do for a living I guess it's it's great it's good you don't see a lot of construction workers obsessing over hammers all day so it's we're very lucky well speaking of hammers and tools yeah got a bunch of new fun toys since last time we yeah yeah it's been a couple years since we did this so I'm trying to think of what I had is in this rig I had the 335 yeah let's just do these first this one is a 61 and I had it when we did the last rig rundown that might be that and then the Custom Shop tele might be the only two guitars that I had then I think all these are senseless No so yeah this one is just a custom shop fender tele it's got a twisted tally pickup in the neck and then just your standard Telecaster pickup in the bridge and I had them put a black pickguard on it cuz I like the way the black pickguard looks with the bound I was gonna say that's awesome pounding yeah I like that and yeah this is a really great guitar this is the one that I played at Willie's fourth of July picnic and everything went out it was before Michael Bethencourt was working with me and putting together my rig and my pedal board went out I didn't know what was wrong with so I just plugged this guitar straight into the amp and I played the whole set and I didn't have to tune it and it was like an hour on the fourth of July in Austin Texas at about four o'clock in the afternoon so that's what a Telecaster will do for you it will stay oh it was hot it was very hot and it didn't move you know at least not enough for me to notice and you know so I'll always appreciate the design of the Telecaster because it just really works it really does the trick now this one I've had for a while this is a April 65 so it's transition but I think the only thing that would be post-sale would be the dots you know it looks like you got like the pearloid dots there they're not clay I don't think it's a pig garden still green and then it's still got the good the good sticker on it I know but I think in 65 from what I can understand there was a little bit more wood right here it was a little thicker right there and for some reason that seems to balance a little bit better than some of the earlier Telly's from the same era and this one's also got that really cool four coat candy-apple red right so it's got in the bottom it's got that white primer and then it's got a gold powder and then a silver powder and this is giving these how they got the sparkle yeah I think they were just doing a lot of trial and error in those days and you know the candy apple red color over the years changes from the early sixties to the mid 60's it's a different color almost entirely and a lot of them have like three coats and they won't have the silver you know they'll just have the gold and then the red on top and they're a little bit darker but but yeah things that I think the 65 was the only year when they did all four and I've been looking for the matching strat but it seems to me and this could totally be wrong somebody at fender could probably tell us better but it seems to me that the strats transitioned a little quicker then the Telly's did well it's selling better so maybe so yeah so it's kind of hard to find a strap with this logo you know and with a green guard that's not from 64 that's actually from 65 most of tell is you see from early 65 I mean most strats from early 65 or why or why they haven't turned was that but 65 was that actual plastic or was that bakelite or what were they using what was the name of that it was it was not bakelite but a lot of people have mistaken it for bakelite do you know what that was called Michael that was Gibson yeah a lot of people call it bakelite but it's not bakelite so I'm gonna proto class but yes some kind of weird plastic that they had I'm sure there's a bunch of people watching that no let us know in the comments please tell us in the comments we read the comments all the time we love the comment this is a 1960 strat it's got that same green guard going on it's pretty this is a pretty clean guitar looks like somebody may have put a snark right here at some point if you're watching and you have old fenders don't put a snark over the decal because the decals on the outside of the finish and it will pull your letters off so they're gonna put a snark on put it somewhere where there's no letters and yeah this one's pretty clean example um I play it a lot I really love it I started out playing strats when I was a kid so having a really good one is important too I think the threats are the only thing that's not everything along this guitar yeah that profile looks pretty slim it is yeah it's not huge and you know it's it's a slab and yeah I just I just love the way it sounds it's you know the old wiring so you don't have any kind of tone control on your bridge pickup you just have to roll the volume down a little bit to kill the sting but it does everything and strat supposed to do it stays in tune and it's remarkably super clean yeah yeah super clean I got it at Carter vintage guitars where I get a lot of stuff where I've gotten in much much trouble but this one Hatton I don't think have been played a whole lot when I bought it and it took us a lot of work to get it exactly right and I think when Michael figured out and I believe Tom Stadler told us this trick but tighten those two screws and then these aren't really tightened to anything you look at a lot of the new vintage style fender bridges they only have those two screws these don't even exist so I think part of getting the that action and the tension all right is if you hold it in with these and then loosen these guys up that's a following trick yeah and I didn't know it until we started messing with this guitar and tried to get it you know where you could do the Gilmour bands and and that really helped a whole lot but yeah it used to be three color sunburst and you know that didn't last too long 60s and sixty ones 59 to 61 I guess kind of that third color fades out pretty quick and guessing the set in a case in a closet at some point that's what I think yeah somebody's somebody's granddad probably played that one on Friday night you know this guitar is great this is one of my favorites all right so I got a good question about this isn't a couple years ago we did Dave Cobb yeah same one probably is that the same guitar yeah this is it yeah because he even said that when he was doing the National Sun that you you couldn't put that thing down yes and and it just I just really sort of fell in love with this guitar jet right and yeah it's a it's a jet Firebird 59 jet Firebird and it used to belong to is it / 13 is that the amp company that Peter Stroud is involved with might be is it 65 amps okay so Peter Stroud's partner at 65 amps owns this guitar and then sold it to Dave Cobb and then Dave told me at one point if my records sold a certain number of copies he would give me this guitar because I don't think he thought that it would yeah I think it's a million yeah I think he did but I think I think we figured out I didn't sell a million copies so maybe he factored in the streaming equivalent but at some point he just gave me this guitar oh cool because he wanted me to keep using it and I mean it's beat up pretty well in all the right ways and it's a Gretsch so it's temperamental but when you get it to the right spot nothing sounds like it there's so many oddball features like oh yeah Lou Bridge is solely the roller bridge is strange that the filter tron thing you know we go with the filters and you make a lot of weird noises with this but it does that like the thing I like about these pickups is it almost sounds like you've got the guitar miked and the amp might and the attack it's almost like you hear the pick hitting the string acoustically and you hear it coming soon as I amp and it just sounds different from anything else for Jane Glee rock music characteristic of that yeah there's something about how they made those pickups and I think these are also they were patent applied for for a long time so they were wretches PAF yeah pickups but both of the pickups sound great the middle position is magical and I've played a couple of copies of this if the Gretch custom shops playing now Dave Cobb has won and it's great it's a really great guitar but yeah I just wanted a yeah yeah I know dave has given me a lot of nice things over the years he's a good he's a good man that Dave Cobb and then this Les Paul was for about a week my coolest Les Paul and this is a 53 I believe Larry Craig put the Bigsby on for this guy named Jason who works a fretboard Journal he did a a piece on Larry Craig and talk Larry into shaving down to say BR one and putting them Bigsby on this guitar and Larry did all black and Daniel Lanois guitar and a couple other ones but these had the big like trapeze tailpiece that made it really difficult to strum you could you could play Merle Travis style but if you're gonna bang on it you need something yeah it's it's it's tough so Larry put that on there and I bought it from TR krandalls guitar shop right around Christmas this past Christmas and I just loved it the neck is very comfortable and the fretboard is like wide and flat yeah so you can go really really fast on this guitar and of course soap bars you know it doesn't matter where you put them they sound fantastic because they've got this wide magnetic field right and I play this one a lot it's heavy but it's worth it because it just it's checked up beautifully start to check as you see the green through it yeah for that's and oxidization I guess it is yeah it probably is kind of rusting the powder inside that gold coat but yeah this guitar is a lot of fun to play all those pickups original to it the pickups are the pickup covers have been changed which the pickups themselves are yeah after a while but I really like DeCoteau and I got lucky because Crandell put that up on there on their Instagram and I called immediately when I saw it and they had just closed the shop up and I happen to be the first person on the voice mail when they got there the next morning and they were like 15 people who had left messages about that guitar I just got wound up getting it yeah so I got really lucky and then of course the 335 like I said it's a 61 and it's basically all original I've changed a bridge out and the tuners everything else is original I bought this one from Dave Cobb who got it from Tom boo Kovac and this was pretty much every great 335 in Nashville because belong to Tom at some point but this is a really really good one and I thought that I would never won't a burst because I thought I wouldn't be able to find one that could beat this guitar the middle position is just magic on this and it does the thing with like you know a good fuzz pedal where you can put it in the neck and then roll the volume down a couple numbers and then get super sparks like Ivan just a really fun with the little 61 neck profile it's got a small neck Atos you can really haul ass on that guitar I know like Warren Haynes is favorite 3:35 is a 61 and I think Bonham Isis is a 61 that's just a really good year for you know somebody who wants to go fast every once in a while on a hollow body guitar that just works but then I found this after having that one for a couple weeks this this came into my life and changed changed everything about being a guitar player so this is the red-eye 1959 Les Paul this was Ed Kings and it was his surprise to guitar in a really good collection he he had a lot of great instruments yeah I'm kidding the Carter's called me to come in and demo some of the guitars that adds Widow Sharon brought in after ed had passed and and I came in and played the sweet home alabama' strat and a couple of other things and I saw this on stand and I said is that really it was there one you know is that the original and they said yeah that's it what can i play it and he said well that's why we put it out here and I felt myself being tricked do you think the time you get your hands on yeah I thought okay I've been duped but I know that and I'm okay with it and I still love these people but I picked it up and and I got lost on my way home that day and I couldn't sleep and I just couldn't stop thinking about this guitar and so I called my accountant and she said no that's ridiculous have that guitar so I called my manager and I told her I need you to find me a bunch of weird birthday parties to play this year no no Qaddafi's you know no no terrible people just find me some some crazy wild private gigs because I have to bother guitar and so I got this guitar and we took the tuners off and we put some period-correct new tuners because the old ones believe it or not we're still functional and still worked great and I didn't want either me or my tech Michael to break one of them off right have a terrible day you know it's like a Toyota Corolla yeah and that old bakelite in plastic and stuff it doesn't hold up yeah they turn into a dead man's toenails real quick this is original and then this I switched out because I like the top wrap and I do scratch it up and then I think everything else is the way it originally was the frets have been changed up to somewhere around here I think ed had them changed out partial he had a partial refract on but everything else is what it's supposed to man this has got to be the lowest action I've ever seen on a West Palm yeah pretty low and I'll tell you it does everything I have ever warned a humbucker guitar to do you know the middle position on this is is very very special even from 1959 Les Paul's it's a very special middle position and the neck profile is perfect you can see you know edge wedding ring and there's a couple of little Nick's and scratches with a nothing major yeah no real buckle rash yeah very minimal that's crazy he took care of it you know ed had it for a long time it was stolen from him and famously returned to him over a decade later and so do they know how this discoloration came to be yes that was originally you know the red all the way around and then this is where the tag was hanging on the window and so the UV light faded that annalen died and took the red out of most of the 58 and 59 level Falls but in 60 they started going to the tomato soup color which didn't fade that darker red just so beautiful it's clean and I mean look look at the corners on the headstock like they're sharp yeah which is kind of unbelievable yeah but yeah they're not is original you know the selector is original somebody somewhere along the line carved a little bit out of the g-string to keep it from slipping which I think still works great you know but it's got a double white and a zebra and then the zebra here I think is is over wound maybe 600 turns but also the magnet has weakened over time so it balances it out in a way in that middle position that's just almost impossible to replicating but now verse 58 has a red dot here his is not as pronounced and then there are a couple more that have them too but that's where they hung the tag at the guitar store and put them in the window track so yeah this is a you know as far as possessions go that's my prize that possession out of curiosity are you trying to stay off of that guitar and I just did no no no it's made at sixty years you know and I'm trying not to drop it I'm gonna use it you got the whole course yeah yeah that's still kind of the best the best way to do that yeah but yeah I think it's supposed to be played you know and that was one thing that I talked to us was sharing about when I got the guitar was you know I'll take it out and play it and tell people it was ads and tell people how much you loved it and how magical it is and it won't go in a vault something you know it's in a vault but you know not a bank vault um that's a lawyer so yeah yeah which is cool I'm glad those guys like yours too but I think something like this you know it looks nice but when you hear it in a room like the ROM and it really changes it changes something how cool yeah so that's I mean I've got awards and stuff and I don't go look at those every day but that I look at every day I don't have to ask permission to accomplish with it oh right like you feel like other than just like having a family and take damn that's about as good a career accomplishment as you can have as a guitar player to have an instrument like that because it's like I'm never gonna outgrow that I'm never gonna get to the point where that is normal to me it is the player yeah it's that kind of thing and there aren't you know they don't make anymore of them I mean they do but not real ones yeah yeah what I say they were they were you know like 623 made and there's only a couple thousand left [Laughter] that's the real thing now this is pretty interesting Gibson made me a clone Wow yeah and they let me pick out the top and the neck in the back and everything and it looks even got like the ding right here you know and it's lighter this one's only about I think that one's close to 9 pounds and this one's right around a so it's it's lighter but it sounds great they make him pickups with that wax on them over there now which makes me super happy Oh Matt Kohler at the at the Custom Shop just really did a fantastic job on this guitar I mean if you if you were to a/b the two of them would you notice immediately I would you what were see I don't know if anybody else would that's cool you know and they're doing great that's only because I know it's not a difference in quality of the sound necessarily it's just you know this this bridge doesn't bite quite as hard as that one does that's the preference you know right and this neck is not quite as hot as that one is that's preference to so it's I wouldn't say one sounds better or worse I mean there's certainly more difference in the price than there is in the tone sure that's that's a big one you know oh yeah that's understand it's a good way to put it yeah and I would be perfectly happy playing this guitar every night I mean there's nothing wrong with this instrument and they have a laser scanner and they scan the neck profile so this is that it's identical Wow it's it took them six or eight hours and it's the exact same neck which is really kind of what matters I mean everything else you can fix but Gibson's aren't quite as modular as fenders you can't just find a better neck and put it on and expect it to work but yeah they did a great job so I use this one a lot yes and that great yeah it's a great guitar and then so these guitars here are my Martin signature model this one was a prototype that they sent me and it's almost identical to the one that went into production it's a D 18 yeah and we were just wanting it to be as loud as possible that was kind of the goal and you know growing up with with my granddad and his brothers they all played big dreadnought guitars and whoever had the loudest one had the better kind of is a litmus test for that as long as it's loud everywhere and you don't have dead spots you know and they did really good it's lightweight the pickguard comes in the case so you can put it on the guitar oh wow yeah they figured out fred green and Martin ran some tests and said that the pickguard can take five decibels off of the volume Wow of a dreadnought guitar which is more than I would have expected that's a lot more than I would have it so long it's not hard but but at the same time it's miserable is it stopping that wood from moving right that's it it's just it's just cutting vibrations and they use hide glue and old school yeah old school I love that the only inlay is your logo that's a slick well you know you don't need to me you don't need them on the front you need them on the top I made those extra big oh they are good so you can see them in a low light on a stage but yeah we put the tattoo right here it's a 12th and then use the old pyramid bridge which doesn't take up a whole lot of space you know so it doesn't cut down on vibe now that you've mentioned that the difference in the pic art I wonder what this really slim profile I think it adds I think it adds some volume I don't know how much but it's for a new guitar it's extremely loud and then this one is almost identical this is the production model so it's almost the same yeah there's hardly a variation yeah yeah there's not much difference at all it's got a matte yeah it's got a matte finish and then the pickguard obviously is not on this one so this one is a little bit louder so cool you can tell the difference in the volume of them yeah and I love playing those are consistent we use the fisherman or a spectrum too no we got the matrix Infiniti pickups in both of them and then we use the aura for the RF front of house yeah and we took them up to Boston and had them do models of these particular guitars so you know basically I'm triggering my own recording of my own guitar and then blending that in with with the under saddle pick oh that's so cool yeah and that that works great for cutting through a band you know if we're having feedback issues if I'm somewhere where the line array is is you know right close to where I'm standing onstage I can put a feedback Buster and it still sounds like an acoustic guitar which is pretty remarkable right it is hard and then this guy is the weird this is the strange bird oh is this the this is the dobro guitar in Colorado and how cool is that it's really nice so weird cuz it's got like resonator features but also kind of mandolin you know yes yeah yeah it kind of looks like an f-series yeah like with this kind of large scoop it's kind of Bigsby and then it's got also like and you can tune that bender in now I'm not qualified to do much of that I use the Bigsby a little but I don't do the bender stuff you play my second slide on this guy right no I actually I play if we were vampires on it and I'd do it tune down a whole step and this one sounds good and holds that tuning real well and then we run this one through the fisherman also one of the Jerry Douglas presets on the Fishman yeah yeah who definitely knows how a resonator is supposed to say I'm sure but yeah this is a really cool guitar and I've got another one that he made before he made this one that's a metal body but obviously this one's a little lighter and a little bit easier a little more - yeah it sounds a little bit warmer in the front of house and now cool yeah it's a cool guitar and then this guy over here Tom Stadler oh your cooter yes Tom Stadler built this I think I had this one the guy's a real talent he was so cool he's a super nice guy he knows how to build guitars and you know he made this one so it would check and so it would kind of get gnarly she's got no finishing yeah yeah and it's starting to get there it's starting to turn a little bit you know if I if I did all the bad habits that I used to do it would be yellow but um but yeah it's got this is a original gold foil out of an old like TS go yeah and then this is the Lawler sue Pro pickup gotcha um and yeah it just it works I put flat spike Mills told me to put flats on it so I'll put flat wounds on it and it's great for playing slide and it also makes them really interesting things happen when you're not playing it's like you know you make some really good decisions it's kind of like having a strat in the early 60s when everything had flat wounds oh yeah you know I think the last time we talked you said you can actually swim swap that pickup around and get it out of phase yes totally and you had you have to put a cap to make it to make the middle position work so he put a cap on it to make it you know before if you had it in a middle position you can only here have this pickup working so yeah I'm sure that's a very interesting it is oddball pickups yeah they're really weird together and they sound real different but I just I love hearing a really good guitar player play on something that sounds busted yeah you know like the whole rock cooter thing it's only it's just so much fun to hear somebody who knows what they're doing play on an instrument that sounds like it's about to fall apart and this is actually a really well-built machine but it sounds like it sounds like an explosion you know and then if you use it with a lot of compression which I do sometimes it just takes over I mean it's huge you know and with like we use the origin effects slide rig and you know it's like two 1176 it's basically in sequencing so it just it just blasts even with a clean tone you can know that this thing get away from me because I know that a steel lap steel pickups or pedal steel pickup sir pretty oh yeah I can find it you can't stop playing it playing no no wrists on this guitar also I think it's super slick that he did the headstock the same is cool that looks really cool yeah yeah that's classy I don't know why more guitar builders don't go with that old like 60 yeah Italian fake tortoise almost looks like some sort of weird Buddy Miller it does kind of yeah yeah that's awesome and it'll get out from under you but that's part of the beauty of it yeah I mean these old PAF's will do it too if you listen to the hi women did a version of the chain Fleetwood Mac song for a movie and I played that burst on the outro solo and I played it through a hundred watt Marshall that's Dave Cobbs like a late 60s you know Marshall stack and I just dimed everything and I went in the other day and this cracked me up I went in the studio and somebody had marked it that day they had marked the settings on the amp and so they just had a la line drawn at every 10 on the whole amp because I just turned every knob all the way to the right so they had it marked and everything was wide open but you really didn't have to Marcus you could just turned all the knobs to the right but I was standing in the room with it so you can hear when that solo starts at the end of the high women version of the chain you can hear the pickups go that's the greatest sound that's so cool that's the most rock and roll sound I know of us when a when a PAF like squeals at you for a second right before you start yeah but anyway there's the guitars well heck yeah man I think you have some changes to your aunt set up to you yeah let's take a look at the oh you know what before I let you go before I forget I would be remiss if I didn't ask about strings engaged oh of course yes here are the strings the Ernie Ball slinky tins I've used since I was probably nine years old I've just used those same strings on every electric guitar cool we did it they stay in tune I don't have very acidic hands and you know they work and I know what they're gonna sound like when I put a new set on and then we use a dunlop picks and we've also got a dunlop buffer like an mxr dunlop buffer under the board on the switcher and yeah I think that's that's about that are you a metal fly guy yeah I've been using um mag slides which is like magnesium things they're cool it almost looks like a mood ring or something yeah they do have some different one the one I have just you looks like a drill bit slide because like a big heavy crowd but it's really really light like a big ol socket almost yeah yeah and I use the Dunlop glass slides also I used the same like two thirteen or to fourteen for years and years and I just recently started using that mag slot in it it's great I can stop you know really quickly and get around real you say those things look so so smooth that's gotta be different than a you know like a coricidin or something like that because it's not so chunky yeah you have to be patient with it you know at the time with it yeah you have to really like be you have to play with intention and awareness if I was drunk I could not use a slide that light it's uh it's a sober man slide but uh but yeah I like it but because it sounds like a heavy slide but it's not that's the hard thing to pull off because the super thin glass slide sounds super thin to me yeah but this one actually sounds like I have all right Jason hell yeah thanks ferry got a whole lot of cool guitars I know I know who would have thought man I woulda wound up with all these cool guitars there's so much fun all right let's talk about cool lamp let's talk about cool amps all right all right y'all now we're over here an amp land and if you remember from the last Jason Isbell rig rundown this is old Michael back and forth he is doing a ton of work this guy has got a lot of stuff on his plate every night and he's gonna help us with some of the details of these yeah Michael knows more about this stuff than I do but yeah what we've got here is on the bottom row we've got the panoramic stereo magnet own so I got two 12s in there - Tenzin's and those are the original magnet tone speakers they have that really cool circuit that's like the vibe it's awesome yeah so we put a mic on each each side so I can hit and it's crazy in my in-ear so yeah but yeah we've got a little controller out there and like I can hear it going from one side of the other in the ears so they can manipulate that in the house and make it sound fun but those things are great they're really loud and they're well made and you know they just sound like you would want an amp that size to sound then the deluxe is the hand wired deluxe reissue and we put a Weber Ferro Mac speaker yeah Weber Ferro Mac speaker and we use Weber attenuators with these shirts also so you can get some balls out of it and oh yeah I hate Plexiglas I hate how it sounds it always sounds like out of phase and you're getting that slap back coming off of the plexi throws sound all over the damn place yeah yeah and if you're in a room like the ROM and you know if you're too loud you you're gonna ruin yeah the mix of the show because this this room sounds you know you can just stand here with an acoustic guitar and play and sing and it would sound great out in the house so you don't want to you know went over power stuff but those two I normally use together and then these two I used together interesting and yeah and so the top two it's a 64 vibe reverb and a 58 basement and the vibe reverb has had the D as mod done where the the vibrato is disconnected and so it breaks up a little quicker you know get a little bit more warmth at a lower volume because it's not pulling any juice to them yeah yep my wife Amanda got me that vibe reverb for Christmas a few years ago you know what her love language must be gift-giving because it gives you the coolest oh I think all languages are her loved ones she don't have an on love language but yeah and she gave me a Scrabble pieces that had the word vibe reverb and so I had to spell out the word and the Scrabble tiles before she would give me were there any other words that you can spell I mean I was trying to do reverb I was like what did you get me a reverb like I couldn't fit it would took me a long time because that's the only place the word vibe reverb exists right in nature and something that is that none of that ambush yeah so it took me a while but that's got the 115 and it's the JBL right that's the JBL because some of them had Jensen's and I've got a I've got a pro from the same year at home that has the Jensen in it and you know okay but that's the JBL and then that basement is 58 I recently got that from Rudy's Michael found it at Rudy's in New York and called me about it and then I went in and played it not realizing it was the same amp he had called me about and I called him about it and that's the same bass that's a sign yeah that was a sign so so I wound up getting that was that four times 14 cool um you can jump the channels and I think it belong to George Alessandro or at least was in his shop for a while so the work is yeah so it just it sounds it sounds amazing and the combination of the 115 and the 410 covers a whole lot of sonic territory and yeah I mean that when I got those two amps together it was really kind of the moment where that thing that you'd have looked for since I was 9 or 10 well you know how the guitar is supposed to sound just happened all of a sudden and so there there it is that's what I've been so dumb question for you are you breaking this up I like rhythm slide or like rhythm and lead or not really it depends on the song just depends yeah it just depends like you know we've been covering brothers-in-arms the dire straits song and that's neck pickup on a burst with no pick just with fingers huh so what you need is something that's got a lot of top-end you know so I've been using these guys because it gets that kind of sparkle you know those two together but then if you've got a guitar that has a lot of top in and you want something median and sort of the warmth than those to work every time I think I think the mid-range coming from that basement just really does something with the 115 that makes it perfect you know to me I love that if there's if there's a combination of two amps that sound better than those two then it's above my pay grade and I'm not going to know the difference you know yeah those make me really really happy and I love how the basements just beat - hey oh man I think looks like it's been played and that's how a basement should look you know I like that tweed when it's just coming all to pieces I also love your old school like Mars music yeah it's too cool yeah it works and then just while we're here these are like little ice oh right vices or something yeah right okay so they're just blocks in a kind of external yeah the mics are on the inside it just box and you know because we've got try to keep stage volume low just because we're all on here sure you know I want him to have as much control right in the bird's nest as he can so are you running every amp on its Alan Webber attenuator yeah because it's a stereo and yeah interesting yeah yes pretty much two amps stuck together that magnet okay well sure sound good and sound check yeah I mean it it's I'm very lucky to have these you know finally kind of got everything together and I'm sure in a few years I'll be finding other amps that I want to switch in and out but you might not want to take those two are ever gonna go anywhere and the magnet own does something that no other amp really does you know it just it the the quality of the sound combined with that stereo vibrato circuit yes you know it's just it really doesn't thing yeah it's the only amp I've ever heard do anything similar is that I think buddy plays as a sport yeah and they have some sort of weird yeah different kind of like it'll make you feel some kind of way when you're listening - yeah I like that you know all right and then on to petals are y'all the last time we talked petals you had a bunch of RAC stuff that you're controlling with the jet RJM mastermind oh thanks for the cool little shout-out by the way we had a you know what I added my edited that whole thing and didn't even pick up on that until one of the fans in that comments was like oh man did y'all check this out because it was only in like one little spot love that well if you had a lot less MIDI stuff going on yeah three three MIDI components in the first run sure all right well let's just start from the top and work our way down there where you get the when it's at the or oh yeah these are the Fishman ores we've got three of those one for the dough barato and one for each of the guitar the 18s and then a blue note the blue note I use sometimes a little bit as an EQ if I want to make like neck humbucker a little bit more treble yeah I'll do that and then also just as a little bit of a gain stage yeah I like that pedal a J rocket yeah J rocket make some really cool stuff they make cool stuff and I've had that a long time and you know it does that tube screamer thing real well and then here we have super fun this is the super fun for a baby so that's the slide rig origin effects that's the big one they make us they make a little about right yeah but this was their original design and yeah it's like two studio compressors in sequel like have an outboard gear right in there Rick it is so cool and you can get their little George clean slide sound but super super squashed so you get all this sustain that you want and then this analog man son Lyon is the fuzz face and the Beano boost and together and we'll pedal and I think that might be the first one of those that he made I think we sent it back to him to get some work done here's like this is the first one I sent out and I got that from mark Ford years ago we were on tour when I was in the drive-by truckers we were out with the Black Crowes and Mark gave me that pedal killer and so it's it's faded you know you came and really see the the sticker anymore but it sounds so good so using both sides of that yeah cool those both sides and king of tone also from analog man and this compressor I had him put a fourth knob a mix knob on every knob compressor yeah yeah it you know it works great that's the one that's like not really in effect you know that's more of a condition just a compression kind of to take the single calls up to where they really of course you got that yeah that's climb centaur is that the same you better think that's the same one and that's definitely the pedal that I use the most you know because it just it just does its thing better than anything else you know because I believe it or not this is big in the world I love my job more than anything but I've never gotten to a be the KTR or the or the gold face or the or the silver face do you notice this whole difference in those I can't tell the difference between the gold the silver okay I can tell the difference between the KTR you can't any other - yeah that makes sense there's a PC board now yeah and you know this is the kind of pedal that's not I look at it like it's three to five percent better than all of the really good versions of it it's not it's not a whole world of difference there's barely any difference but there's enough to where if that's the sound you want that's the only way I figured out right I mean so many people make clown clones yeah that are close yeah very very close and you know you can use other things to make it get that extra five percent probably but if you want one pedal that does that particular and we use it low gain you know kick the treble and output up and just don't put a whole lot of gain and yeah just just to basically condition that's true a little bit of a boost and it just sort of expands everything and then down here we have a electro harmonix micro pog back over the phone pedal yeah you have to have one of those if you're gonna play guitar nowadays you have to have a POG because you can't you can't play guitar unless you have at least one song it has a pong on it it's a law it's a law now I've heard they passed that Nashville actually yes it's called the exact white law you have to have a POG I do like it though it's a really cool better yeah h9 which I think lately the only thing I've been using the h9 for is the cocked Clyde wah like we found a setting on there that sounded like a picture wall cocked and you know like the money for nothing totally town and that's really all I've got but it's obviously got an infinite array of almost like a full education on them and then the analogue man delay I used this one for like a slap back delay and then I used the tonal recall chase bliss for a long washy LA and then I've got a controller over there where I can get that and make the tails continue so I can kind of do some crazy stuff with that and then what all do we have here we got the dark world reverb there's that's super cool pedal that's a really like to chase with stuff is it's right I think it's unique you know what I love about it all this little you can really sculpt your tone with those yeah almost infinitely almost like a h9 where anybody could buy a pedal and get that tone but with his pedals you can really you can do a lot get out I mean they've got all these little switches back here on the back I mean I think we're dorks no offense Joel you one of my favorite people but man and I'm glad he's doing that so we can find the weird sounds that totally inspire us you know but yeah then we've got the Condor and gravitas tremolo which that one - I don't even really know how to operate the tremolo as well as I should at this point what it does so many different things well dang other than your controller which is what you've got you're running out RJ about this oh I was gonna I was gonna leave that to the end because we had a competition this one's Michaels pedal um a little secret sauce it is a secret it says it's DML ten about yes modulation and delay and we're not really using it for its intended purpose would you say no no just do like a weird kind of it we've basically using it as a comb filter oh wow and then when you add a little bit of modulation very very slow and very very narrow I mean the closest thing is a flanger but we're using it in a really wicked impaired impossibly low it just expands things a little bit it's funny those pedals that you know I bought when I was a kid I'm like I don't like this threw it away yeah shouldn't done that go back and find one good use for a good look yeah I mean a lot of the great you know instruments are accidents like you know Wurlitzer was supposed to sound like a grand piano that's what they were shooting for and they missed severely and made something cool awesome yeah well even your old pieces of crap not saying that's what that does but if you have something laying around that you don't like it all keep you know holding weight and then go back and mess with it again because you might find something accidental in there that you lie yeah that's the chances this is funny you almost like seeing a metal xylem pedal on some right chicken Pickers board or so exactly yeah that's a trip and uh I know they're about to open door so we don't have a whole lot of time I'm still running that RJM yeah it's just my opal you yeah similar setup to last time added some features in their controller look like little hidden functions old functions in the buttons that we use cool there's a lot going on there yeah yeah some really powerful technology and handy too when you got a lot all that's going on is somebody who's singing and playing a lot of guitar at the same time it changed my world you just be able to hit one button should I get barely walk and talk at the same time yeah dude yeah I was doing this all night before we got that rg8 RJM setup and Michael put it all together now I can hit a button and it makes a sound and I go to the solo I hit another button then it makes that sound so it spits great love it good well y'all thanks so much thank you hey man it's always a pleasure it's always a fun run down with you we're gonna get the rest guys in the band real quick and get out of your hair alright alright thanks guys thank you alright now here we are stage right with a man with the coolest name in show business Sadler Baden the peanut butter filled pretzel guy this is a Ryman tradition it's essential to a good town and you know I've heard some old wives tales about peanut butter pretzels getting a little oil on your fingers and make yeah yeah that's probably true monotone allottee yeah you know you get some good rock news in some of these yeah well thanks for having me hey thanks for being here yeah since the last time we talked I think in 2015 so it's been a while you got some yeah got some new fun toys I got some new friends let's take let's take a gander what you got let's okay let's start here this is my custom shop telly that fender built for me last year and butter baby yeah and it's it's a it's a killer guitar I based it off of the 51 no caster and I went with like the 60 style neck and it's got a at 9.25 fretboard radius so with that yeah everything I know it was it was pretty fine ball man yeah I demoed some amps for them last year and they let me they were kind enough to let me build a guitar and sit out a bad paper yeah and yeah man these are twisted tele pickups they sound great Jason recommended those and I'm happy with it got a medium relic job mana that didn't kill that's cool there's articles always kills it yeah the checking is just writing yeah yeah they really did a good job the fretboard looks really good to you yeah this guitar rocks rules yeah what are you what's odd what can I songs are you playing that off um so I played this on hook the highroad and sometimes Alabama Pines Oh anxiety play it on that yeah I got medium jumbo frets on it which I like really gives you something to grab ahold of like yeah you know you're just not gonna miss the chord with those frets so yeah love this guitar it's a great guitar very pretty guitar yeah and next guitar here I went to the B bender territory a little coke I yeah this is uh I believe it's at 81 I got a Carter vintage it's a Tokai breezy sound yeah and it's got the Parsons string bender cool so that's legit right there yeah those are see I got a moody strap on here which I thought was a nice touch this guitar made in Japan and it's got a good neck pickup sound good I don't know what the pickups are I think they're stock but yeah they sound good man the Japanese put a lot of attention to time tarzie yeah yeah so I wasn't you know happy with this guitar of the contour on the back of the neck it's ooh yeah a little bit different you know yeah yeah I've been starting to do some cool like non-country ish you know stuff with the bender likes octave bends and more like blues pentatonic Jimmy Page yeah yeah that's cool yeah awesome guitar that was rad let's go into the Tully's here today yeah yeah we'll start with the tell you alright yeah this is this one made an appearance on the last one down yeah and just you know tele custom I think it's made in Mexico got frail and pickups this is a wide range this is a split rail the wide range this is a nice beefy pickup it's somewhere in between a pucker and a single core right yeah yeah and I keep this one an open G for the most part and play some slide on it and it's just a rock and roll machine it just sounds great cool looking for you I've got black on black pickguard split rails are a little hop but I like it like it's it's get pretty Spanky on it so yeah this is a great guitar you've had it for a while nice the original fuzz strap on this one oh yeah yeah those guys this is your go to number one yeah this is my this is my baby girl right here yeah that's a great guitar yeah this I don't know man this guitar just is like an extension of me it just feels I just feel at home when I'm playing this was it wasn't actually you know one of the first good guitars you ever guys or yeah yeah say that yeah and it wasn't this SG but I've always liked us jeez you know big Pete Townsend fan Zappa fan like I don't know I just always kind of was drawn to the SG and I think they are pretty versatile for for you know to be a Gibson like I think that she can get a lot of you know yeah for sure and this is a a 59 seymour duncan and a pearly gates and those pickups sound great together like middle position on this guitar sweet spot pretty great yeah it's a beautiful hunk of wood for sure yeah what year did you say that one this is a 2005 school yeah have you had it since then I've had it since probably year 2007 or something yeah yeah that's uh that's my main squeeze right there I still love honor and this is a 2015 Custom Shop Les Paul vos got the 60s neck on it rock'n'roll Gibson was nice enough to give this to me a few years ago and yeah man this guitar just kicks major ass I got ox4 pickups in it Mark's toe at ox4 he kind of did the winding on these to be sort of like pages number one yeah yeah so kind of little hat tip to the man Jimmy Page on this guitar and we actually did the coil tap so that taps the bridge pickup and and kind of get a little little out of Phase II in the middle position and uh yeah this is fun like when Jason's playing a Les Paul and I'm playing a Les Paul I can tap this change it up yeah it gives a wider tone tone range and yeah man and it's not that heavy doesn't bow yeah mark Oh bleep oh yeah oh yeah yeah it almost feels like it's almost like it's chamber yeah almost yeah yeah that's wild yeah it's a great guitar like this cool yeah awesome guitar and this is a Fender Strat on the aircon standard straps a few years old this is obviously my capo 2 guitar and we use Tahlia Capo's those are really great Capo's what do you like about that capo I just the tension is it's really good on them and like when I have to move it after a subtle change that it really doesn't that's great maybe just ever so slightly but it's all babies are dying that yeah it's okay and yeah this has got Custom Shop pickups in it I mainly live in the fourth position on this guitar and I play played this guitar on the life you chose traveling alone and have a big like slide moment in the last of my kind where I mean a man did go back and forth and fourth position is like that out of phase yeah it's like the sweet home alabama' yeah it's the strattice sound of all like souls of swing sounding for sure I like that position was slide so yeah yeah that's a cool cool buddy right there yeah so this this was new I guess this is a few years old now or at least yeah I've had it for a few years I mean just look at it it's awesome training rig it's Rickenbacker and this is a 92 reissue of the 63 fire glow like kind of like the George Harrison or you played with I do play slide on this and yeah we you can see we put some foam in here cuz I use a compressor when I play that slide part so it keeps it from howling feedback sir awesome they sound great I've noticed a bottle strokes here a crossed over is there a reason for that in particular um I guess with this you know with this bridge plate or whatever back here that's that's um I guess how you have to do that but these strings are the compressed wound strings which I got at a pic of the Rick's comm pick of the Rick stock yeah that's what or key stuff yeah yeah it's some nerd bill stuff but I don't you have to change out the bridge or anything you know yeah I have to change the bridge out because as you know these are have some intonation issues but these strings are great so if you have a Rick or or I would say even just a dent electro 12 string the compress wound strings are really good that's a fun little - yeah they take that kind of bright harshness out I always love their they're tiered pickguard oh yeah yeah and you know I thought I would only get get one but I want to get another one now you get I'm gonna get one you want another one so there's the Rick starting to acoustic here this is a Martin HD 28 and this belong to Jason yeah I think he had it the last time we spoke yeah and it's got the Fishman or a system in it that sounds really great and I love the herringbone so I mean it's just a beautiful guitar yeah I mean he always sounds so good they are yeah yeah it's it's a mark in that same shape so it's like what thank you yeah yeah so yeah this is a great instrument yes I like I like playing that alright let's move over here oh here's a new friend sort of tells us this is it yeah this is a Pete Townsend signature as she's special rule it's got Grover tuners on it which I think kind of helped keep it in tune yeah that seemed to hugger and real good yeah maybe even help the sustain some I've been playing this one on cover me up and sometimes a song called go it alone and pickups are great they're a little hotter p90s but I like the sound of them and I found this on reverb and the guy was in the guy was selling it was in Murphysboro which is like 30 minutes away from Nashville and so I drove out there he met me at a Burger King and you know played it liked it got a value Mill got out of there it's a good story yeah awesome guitar yeah that's awesome this is an old friend I love this bar I think this is so slick that Duesenberg Triathlon a three yeah just so it's eye-catching yeah you see it you're like wow that's different yeah and I bought this off Jason probably six years ago and he put the Duesenberg tremolo on there and I just got a tone pros bridge with the rolling saddles so it kind of keeps keeps the bridge block forth and yeah it stays in ten and yeah yeah I loved that last time we talked about yeah blocks for is in and I think since the last time and those pickups sound great and yeah this is a oh seven block reissue way cool awesome guitar way cool yeah well then uh I guess what does this last but not least right here yeah this is the newest addition myself a few weeks ago Gibson sent to service is a brand-new J 200 and it's got the LR bags anthem you ever great about that up yeah it sounds it sounds pretty cool I'm somewhere in the middle like it's got the mic and the - yeah yeah yeah and I use that with a Fishman di and yes hard to get an acoustic guitar guitar dust like in a crystal guitar live so sometimes those a little weird so I love that they give you the option yeah a lot of people are kind of doing that now but yeah yeah and I mean they're just they're only gonna sound in my mind only gonna sound so good without literally having a mic right right you know but it's come a long way it's like you know frozen pizza I mean it's just like it's really good so I'm playing the song if we were vampires playing this on a new version of tour of duty that we've been doing any more of a bluegrass thing and you know it sounds really good against Jason when he's playing to Martin makes sense yeah and of course big petty fan you know he played these towns and played these no Gallagher play j-200 so yeah I've just always wanted what I love it I love how big they sound yes it's beautiful guitar it sounds great fun anyway got some fun new stuff yeah you got a lot of colors in your palette to play with my dude yeah I mean that's a p90s we got some single clothes we've got buckers and I feel like everything I have serves yeah yeah serves a different purpose than the other guitar like so I try to apply them you had to play this entire set with one of these guitars as you master you just better yeah well and I can get some telia stones out of it in the middle position you know I mean I can pull foolish elf with that guitar if you had to yeah slide the whole yeah well I hope you never have no interesting is oh yeah yeah knowing that yeah well right I think you've changed a little bit in the ab Department and in the penile Department so let's go take a look at take a look all right okay Sadler the last time this isn't too different than the last you gotta set up but you you were running a one of those hand wired AC 30s all right yeah what's this guy so this is a 1965 vox pacemaker it's all tube version they made some solid-state versions and I got this at Emerald City guitars in Seattle will sup Trevor and me and Jason went in there we always go in there and we're in and we plugged into this thing and he was standing behind me going man I think sounds great if you don't buy it I'm going to and I was like I guess I'm gonna buy it put you on the spot yeah he put me right on the spot but I I'm very appreciative that he did because I love this amp it just I run it at like vol 4 above that it doesn't really get louder it just kind of gets more saturated but it just does like the you know like jangle rock thing like just a tele and a décor just hang johnniemorrow kind of like saying yeah it just it just sounds great it's just a great amp and then the third power you had last time which sounds awesome yeah I mean it's just you know it's like my SG it's just like I really relate it to being kind of my sound your usual yeah very used to it Delano Nova third power I've had this for six years you know it's it's a 59 AC Vox on the first channel and a 68 plexi on this channel and we put a stage bug in between the Marshall channel to correct phase oh okay yeah yeah yeah yeah cuz sometimes it you know just depends like sometimes it's out of phase but yeah man third power really does that up blendable to amp and wanting yeah so well yeah dual citizen is amazing I don't know if you ever heard the kitchen sink yet I have man yeah so rad amazing amps it's got a solution Gold speaker in it do you know what's in this old bomb what is in there let me see is it open yeah it's a Webber so whoever yeah yeah yeah I literally bought that thing and put it in my rig like st. immediately yeah what'd you do with old hand wired AC 30 at home oh that's back up cool oh yeah that's moment yeah yeah right on and they're both on all the time yeah you're running some effects in stereo right yep like got like a reverb and some of my modulation effects are in stereo and we've got some good ants to do it with yeah and then like when I'm when I want just a little more game or something I mainly stay on the Vox channel here depending on the song and then when I want a little more gain I just like kick over the marshal and then up from there I'll do a clean boost or a drive or something like that oh speaking of boosts and drives let's go to let's have a look yeah cool alright Sandler what's this what's this all about huh this is my this is my pedal board so let's just move on down this is a rhyme in a laundry bag here yeah so I've got a few new things since the last time kind of made my setup a little easier got a bigger board Michael Bethencourt Jason's tech and kind of our stage manager built this great junction Bob Burke lead oh wow cool up top and he wired and put this whole thing together and this is a pedal train forget what size it is but it's a pedal train board and we'll just go down the chain or I just added that Eventide h9 this is fun they're really fun yeah it's something like a lot of people have them now you kind of see them everywhere but you can lightly tweak it yeah I like you can kind of personalize and sculpt your own effects right right and that way you can kind of get out from from you know using a preset that everybody else has totally you can start there and then sculpt your own thing and it's really just a nice like added like oh you know like we've been doing a different cover every night so depending on that I you know oh I don't really have like a gated reverb crazy thing throw it in there you know put it in line a preset and so it's just there's like a Swiss Army knife totally it's kind of one more thing if I needed it but I don't live on it so so are you are you down in your tunnel and saving it as a preset yes yeah so those are cool man I probably think even tide is one of the better effects like as far as stuff they're making yeah like as far as time-based and like modulation stuff yeah you can send a MIDI signal to it yeah it's pretty great and then we got just a normal old Dunlop volume pedal there and I did just some swells and stuff here and there with that or or just a kill switch you know let's get out I don't know the next chord and then this is a Clive McCoy crybaby wah and you gotta have a wah wah got to you right yeah so and then let's see I've got the standard blue line 6 mm for you you've had that sucker a lot I don't want people laughs but those things cover so much ground yeah that's good enough for my campbell or somebody it's gonna have me man you know it's all good I just like that I don't have to scroll between anything right like I'm not you're not backing up or down it's just not my style man I got to just be able to go OK tremolo boom right you know and then plus you probably had it so long you know exactly what you're hitting yeah and I haven't really changed much much stuff in there I've got like a slow Leslie fast Leslie tremolo and then kind of a faster pitch blue broto going on there and and then let's look at my drives here I've got king of tone so I got the first channel the yellow side is like a clean boost I got the red side is more of like a I guess like a tube screamer or something gosh oh gosh does the king of tone thing got the Grier amps live speed with Nick yeah Nikki make some awesome stuff I think that's one of the best pedals like ever in my opinion like and I see them on a lot of boards now yeah in terms of like versatility man if you got a back line amp or just whatever like throw a light speed on there and you can just dial like a bass line tone and get what you mean yeah and I've got that like the loudness and drive cranked up pretty good in the frequency dialed back so it's more of like a creamy Drive setting very versatile pedal got a forest green compressor that yeah and that Professor I love that compressor I don't see too many of them out there but on people's boards but I love that compressor it just it does what I wanted to do totally I have it like on the sustain setting so I I've got just like a nice even smack it's not like killing it right do some I'm not any kind of slide player but it's compression something that is essential for slide I think me like it would almost be too even if evening hour yeah I think it evens it out I think for me and Jason like if you don't have compression you got to have volume you know yeah yeah yeah so I think just putting a compressor in line on slide just kind of makes us see and keep your amps lower onstage analog dual analog man dual analog delay love it cuz I got a slap in a long one I mean it just sounds great mic and analog man he's the best and then I've got this blue sky Strymon I kind of have because I don't have reverb on my ant right so I kind of have just a just springg verb just like a light Anders reverb like as if it's in the amp and then I have like a long more like halt verb setting there yeah and then this is my third power channel switcher this is a walrus I think it's to transit five I think that's what it's called it's just made my life easier right so yeah yeah yeah yeah exactly and I've got these are just all my drives in my compression oh that's it yeah just just in there and then I just added this walrus 385 that I have just kind of kind of just cranked up to get like the give it hell kind of fuzzy grainy sound like man like come mark for dish or something yeah and I've been I just added that in this week and that's been pretty fun to mess with and then cork tuner I like the pitch black tuner I think they're pretty accurate I think yeah me and you can see it you can see yeah I love that it is yeah yeah I've had a couple of those myself and then for your acoustic setup you just running this fish menorah yeah this is a nice fish man Platinum di EQ and and then I've got a sure wireless system just for the acoustic so I don't have to deal with the electric cable and then deal with an acoustic cable I could just put the cable on my stand guide the acoustic that's handy first I can roam around and go out in the crowd if I want so yeah that's my pedal world man the stands it's a very clean setup Michael did a great job on this yeah he did yeah that's why well and then what do you got powered it all before I let you go Michael what do we got power walrus power cool yeah well right on Sadler is a pleasure to talk thanks Pierre we're gonna grab Jimbo talk to him yeah all right guys last but not least we got Jimbo here the man that actually puts the unit in the 400 unit the students a bad bad em effort but right out of the gate this is totally different what's this situation yeah so this is a Sadowski willly model it has a lot of nice upgrades to it it has a flame maple fretboard and these wild black abalone inlays and a Hipshot d tuner that's nice that's a whole step D tuner but um Jason Newsted of Mattel formerly of the rock and roll band Metallica gave me this bass guitar I gotta ask you he came to our show we played at the row at the Grand Ole Opry for New Year's a couple years ago and he came and hung out and we made friends and over the next couple of years he came to a few shows and one night in California and he was there and he was he just told me that you know dad is here take this that is a trip yeah so I've taken it and it's become my main base because it has so many tonal possibility yeah and it plays so well and and it just it's so light it's pretty looking it's a beautiful thing yeah all right so run me through these controls uh okay it has a it has a volume control and a pickup pan control like a standard pass got taste and then he has Rogers vintage tone control which is like a a regular passive tone control it acts just like a regular tone control and then there's a the bass and treble EQ let's go handy to have it right at your finger - I believe they're boost only - so I just usually mostly all the way down and then sometimes like if I lean toward the bridge pick up a little bit I'll add some bass and but that's about it I don't really run the preamp very hot what's a little toggle do you the toggle there is a nice little mid boost oh cool and I believe it's dialed in at 1k and it really gives it a lot of teeth yeah I mean it and it gets louder and I mean it's awesome use it for the for the sort of cello we parts on vampires cool yeah man I I love what Rogers do and you make some really great bases but yeah Jason Newsted would be the last person I expected you to be friends with that's so cool it was it was so crazy I mean and and still every time we talk my inner 12 year old wants to smash the coffee table totally yeah yeah I just it's so rock and roll and he's still completely just wrong you ever be talking to Jason would be like oh hold on hold on newsstands call it that rules man well let's hold it you can learn something from a totally different kind of player than yourself yeah and he's got a band now called the chop house and they're they're really sweet swell fellas they're good band and they're awesome are you still playing with witty pics well I still have them but now I keep them in my stew or I'll taking the sessions because I just like him a whole lot and I didn't want to lose him I get that totally but the folks that Dunlop hooked us up with Jimbo pics I don't know if you got that but it says Jimbo wanna just do it and so I'll use those now for sure so are you on this base pretty much all night pretty much all night and the others just a backup in case it's a backup and for awhile I was kind of switching back and forth it's another Sadowski it's eligio vintage pj looks like the similar preamp kind of thing though yeah it's the same preamp except without the most ethical and it's amazing it also has so many tonal yeah options going on and I've also found that when I take that one to the studio it always works really well sits in real well yeah that's cool yeah so it records like a dream are you going between pics and your fingers yeah yeah okay Africa yeah it's bit all over the place yeah yeah well I love that you can get so many different yeah sounds yeah and I think the last time we talked to once you run in flat wounds yeah on the P basis yeah yeah yeah I still have the old fenders and sure the flats arm and everything yeah and I study not to say a whole lot more about Roger but he also makes a hell of a set of flat wounds Oh Sadowski strengthe yeah no but I put them on all my fenders and then they really really ruled that's awesome he'll nice and sound nice and have a nice attention to only brightness yeah I'm always stuck to to see what he's got it man does it make some really cool it's really good and a really sweet fella too well so this part of the equation has changed a whole lot but you're still running the Ashdown's yeah I'm still using the Ashdown's they're still working they had they don't break which isn't good you know that I've never had a problem out of any of them they sound great they take pedals pretty well they're not too high P in the low end so it doesn't cloud up the stage too bright right but it's still super sonic space yeah now are you not running both of these of them wait it's a 100 300 or you have a 100 and 300 and I mostly just use the 300 and occasionally I'll switch to the 100 for a brighter sound or if I'm just feeling the need to have a different tone that day go they're kind of different yeah yeah it's good to have a different option sometimes yeah Howard the Duck here yeah Howard was one of my favorite movies mine too I watched it like 10 million times my mom actually threw the tape away and told me that it broke she just she was so sick of watching it that my duties yeah well my mom wouldn't let me write the thing so funny it's kind of crazy how dark that movie it was very dark yeah but in a sort of common dude gets possessed by a demon it's like a kids movie sci-fi yeah oh yeah and then what I really love most about my rig is this shelf here that are our tech Michael Bethencourt mr. back and forth back and forth built this for me and there's a radial head bone switcher for the - hey that's sure and then basically from the pedalboard it comes in - here - this exotic X blender and I'm guessing that's a fuzz like a toad letter kind of thing it's uh it's like a parallel loop oh okay wet/dry loop yeah and on this thing I have the effect Road PC - a compressor just sort of get that optical impression the big poofy breathing puffy kind of thing but I don't run it very hard I've just blend in about well this thing's at about ten o'clock right now got you and then from there it all wands up going to my lovely old noble D ah yeah these are there's ones number 19 Wow yeah no kidding yeah so you'd almost have to have this in Iraq because these 12ax7 are exposed yeah a little bit yeah but even when even when it wasn't on a shelf oddly a problem I mean I'm baby it of course of course you know I mean it's it's hand-wired point point right jack you know lovely basically likes to do outboard gear right yeah it's totally that's a real deal when I come home and I go to the studio I always go to our shop and take this thing off the shelf and go home and work right yeah and I'll come back I'll put it back on the shelf and go back out on the road this is a unique feature I don't know if you can see it on camera I'll try to get a really good picture for you but these little plates so you can twist and you get it set perfect yeah they lock it in these are from tapestry audio the folks that make the balloon peddle they're like little knob logs sandy I don't know if they still make them but they did a few years ago and I bought a whole bunch of them yeah that's a real real handy and I figured it's it's really neat because you can tighten the setscrew down to lock it or you can let it go or you can get them sort of medium tight and it turns it into a like a do tenant pot ah so you click it oh yeah you got a whole notch choice can I enjoy it should kind of changes the whole pot set up close yeah that's that's sort of the brains of the operation they're the noble and then the last thing over here before you get into you're getting to your pedalboard is this cab yeah it's a it's a Nash down 6610 I believe it's from their custom shop they they put this red grill cloth on it for me yeah I thought that was pretty rad I think a 6/10 is a good sound and it is compromise it's not going to kill you yeah and being kind of a vertically challenged fellow such as myself when when you stand in front of 810 those routers tense you right in the back of the head yeah and then the ones below that or like right here it's back to your shoulders so I can't even turn it on without definite yourself and also a find that the low end is bigger with a 16 cabinet really than an 18 or at least what I can hear in a little world I wonder if the shape of the cabinet may be so maybe it's the dimension of it was gonna say because these are a lot deeper than a SPT yeah they are a little bit deeper yeah but yeah I love it now I love the Ashdown stuff it's good cool well I'm stoked for you that you uh you're friends with Jason Newsted and also found our new base that you love that's it's amazing man before we get out of here because I know y'all kind of soundcheck and all that let's go take a look at your board all right all right all right you're both here we are in your paddle world which is I always like your pedal board cuz you got a lot more pedals in most baseball yeah I have way too many buttons yeah Ron told me one time they have too many buttons well johnny has it yeah but I still I'm just ignorant like that so ice to keep plowing ahead with all these buttons I get it yeah I've got a lot going on and the first up just like Sadler's board over there Michael Bethencourt made a maybe a junction box here that that has all sorts of things going on it has like an emergency in case of emergency break glass output no straight out of the trailer buffer on and off though oh yeah you can turn the buffer on and off it's really great that sort of tidied everything up a lot and but so I guess first off I've got this Peterson here that's coming in coming off the volume pedal but actually the volume pedal is last in the chain because well there's just all sorts of reasons but most importantly when I go to the to the EBS it doesn't like to see a fading input you know what I mean so the synth the oscillators won't grab onto it well track properly I need to fade in a big octave note I can't really it won't track it until it's full volume interesting wrong yeah so I have wound up having to put the volume pedal at the end of the chain but um anyway so I guess first up would be this well use this transit here from walrus theater it's such a clean board yeah Michael did this the whole board too and Michael built this board and like everything he does it's very clean yeah very very good super own business right here yeah made all the cables and everything but um I guess the chain well I guess I should have mentioned that the board is also a pedal trying cool I believe it's a it's a classic or PT one from classic line and so first up would be the soma preamp from greer amps Nick sent me that and told me that I would love it and he was right he's right makes usually right about everything I've ever round yes he is and the dude is a wealth of knowledge yeah I'm not exactly sure what it's supposed to do but I know that when I said it for myself I can back off from the volume a bit and it almost gives it that sound like like your amp is too loud and the speaker's like wanting to post it kind of yeah yeah and so I used that for that sort of thing and oddly enough that tone seems to blend really well with our more acoustic heavy numbers oh really which you would think you would need a bigger cleaner like round round or bottom in but that sort of small amp dying sound actually sounds pretty good yeah in the context so I use it for that kind of stuff and then from there I'll go into the this walrus Voyager just a super-fun pedal it is a super-fun pedal I love this sort of little bit of compression that it does and and it I don't know it just does this thing it just makes it a little bigger and meaner thickens you up a little bit yeah a little more in the top-end but it doesn't really affect the bottom in a negative kind of way at all so that really rocks and then I have the the ampeg classic pre and I put that on there because I used to use ampeg amps and I got so used to the ultra-low switch oh yeah yeah yeah and a lot of our older material was recorded with an amp with the ultra low or toured with an ampeg was that basically gives you that ability yeah and that's pretty much what I use that for and surprisingly it stays on all the time but it's on about 70% of oh wow so that's awesome and then from there we go to the walrus Janus that Michael Bethencourt again has modified for me so that it can be changed from a horizontal orientation to a verdicts that can fit it on there yeah cool and one he had to get in there and change the polarity on the joystick so that it would have the axis the same XY axis as if I were as if it were still the other way sure no you've had this on your board a long time I can have if I kicked out full of those little knobs yet they don't come off pretty sturdy huh that's one of the sturdiest pedals on my board I've never had a problem with them and that's a trip I mean it's yeah when I first saw it I was like oh I could break the hell yeah this thing's done yeah yeah three days on the road that's toast but no years later I'm still I'm still standing on it when I use a hip and how much are you changing those little dogs um well I don't really change the the knobs so much but like some songs I'll put it on the box sounding side where it's a little more subtle and kind of get it in tempo and it just sort of undulates go a bit with the band what gives it a heartbeat yeah and then sometimes I'll put it up here where it's going really fast on that subtle side so it's kind of almost all lazily right right and then sometimes when it needs to be heard it goes back to the other side and and then that's when it gets pretty noticeable yeah well you've been using it long enough that you've kind of got a dialed into exactly what you need yeah yeah it took a minute I bet yeah that's a very odd federal to be on a bass it is it is yeah and and even there's something weird around here I'll get into in a second but after the after I don't well just so you know I don't use the fuzz side of this right right at all because it's as awesome as it is it's completely unpredictable so if you don't know where the joystick is on the plus side you go to kick it on for a bass player in our situation you need a consistent kind of I need to know what's gonna happen yeah so I just don't even bother with it but I do love the tremolo and I've been after him for a while to just cut that thing just do that yeah totally i'ma put it on your board if you guys are listening cold best thing in half you'll sell twice as many of them anyway so from there we go to the EBS octa bass and that one is the studio edition and I think the only difference is maybe the switch is clickless oh and silent switching and I think it might have like a few DB more game overall output but other than that it's pretty much the exact same well Swedish guys make some stuff yeah they're really cool folks man I've talked to them on occasion and they've always been really nice to me so I'm really happy with it and that's the second one of those I've had and I got that one because I wanted to take my other one home so exactly who you are using that for a high rock to ever like no it's a lower rock but if yeah and eventually I would like to maybe get another one I'm gonna have it set to where it's a little more subtle kind of on the drier side and barely there and make it feel a roof maybe it was good but this one's set to the your typical like big cynthy gotcha cool and then I think the last pedal is that mocha is that a Moluccan it is it's a maletto spring reverb a little verb yeah that's something every bass player has reverb if you play the bass you crack me up but I use it for one song actually two songs most noticeably I use it on if we were vampire for the cello sounding part and that involves again the mid boost the share on the Sadowski base and the this dunlop volume pedal here a lot of it and I was like yes swelling in and out of it and and and it that thing really really brings something out of that that that mid boost and I don't you know I was just looking for a small reverb pedal that would fit on my board so yeah for that one song but since I've started using that one I love how simple it is and it really sounds great yeah that's not good and they don't take up a ton of room which I love yeah yeah and it's peak gotta love that yeah right ticket I mean it's such a man honestly Michael Bethel chord is worth his weight in gold yes right that's a great setup you're super clean it's clean and if something goes wrong we know what's up with it totally you know so it's good to have the man in the house that who built it not only that he's building you bypasses or whatever you need to suit the situation yeah he's really our our secret weapon a lot of ways he's great ways Michael if you're watching this we love you good on you man well Jimbo thank you so much for your time you're welcome yeah I love doing this again next time your gear changes at all please give us a call the well I'm working on it I'm working on it I'm so excited for the show tonight these things are always changing you know I believe that for sure that yeah should always keep I feel like real gear heads are always tweaking you're always looking bit yeah Corey Brandon his board changes every single day yeah we let it alone for a minute there's those guys that don't even use boards at all they just have a bag of pedals and they throw it on the floor no you know that works for whatever totally I guess tone just like art is relative yeah so what works for you works for you yeah sure man I feel again I'm glad yeah you got a great gig loving life yeah well hell yeah thanks so much thank you thank you guys let me talk to you absolutely absolutely we don't get to talk to a lot of bass players with wacky pedal setup so we're cool guys thanks so much for watching stay tuned for other rig rundowns riff rundowns video lessons all that fun stuff you'd already online click Subscribe I might as well do it you can also subscribe to the magazine to have it sent right to your house see you later cool I don't know [Laughter]

Channel: Premier Guitar

Views: 135,652

Rating: 4.9111109 out of 5

Keywords: Jason Isbell, Sadler Vaden, The Nashville Sound, Ryman, Ryman Auditorium, Nashville, Jimbo Hart, Seasons, Ed King, Guitar TOur, Guitar Tone, Tone, Guitar, Guitars, Guitarist, Electric Guitar, Rigged, Rig Tour, Guitar Tour, Gibson, Fender, Gibson Les Paul, Gibson SG, Rickenbacker, Fender Stratocaster, Fender Telecaster, Tokai, Anybody Out There?, If We Were Vampires, Live Oak, Reunions, Alabama Pines, Cover Me Up

Id: -j1BwYw7sXA

Length: 91min 13sec (5473 seconds)

Published: Tue Nov 12 2019

Reddit Comments

[u/patrad]

I want to know the weird private gigs Jason had to play to buy red eye

[u/90unoand1]

I could watch my favorite musicians talk about gear for days. There's nothing cooler than a cool dude playing a cool guitar. Especially that Ry Cooder-esque Strat Jason uses for slide. Red Eye ain't too bad either.

[u/MothmanEatsGroundPep]

This is the best rig rundown. Jason is such a guitar nerd and is crazy knowledgeable about guitars in general.

[u/CaptainAcid25]

If you’re a guitar geek, this is awesome!!

[u/a_m_b_]

I like these rig run downs but I’m not much of a fan of the guy that conducts them.

[u/kristoefoe]

"Its called The Jack White Law"