Rig Rundown - Periphery [2017]

[Music] everyone this is Chris keyboard from your guitar hanging out and Nashville Tennessee at the marathon music works with mysha mysha how you doing I'm doing good do you thank you very much meet us from periphery that's a good handshake folks that's how you do it get in there for the camera get in there tight oh I'm just saying like it but we have the mic pick it up buzz guess they really like messed up stuff to you while we're gonna do that it's what you do that's what our leaders tell us to do all right let's not go down that come on now that we're talking guitars guitars today boom talk to me about this one it looks uh I'll let you talk about it yeah it's the same but different yeah I can't say too much about this but it is a variant on my signature model it's made by Jackson Jackson yes made in the USA made by Jackson I have gone kind of satin Matt whatever oil on everything you know it's very smooth surfaces as you see this is a gorgeous flame top on amber tigereye right now as you can see it's a very large natural top this this one has a gorgeous mahogany body on it but it doesn't actually weigh that much but I'd say the piece de resistance would probably be the caramelized flame maple fretboard and caramelized hardrock maple neck which is basically cooked yeah so they cook this stuff to get all the moisture out of it and makes it a little bit lighter but it also makes it stronger basically with with the moisture removed it's less prone to moving around so it's an extremely stable combination and it has proven to be on the road so far and you've played the jacksons for years and when we did last one thing goes 2014 or 2015 but I want to ask a question that's probably answer a bunch you played your cities you played my own as a rule a black machine obviously with Jackson now so how did you go through all those companies and end up with Jackson and all those experiences come to make what you have this guitar and like you know all the experiences and your knowledge of guitar Odum I'd say in a lot of ways those things were market research mm-hm because I was able to spec out all these crazy things test out all these different combinations specs these different things to how I felt about it obviously a lot of this is very personal so I'd say everything on this guitar is extreme deliberate I actually say saying it's kind of not what people expect but the other day like any good reputable company ya can build you a good guitar absolutely sign that you like when it comes to sort of endorsements signature models it's a business relationship yeah yeah well you worked it and just like being in a band or hell you know people you work with it's like you want to get along with them yeah well I love the dudes at Jacksons they're just a bunch of guitar nerds huh they're all guitar nerds and they're real with me they don't just say yes to everything I want but they also try not to say no to anything it's always a discussion and it's always a sort of pragmatic point of view on everything so it's like if I want this I'll be like okay but consider that it might cost this or it might be difficult to source this so we have very sort of practical conversations about these things and it's great to have their input because when something sucks they'll tell me yeah you know and I trust them because their guitar nerds so we just have a really good relationship and I think that's what allowed us like over the course of three years to design the first sort of iteration of the signature model and this is a sort of variant is there anything around with you know is there anything on your guitars like Xavier brought up a point when he was talking to Perry I don't know this will come in a timeline of that one became before this but anyways Internet have you mentioned that he has a quote tap on his guitar but it's something he personally uses and he doesn't find a use for it but he knows that people that might pick it off the rack might look for a cold tap option is that something that or those types of things that you put into the guitar or is this really Misha's guitar and if you like it you'll like it you'll play your play I'd say I'd say it's actually a bit of both because the things I like by nature attented they need to be versatile yeah with a music app horrific like it used to be metal was just kinda like you just need like good rhythm sound or good lead sound you're good we need good everything yeah good cleans good mid gains everything needs to be that grid so just by nature of what I would want I'd imagine that you end up with a pretty versatile instrument if I if I design it just out of necessity yeah beyond that I'd say things like for example the tone knob this is actually not activated like that because I don't like tone knobs I very very rarely use them and I actually kind of like them out of the circuit because you lose a little brightness when you yeah atone circuit so what I did was I really some people do like tone circuits and this is actually Jackson's idea this is where they come in with their good ideas i guys some people want to own circuits so how about we do it where it's bypass when you pull it up then you activate it so even at full you'll hear like you lose a little bit of brightness tone circuit activates but then you have your tone circuit for the people who actually want it yeah and I have it out of the way out of the circuit just direct the volume most of the time you know make sense so these are the little things where as you say it's like maybe a bit of a feature set for the average person yeah but I don't really use that too much you know cool and I imagine these have your bare knuckles in it they do indeed these are now we just released the Ragnarok set but this has the juggernaut set and okay because those had not been released when I expect this one out of it but but yeah I mean like you know the juggernaut in the juggernaut guitar was sort of something that was these were designed to go together and they always did so you know it can't really go wrong with that I love these pickups hand wound in the UK by bare knuckle yeah scatter wound which I think makes a very big difference and it's just topically in that process that so people that might not know that scatter winding yes so basically it's it's an art form because you want to get sort of even lines across the range obviously like pickups are coils round around or wire around magnets around magnets right so as it spins you want to kind of have a random effect to how you you spool it up but it has to be even timid bare-knuckle says it takes about two or three weeks to train someone to even get one that works Wow so it's it's a it's a bit of a process I tried my hand at it and I was terrible because I jokingly I was like oh it'd be cool if I could like won one of my own pickups he's like yeah that's not that's not gonna happen it's like if you're here for a month made you know but I think it gives the pickups a very open sort of hi-fi top-end without actually inducing any harshness into the the sound so just get some more dynamic range out of it it's it's something that I would consider sort of a signature aspect of the the bare-knuckle range and it's something I definitely want to highlight it in this set so how was the the evolution from your first set to now the regular well the ragnaroks almost a response to this this is again as I said about the guitar it's like versatility yeah it has to do everything it's I call it like sort of a surgical tool and it requires a lot of precision it's a pretty unforgiving pickup because it's extremely dynamic so it relies very much on your right hand and I picked very hard so I like that yeah the ragnarok is kind of a compressed pickup it's got less of a high mid thing more of a low mid growl - it's very aggressive it's probably the most aggressive pickup in their range so it's almost a response to this was this surgical and clean like I say like the rag rock sound like a sledgehammer okay and it's kind of trying to blend a little bit of what's going on with active pickups in how they compress the mid range specifically but I'm not a big fan of actives and how they feel and their overall sound so it was like trying to you know ride that line in the middle and Tim had some very clever ways of putting that together so I do have some ragnar equipped guitars here and and I'm a huge fan I find that pickups actually very fun okay and and will those guitars have certain songs that they get used for or like certain you know to work towards a certain tone or a song Oh a little bit I haven't been quite as granular with it just yet just because most of our songs are arranged by tuning and we're trying to bring less and less guitars but it's kind of worked out to our advantage the the guitar that actually has a ragnerok is kind of not what you would expect so I could show you that one let's see if we dismiss this one while what one is like this set up for tuning wise so this one is in our we normally tune to drop C that's C G C F ad but we have a set of songs that drops this to an a so it's a GCF ad you get this interesting relationship but like 0 & 2 will become an octave it's almost as if you had a seven string guitar with the sixth string missing yeah and you know we messed with different tunings it kind of brings out different sides of creativity and if you have writer's block it's a good way to stop it yeah absolutely and this tuning just worked out for us very well to where we have like quite a few songs that utilize it so yeah we have a fair bit of the set that's played with this guitar cool but yeah let's let's move on to lutely let's move on to something else which is equally funky I think yeah here we go so yeah [Music] it needs to be tuned my apologies this is not into it anyways yeah this is something pretty special yeah after sort of designing my dream humbucker guitar I was like kind of unfazed by anything else that was in that that world you know in that wheelhouse and I just got onto this like huge strat kick I think it's called getting old unfortunately so I'm just becoming a dad rocker even though I don't have kids I'm living I'm living the dad rock right now soon you're gonna pleated khakis are you talking to your shirts I thought that looked fantastic for what it's worth but yeah like I I've been on a huge strat kick lately though all these guitars was like like set up for like you know e standard ten to forty six and not appropriate for what we're doing and I kind of went to Jackson I was like look like there's some songs where I think like a strat would work pretty well having the single coil here I really love the split position you know where it would split inner coils here with a middle pickup there and and there were game and I was like look like I'd love for it to look like a strat so I have this track hit strat headstock Jackson logo you know and they did this absolutely just gorgeous guitar here just show you guys like the neck on is beautiful we got take again it's the cooked maple flame maple neck through the whole way through not neck through it's a bolt on but the whole neck is cooked and flame maple and it's a wonderful profile as well so this guitar is interesting because it's kind of a sleeper it looks like a relic dad rock guitar but but it's a 20 inch radius with stainless steel frets this has the Ragnarok in it it's that's a very aggressive yeah I pick up Tim sort of custom weld to output and EQ appropriate neck and middle single coils to complement that and this is just sort of standard strap like HSS strat wiring you know I got one of the the tone knobs removed because I don't need both of those I push the volume a little bit out of the way so there's a pet peeve like I always end up back that volume knobs I just can't put them in the in a spot I thought would be a bit better I put the output Jack output Jack I've always had questions about that yeah it's like you're it's an input but it's not it's an output Jack I've been training myself I'm so proud of myself right now just an put the output jack not the input jack the output Jack where it belongs here as you can see I use these um these right angle cables and the deep-dish thing doesn't work too well it's kind of awkward so again this is sort of like this is my sort of bespoke strat with all the things that I would do to it like you know having like a bit more of a cutaway there like it's it's just so a little subtle tweaks to make it nice and having the truss rod adjuster here just like on all my guitars so it's kind of a nice little in-between that locking tuners I'm get the tape on top through there yeah yeah yeah I mean we've got we've got the string tree here it's just you know you get rid of any excess of ringing yeah it's not necessarily the best for a tight gating otherwise the tape does the job this is the most important part of the guitar and I've got like the the Hipshot contour bridge which is their modern take on a strap but it's usually these relic ones will have like very vintage yeah bridges which are kind of a pain to work on and then the fender the fender one of the fender relic guys just did a relic job we did a nitro finish on it so it would break up nice and easy I know these are polarizing but but I love a nice relic on Daphne blue yes yes it I end up rocking this for a lot of the set this isn't drop see so this is the ce g CF ad okay guitar and it's just been a pleasure to play on this store to be quite honest oh also all my guitars always have luminol a glow in the dark side dots gotta have those I like some of those things that like before you having your like em whatever and then you get a guitar then it's like this needs to be an all-night game just like you're blindfolded now yeah yeah it's just because you know you see our light show it's like not really always gonna give us the best line like this stuff we can always count on you know yeah what strings are you running on your guitars so I'm using the the Darrow NY excels I really like those they don't break like straight up yeah you're a hard-hitter 'yes i am i am so it's like cut and they and they hold their tuning very well they're very consistent from pack to pack we've done kind of scientific experiments with them quite because we're a bunch of nerds yeah like like they're actually really consistent so all i need to know that they work and that they sound great and Snape right for a while which these do and I'm using the 11 256 okay cool which I also use for the a tuning probably should drum something thicker on there but I'm too lazy so but yeah that's this guitar right here you got any other guitars you want to show us I'll show you one more okay cool show you one more guitar this is another one that Jackson put together for this tour we needed this one very specifically so obviously I have this is based off my my regular seven string signature model basswood body on this one when we do the solid cuz we do I cook bass wood okay this is actually probably my favorite tone wood why is that I just okay cuz a lot of people yeah yeah absolutely so it gets a lot of and I think it's so dumb it gets shaped because it's ugly and it's inexpensive to source it's a weird name it has a weird name but the fact of the matter is I like lightweight woods for body woods made in like maybe yeah yeah but but here's the thing if you're trying to source it this is where you'll see where Jackson and the guitar nerds like really so they're like cool you want a lightweight guitar that's great if we want 200 we have to source it and then if we get it from this part of the country this older and ash may be heavier they forget from this part of the country because there's a moisture culture bass wood is consistently light it's reliable it's easy to source when you're doing a lot of guitars it just it literally just works right so really the only thing that people like to fault it before is that it would be found on cheap guitars but like I think about why my ears are drawn to bass wood and it's like my favorite guitar it's like Petrucci sach Guthrie Govan buy all these guys had bastard signature models you think that's an accident you know you think that they just cheaped out and went for the hey no those guys got everything they want on their guitars it's the same thing it's like that's what I I guess I associate with good tone it's your baseline what you're there and it's like it's like it you get this like spank in crunch because it's lightweight we keep the the paint jobs fairly thin said they don't choke up like I'm that's why I like that new signature variant doesn't have a poly finish on it you know and why we did nitro on the Strand like I like the finish is thin so you're not having a lot of weight here you have a very dense neck mated with both on construction and that's how you get like that sort of Spanky tone and you feel it resonate against you so again all this is very deliberate but this is different in that it's got a flowing rose but yeah I don't normally mess with I kind of hate them but we needed it we needed it for a song what song we have a song called motormouth and we do this kind of thing I'll show you it's kind of fun actually because when I was playing around with Floyd's back in the day I noticed that if you pull on an adjacent string for the one that you're playing you'll lower the pitch other one you're playing so for example right so we have a riff [Music] all right so with that like we use it kind of like an effect then like you know we've got our [Music] so you know it's it's just sign that's used as an effect but that we can't really replicate yeah without it your panel strings yeah yeah but that's that that's literally how you get it because it's sort of like affecting the tension since this is all tension bass [Music] so like that's how you can sort of dance around it's just a fun dumb thing yeah we've but since we built the song around that like we kind of need a guitar that can do that and we're only playing to seven string songs on this tour so the other one being Icarus lives and like that doesn't matter yeah that's a Floyd so yeah I mean and the guitars held up really well like I think the floyd actually lends itself surprisingly well to tuning stability at least on this guitar but yeah that this is a sign that they put together so that we can actually play that's online that's great yeah would you be so kind to maybe if you want or else you can use this one you get your first the first guitar we saw and we can walk through your amp and then whatever absolutely cool Misha got your beautiful white head here talk to me about how this came about and where it all started and how you got to it being behind you onstage so this is the PV invective a few years back actually three or four now PV approach me about sort of collaborating on amp and that was like why would you say know that if protip you ever get approached to design an amp with someone you say yes it's the only only only correct answer anyways so we did this this started life as a 5150 block letter which is one of my favorite amps of all time it's actually the model we used on the axe-fx but I thought there was a lot of things wrong with that amp I was like I want to kind of update it with a feature set and and even update the sound a little bit to be more appropriate to 2017 yeah some of those things you did well one of the big things which a lot of people don't realize is a huge part of the amp is the output transformer sounds boring but like that is such a massive part of the sound and I got to experiment with all these different things do like different blind tests and we basically like refine that to where you just get all this Headroom and like this clean output out of it it just like the clean on this amp you won't really be able to tell on camera unfortunately but like the clean clean on this amp like barks at you you feel it in your chest like a purely clean amp would like like something like Towson's Morgan or whatever it's genuinely incredible clean and then that lends itself to having a huge sounding rhythm and lead sound right then the feature sets like aside for me actually having a legitimately amazing clean which you know obviously the 5150 didn't yeah I put in a lot of the features I wish amps had like I wish they had always had a mastermind because you can always play between the ratios of the channel boys and master volumes as a as a way to shape your tone I wanted it to have a noise gate that was legitimately powerful so this noise gate is awesome it's got a tubular style boost that affects the crunch on the lead channels and that imagine hits it first yes absolutely so this would be like sort of what I would do with pedals on an amp it's go thin and then the clean channel has its own overdrive which is not too obscure murmurs now that's its own sort of beast but it sounds amazing it's actually a really fun sort of push clean thing going on there the entire amp is MIDI switchable there's two serial effects loops in sequence on the back also made switchable that the footswitch for the amp is actually a midi foot switch there's power supplies for two pedals on the back so the idea being that if you want to plug stuff into the loops like what I wanted to do is plug my strumming timeline and Big Sky into each loop and basically be able to remote control them and just power them off the amp so they could just sit up here and not on the pedal board right just kind of like stuff that was common sense to me it's got an MS vi so if you want to just take the DI out of the amp let's say you don't have a sound guy you're afraid the sound guide the venue doesn't know how to make your stuff you could just give them a DI signal and they'll be good it's 120 watts we can be run at half power for 60 watts if you want sort of like crunch up the is that just crunch at take out some of the power tubes yeah it's just running on two six oh six six and seven for and yeah you'll just have less Headroom it'll sort of a finally it'll just affect the low end like how the low end reacts will be a little bit box here I prefer running it at full power but some people like it sort of run a little bit harder you know obviously did this make it I don't know if this was in production yet or available even for you as a prototype tester for like recording on three you guys it was not it was not already I had I had a prototype a very early prototype but we just ended up using axe-fx on that one just out of simplicity but I actually really want to use this on future recordings because it does sound fantastic unfortunately here we're not using this nearly in the in the capacity you expect but we are using in a capacity that I designed it for yeah which is a power amp for the axe-fx tube because I think one of you guys was commenting and I definitely dislike not all amps take one of the modelers and I was like I want this to really really do that well and again the output transformer tweaking was a huge huge part of that but this does play very very well with the with any modeler really and that's what we use it for we use this Lurie for a stage sound because we're going direct out of the axe-fx but stage sounds kind of a big thing though yeah like we used to have like it I think the last time we spoke with it probably completely did yeah you had a dead station engineers and that what was the change about that actually the last time that we were on this stage we were here with Deftones uh-huh and Steph showed us his Regan they have stayed sound yeah and I was like we need to do this it's pretty funny because it was literally here he has like subwoofers I know that he goes he goes even crazier he goes to the degree that front-of-house would basically quit but but we take what we could get and you know so here's a trick guys if you haven't figured this out see this master volume starts out here that's where it starts at soundcheck and then as you play the show you just kind of do one of those and walk away and he's done the wiser and then at the end of the night you're like I don't know but anyways though telling me but that's that's what happens every night so look for that back there for now and talk to me about these cabs of before we start a filming you said that these were cabs specifically not only for this amp but two different variations of cab yeah so these are actually designed to work with that but these are very unique even though they look kind of normal yeah at first look but first off they're made of pine which was not my first choice I would gone with birch I've always gone with me the engineer who I worked with on the same John fields he's brilliant brilliant guy and he was like dude you should try pine so he made me three cabs and pine one like I didn't think it would but it one it had it was sort of like a nice mix of having like a rich mid-range which I love but usually when you have that mid mid-range that's really rich you get sort of that's like vintagey thing going on and like it's not super tight like we like yeah this was that sort of middle ground it was very nice and it translated very well the four twelve also speaker wise we have a vintage 30 in here but we also have a cream back h which i think is a beautiful complement to the vintage three the vintage 30 I think belongs in every cabinet yeah but it's nice to call stand by for it is and it's again it's what I think my ears associate with you know metal and rock it's like the vintage 30 so so the cream back is a way to sort of complement it it's the cream back is basically like kind of a green back voicing but because the vintage 30 60 watts and the greenback's 25 volumes they break up differently this is a 75 watt speaker so it's much more linear in how it breaks up compared to a vintage 30 so it works very well sort of at every volume if that makes sense yeah and then we have an X pattern okay on the on the 412 but yeah that's basically everything is there's a lot of little features with them let me see if I forgot something I think I covered yeah pretty much every oh there's a master boost on there which is also if it switchable I don't have a foot switch with me as I'm as I'm using this in a very limited capacity we don't use and so talk to us about how then this is working obviously this is working with the X effects which is doing most of the heavy lifting yes we have blue EXIF X's and the blue ones are better than ones you have you cannot get the blue ones we can get the blue ones your tone is worse than ours are facts I'm not making this up see they're blue anodized then that makes the tone more vintage and warm and tube-like see I've been laughter that don't laugh it's I'm serious but no I mean like you know that's probably the the part of the rig that's changed the least since we last spoke it's always been a mainstay just out of pure convenience Joseon has a has a rig with an amp and pedals in all it sounds amazing and I really actually want to move to that but it's got to be a bit of a thing because right now we have such an integrated setup like it's switched by the computer yeah we have no pedal boards you guys are going like I'm a sugar route where it's said that it's just very very yeah it's just very refined and everything kind of works it's very easy to troubleshoot a well in machine and I'm trying to overcomplicate it to get to sound better probably just for me because like I don't know they'll necessarily translate at 100 dB you know in a in a room like this and that's sort of the battle but I'm fighting I'm fighting the good fight so maybe the next time we meet you'll see my crazy invective pedal rig but but for now this is the compromise I'm slowly working my way and I got the ants on space baby steps yeah babies like what about baby steps exactly exactly well you know I don't know how you're able to do this but you know like for clean tones like dude like the intro to like stranger things has taught the song that I wanted for you to at least if not play and show us like at least tell us what's going on in that the algorithms within the accent I mean this basically we're not playing strange with things on this tour or even any or other songs you have clean tones like loon alright so for this patch I'm using this herb badger 30 amp it's just a patch I built on the expec sigh have a delay with modulation going that's why you get that slight coursing effect there [Music] but yeah like that's that's the beauty of the axe-fx is that you can just switch stuff like that inglis right and go from like you know very very aggressive rhythm tone just a very effective clean yeah instantly like what about something like with either marigold or the price is wrong or flatline like what would be that for that rhythm just so what you're that chunk yeah for that again I'm a big fan of the the 5150 block letter so that's the model I'm using it's actually a pretty simple patch on here it's just with a boost so it's like this aggressive sound but I also wanted to be very rich you know we get here and all the strings to that's a testament to prize everything but they take everything I'd like to say it's any one thing but the truth is if there's any failing at any point you don't get that but I'm glad you notice because that's a very important thing we use very sort of you're going through the effort to make those chord shapes I should be able to hear that exactly exactly you don't want to just get the low strings on yeah so that is part of like the whole concept there yeah that's why I say like these things have become a bit more demanding rather than just get like a sick like aggressive rhythm to because we probably could go a little more scoop but then you'd lose on that but still we wanted to be like there's gotta be yeah and I mean like a lot of this is really with the pickups being so dynamic it's like your right hand technique like for example if I lay back on the palm mutes will be very musical I go tighter on it really hard big hard back so it's letting your right hand sort of be your volume control or your input game yeah yeah and that's that's a big part of how we play really the one last thing I'd ask you and I'd be remissed is about your precision drive yep how is that even included or is that something maybe you'd put in through the axe-fx or how's that so because it's kind of difficult to like integrate that into the rig without getting sort of complicated for the sake of simplicity right now I'm not fighting that fight or not and we're just using what's on the what's on the axe-fx in the studio at home I use them from the axe-fx obviously and when I'm I have so many aunt Briggs at home like that's where it really comes alive it actually plays very well with the amp because I was designing the three and the two of them - yeah all the time so fingers crossed knock on wood next time we talk I should be having a pedal rig with this and then the precision driver I'll probably have like a couple of precision probably yeah imagine a couple um you know for different scenarios but but yeah for the time being that is not on the rig unfortunately sad right no at all Thank You Misha appreciate talk to the rest of the guys for watching guys all right Jake how you doing hey how you doing good man good hey Jake from periphery Jake we got some guitars flanking us right now oh yeah I'd love to know about them let's start with what your current favorite is well if you can choose I can't cuz they're like my kids you know they're all cool and you you tell every one of them but when you have them but alone that you're they're your favorite yeah but since they're all here I'm sorry guys but you're my favorite now I'm just kidding right now I'm having a rekindled love affair with well that's kind of a weird segue because I just called on my kid yeah and now I'm okay who nevermind anyways just guitars yeah just back to guitars so I recently reached out to my friends at Ibanez I am a I've been as endorsed artist obviously since I have like yeah these are them up here you're talking about how you can't choose them in like I'll get to the signature guitars in a minute I just kind of want to talk about this one because this is actually the first seven string that I bought when I knew I was going to join periphery and back when I bought it it looked completely different it had a flame maple top that was kind of like a Bluegreen and everything on the back was unfinished and it had like a black headstock and it got beat up it got totally trashed on tour actually you can't tell because they did such a great job fixing it but I hid our singer in the mouth with this part and it hit him right in the teeth and he basically chipped off this whole bottom part of the headstock I kept it I thought I knocked his teeth yeah I thought I hurt my singer and I was I was really excited he went to the bathroom made sure his his this is why we're playing went to the bathroom checked his teeth they were still there we continued the show with blood pouring out of his mouth anyway so that'll this guitar has some serious history so anyways I've been really loving this pearlescent white finished I'm like you know what do the whole guitar like that leave the hardware the same and put in my my signature DiMarzio tighten pickups and this is what they sent me back and it is awesome I really really love this guitar and it plays like I just bought it from the store brand new did to have the controls this way like I never yeah and also with the recess yeah this is a I think this is the lo TRS bridge I'm a bit ignorant on the older Ibanez hardware oh yeah it is it says it right there uh-huh and yeah it usually the Fiveways switches don't have this sheath or whatever you want to call it on there and it's got a tone knob which as you'll notice a lot of my guitar let's go your tone guy but not a Toni yeah you know the tone knob I always gets rolled off when I'm playing and I don't notice and Tom like man my tone kinda is weird and and then I'm like oh it's but but anyways what's kind of another interesting fact about this guitar is that it's the only guitar that has a floating bridge that's actually floating all these other guitars are locked okay because I just like using the fine tuners but we're playing a song called motormouth which is off of our latest album and it requires a floating bridge to pull off some of the techniques in it and that you have almost all the springs in there is that yeah yeah you and some people they only both two or the two or three technique the the reason why I do the four Springs is because it the tension with the with the tuning to drop a flat yeah I need a little bit more counter tension I think that's what it's called but anyways the whole purpose I'll just demonstrate real quick is uh is this technique right here turn that down a little bit sorry but anyways what the the idea behind the technique is to get the low string to detune by pulling down on these other strings so so we kind of do that and we also do yeah yeah so it's like it takes a little bit to to get right because it's it's pretty Cory right yeah yeah anyway so that's that's my main seven string that I'm using on this tour and then I believe the model I always get crap for this on line cuz I forget what model it wasn't used to say on the back but they covered it up but I believe it's an S 7420 so if you search for that you can kind of see what the original kids on the other give you a little bit of leeway with Ibanez I love Ivan as you guys are great but your model names are weird yeah there's a straight numbers and letters like it's an assist exactly you need to want to have passed calculus to to be able to recognize your favorite guitar and then real quick I'll go over my my main signature model is the j BM 100 and what's interesting about this is that it's a one-off I normally the the the j BM 100 of like this which it's a matte black yeah and I was like you know what let's let's get kind of like a an inverted look and they did a matte white when has a bit of the same pearlescent Sheen that this one has if you get a close look on it kind of just like a graphite and this is more like a pearl but but anyways they're essentially the same exact guitar and this one was made in Japan and this one was made in the LA custom shop so generally if you were to go get this gift this guitar in the store it would look like this and what what like tonewoods are you also a bass would with maple Kapoor how's that oh you know I've been experimenting a little bit I you know I all my guitars pretty much are a mahogany body with a maple top and it's a bit on the heavy side you know and I prefer like a darker sounding guitar and I feel like I get that out of the mahogany but just because when you're playing live and you're playing through an amp head and stuff you kind of get more brighter tones just in general and I kind of wanted to counteract that with a darker wood as best as I could without having to EQ a lot so and it's not really something you can even EQ it's just like a flavour thing it's a very subtle taste thing so I think I'm gonna be experimenting with lighter lighter woods in the future but the the production models have mahogany body maple top evany fretboard and I believe now the new ones are coming with a 5 P 5 piece bubinga maple neck where the the like I guess like the first hundred jaebeum one-hundredths were three-piece so that that's really the only difference have you ever thought about dabbling in like natural finishes so you can show off that 5p snacker yeah I have I do I do like the feeling of like the the satin or matte just well I'm playing cuz it just gives me a good like grip that I kind of enjoy but I have a couple of natural finish necks at home and I may I may get a little experimental with future Custom Shop models that I that I intend on building so that's kind of like these are like my main my main six strings another little interesting tidbit about this one is that this is a prototype in fact I don't even know if I'm allowed to show this but to like too late and it looks so much like the other one that you couldn't tell the difference but this is a Indonesian made Ibanez as opposed to the Japanese made and this is a bit more of affordable option so if you're looking for the aesthetic and even the playability the ibanez offers a more affordable option and it's it's a great guitar I actually use this one every night and I've been playing a lot of the drop a stuff on it it's a it's an alder body oh wait no no no I think this prototype prototype is basswood but it could be alder because I remember there was a bit of confusion with what this was but I'm going with alder so yeah it's there aesthetically the same same pickups you know a fixed a fixed bridge and I believe that this is a painted wood right now there's a bit of a controversy with rosewood yeah they're they used to have a rosewood neck like then this is the jvm 20 and there's a JVM 20 and a 27 and I used to have rosewood next now they're using a different wood and and unfortunately I'm ignorant to what this wood is they painted it black for me to match the other guitars or dyed it black so anyways it's a great guitar and I hope to be releasing it soon I know that I've gotten a lot of feedback about the matte white and I expect to see this to be be able to purchase this soon have you noticed anything I know you most your guitars the signatures have the reverse headstock or the reverse tuners but this old one your old one have you noticed anything different when you're playing the differences with the string tension or tuned tuning or just you know I guess have to be some science there I guess yeah I guess like there there is subtle differences in terms of like scale from a scale perspective but since I lock the the no I don't really notice it I think the thing that I noticed the most is if I do have this on locked my tendency to go for the furthest tuning peg to tune the lowest string is its switched around so like I always have I catch myself yeah so that's really the only the only weird thing about it but but it is it is interesting going back to a traditional Ibanez headstock but I do my favorite ones are the reverse yeah I actually have a custom shop eight-string that's done in this aesthetic that's black and gold aesthetic with a I think it was their first reverse H string headstock so I don't have it on tour with me because we're not playing any a string stuff on this tour but it's a it's a cool little thing that I I posted pictures of it on my social media and then I've one request yeah yeah relation to your DiMarzio tightens and the overall sound of the band how how what do you see your role in the band beam in terms of sonically in tonally because you have three guitar players yeah you guys do you do lock in and play you know with each other but there are points where you all three doing different things so knowing not only what you're right in a plane but also totally how're you designing the humbucker to get what you needed to fit where you needed to be with that band that's a great question and and you're absolutely right we're I think like we try to utilize the three guitar player thing to the best we possibly can because a lot of times it can be superfluous where everybody's playing the same thing and we try not to do that we try to compose in a way where we're utilizing all three instruments in a very specific way and I guess like the default state of how we play live is I'm in the center I'm coming out of both sides of the PA and and mark and Misha are on the wings so generally when there's a lead or if there's an ambient piece or or even like a solo I generally take it just because I'm coming out of both speakers and sonically it makes the most sense there are instances where that changes and we actually have automation programs into our we have a show computer where that it controls our patch changes and it also controls front-of-house where it'll pan us to where we need to be and we kind of we figure we sat down with our sound guy and figured out those cues and as the you know as the shows going on as our show file is going on it's triggering these changes so it's cool too because like now that kind of freed us up from me just being like the the guy that's just in the center playing the clean parts of the lead parts like everybody can have that role now and that's kind of you know especially when we write where we're we're writing for all these different parts so you know generally we want to play the parts that we write rather than like you know having somebody else play them so that way with this system we can everybody can play the parts they want to play like yeah yeah that's right and so and then specifically what were you looking for that I'm sure you were DiMarzio guy before yeah so whether it was Steve or anyone else at DiMarzio what were you needing from them to give you for the tightening you know I I'm glad you mentioned Steve he's he's a girl that everyone named Ross when they yeah yeah their whole team is great but when we designed the Titan I worked with Steve on that C blue chair and he he has a very interesting approach because I thought it was gonna be like a lot of back and forth of like testing things out and and and what happened was he's like alright here's what I want you to do I want you to send me three guitar tracks from your album of like a rhythm tone that you really like a clean tone you really like and and your lead patch and so I sent him a solo I did I sent him some clean stuff from a song called luck as a constant and I sent him some rhythm tracks from maybe the guys must be crazy or something like that just something where I like I play a lot of rhythm um and literally like a couple of weeks like two weeks I get a box in the mail and in the box is what ended up being pretty much the final version of the backup he just nailed it right out of the gate and I you know I'm pretty picky and it just kind of was a relief to get that so quickly it was just turned around and the pickup sounded beautiful I made like one little like EQ tweak just a note and he sent me another set and it was done and we were ready to go so it was like there's such a breeze to develop like such a serious part of my sound yeah do you member the eqt EQ tweak it was there's a bit of a harsher high end when the Outland that when the pickups are hot and my pickups are pretty hot so I asked him to dial the this high end frequency out a little bit he figured out how to do that and and they came out great I came out beautifully yeah man Misha went over pretty much all you guys has changes with the PV and the the fractal I guess the last questions I got for you is strings and picks yeah yeah I use a do darío NY XL strings the six string guitars use an 11th 256 pack and the 7 string guitar is used an 11 a 64 pack and there you can get them at any music store and they're great strings they stay bright for a really long time as far as picks I use these tort X 0.8 e 8 millimeter they're like a jazz 3 shape I don't know how well you can see that from from over here but nice and small it's the other guys used like more traditional shape picks but I can't get away from that jazz 3 style I think it's like a you know an old-school shredder thing and you like the sharp two like that we're here to a real fine point yeah yeah I just there's just enough given give to it where it's like not I feel like when when we were all using really heavy picks that the thickness of it or how heavy it was would send the string out of tune a bit more so this just offers just slightly more consistency out of the three of us I picked the lightest so this just seems to be the pick might pick a choice well yeah yeah Jake I appreciate it man yeah thank you very much talk to mark yeah all right last but not least definitely not least mark mark how you doing good man how are you good I'm doing great I'm gonna do a light last minute or after the fact congratulations as a Cubs fan you know that's your your you're a year late but you know I'll take it I'll tell you it was a rough year but I still have last year yeah man 2016 we got the banner to prove it that's right all right all right won't acknowledge the Blackhawks cuz go predator that all being said let's talk about this beautiful guitar yeah this is not a PRS although we have them down here yeah we had those in a bit we have quite a couple PRS as here as you could see I've got to use even more of an army side stage of the SES that I typically take out for my six strings but my one predicament for this tour was that we needed well I needed a long scale 7 string so something at least 26 and a half inches that had a floyd on it so we could play the song motormouth yeah sure one song i don't know why we do there's guitar guy thing to have to bring out a guitar just it's so dumb i don't want to do it again but no all joking aside I asked PRS to do it and they said we can do it but it would take us a long time and I think I asked him with maybe two months or three months to spare which that's not realistically enough time to have that guitar turn around the time so I asked my friends at this company called Aristides they're from the Netherlands and they're lovely people and they were kind enough to build this guitar pretty much on the fly that they turned it around really quickly and and they just sent it to my place and beautiful and man III agree and I wanted something that looked very loud cuz my stage right buddy you know Jake he's got the white guitars and black guitar so he's got you know the stealth look yeah unlock down I wanted to make him look annoying by proxy by having just it just looks like Prince's wet dream yeah you know and and they nailed it I wanted something sort of like that walked the line between classy and like audacious did you give them any cues other than you need for the seven string with the Floyd Rose or is there anything that like visually that you needed well I asked them what's a loud record I want to just look annoying and obnoxious and they were just like let's go bright purple with with gold Sparkle yeah and then what I when I got it I looked at I was like this is way classier than I thought it was gonna look and it's just it just kind of does scream class despite so the kind of bombastic color scheme yeah man it's it's a pleasure to play every night it really is and the thing you were talking to us about off-camera if people aren't hip to this company is that their specialty or their kind of MO is yeah not really using what at all right so that's that is like you said that's their that's their calling card ends so there's no wood whatsoever on the guitar fretboard body no wood it's made of a composite material called rich light which that's sort of somewhat of a thing for them it's they make all the guitars with the same composite material the fretboard is sorry no no the body is made of areum yeah areum and the fretboard is made of rich light so I reverse that but because of that and I don't know if this is 100% because of that but this guitar is just insanely stable I've changed in temperatures I've flown with it and I pick it up it's in tune the neck has not warped the setup does not feel any different and this is the most reliable consistent stable guitar you can imagine and you know for having a floyd which can be fickle and it's alright absolutely that's invaluable so yeah it's a tremendous man I really love the guitar I got the 7 string Seymour Duncan Alpha omegas my signature sat in there got the floor like I said is there anything that you're doing or you're requesting for the 7 string based off of the six string models that were already there I mean obviously you have to have the extra magnets and the pole pieces for the seventh string but I mean we spent a lot of time dialing each in each set when we developed the pickups years ago we kind of wanted the same tonal characteristics for both but you know just by nature of adding an extra string on the guitar you're gonna want to fine tune some of the EQ across the pickup so so yeah we spent a considerable amount of time making sure that the seven string was basically just an extension of what we developed with the six string alpha-omega so yeah it wasn't just them just creating a larger pickup no no no no I mean I think that maybe the inclination people do is say save money cut corners but know anybody who knows you know who's sort of develop pickups and been behind the scenes know that you have to sort of put in the extra work to make it work with a different instrument because it is a difference yeah you know absolutely and wood I picked up this car guitar earlier and it's quite light too that was another thing that was a benefit oh yeah the second string of a string woody guitars with me a lot heavier super lightweight super light this is one of the weirdest thing looking things about it this enormous backplate you know feel like I'm changing a diaper every turn it up not that there's species back there or anything I just what are you trying to say well that's perfect segue species in the back of the guitar to move on to the next one yeah so these two are part of my I guess Armada of se models that I bring on tour I don't know what PRS calls it but I love what I would call that a charcoal burst yeah you know a burst type of thing we developed this unique color like four years ago five years ago with PRS and online I notice it took on the the nickname of brisket burst whoa doesn't it do you see it yeah you see it a little bit smoke rings and everything yeah right on the edges yeah yeah and the color is just someone that stuck and people seem to really like it but no this is the 2017 se model that they released based off the 2016 model and was there any changes or upgrades or things they change the headstock just a simple aesthetic thing that added the Paul Reed Smith logo but both of these guitars are based off of the 2015 six string-- core model that we put out the Maryland main model which had the same twenty five and a half inch scale length had a flat twenty inch radius on the fretboard had the alpha-omega pickups in it fixed bridge string through body yeah it's pretty much all the same appointments on that made the guitar so unique in the first place but cutting away the figure body cutting away the book the carve top and all the sort of aesthetic appointments that made the guitar and I think $3,800 retail and this is 900 bucks yeah and I use it every night for all my six strings stuff and it's it just blows me away in a nightly basis because a $900 guitar shouldn't play this well you know it's kind of wrong yeah and I know on the last episode we did what 2015 2014 you were using DiMarzio before the Alpha mango came out how did that not relationship and but how did you come to Seymour Duncan and develop these ones thus Alpha Omega with them they really started with a buddy of mine named Keith marrow who keith is an amazing songwriter and producer an engineer but he's a good friend of mine he asked he you know he was working at Seymour Duncan at the time and he asked would you ever want to come out and build a set of pickups with me and we'll make it sound really killer and he and I both happen to have similar tastes and pickups and tone and I went out to the duncan headquarters in Santa Barbara and then we just built a really awesome set of pickups over a couple days there yeah in Santa Barbara and then it was really hard to imagine playing anything else once we built that set of pickup so I was like okay I found my bread and butter I found the sort of Nexus of my tone and it's just been a game-changer I have not even thought of using any other pickup since we developed them so it was more born out of out of just we developed something cool let's roll with it you know every call you up yeah yeah it wasn't a conscious decision to be like oh I'm unhappy or I need a change there wasn't anything like that like the pickups I was playing before we're awesome but you know it's fluky things happen in life and we Frank calls you and says hey let's customize the set of pickups let's let's build them let's make him killer we just said that he said if anyone ever asked you to develop a idea or a product for geared guitar guitar companies always just say yes just do it just never know what's gonna lead to it could be great it could suck but if it sucks at least you say you didn't you know what sucks now yeah exactly exactly and a similar question how did you end up in the PRS camp because again we talked to off-camera where maybe we don't necessarily and their change in that mindset but it's you don't think we pier us as being heavy company yeah of other names you know Santana Mark Tremonti who does heavy rock but you guys in Barrett between Bare to me are really flying the PRS metal flying yeah yeah so how did you get into that see I was invited along with Misha and I think Jake came to this is like four or five years ago they were developing the arcon amp it's sort of a their their high gain yeah their take on like a metal like a 5150 style high gain amp and my interest was piqued so we went down to the factory since we were local at the time and we checked out the amp hung out with Paul for a little while I got to sort of develop a friendship with him and then a couple months later we went to Nam Paul was there and we were just talking about guitars just a really casual off-the-cuff no-pressure conversation about guitars and then we touched on the topic of hey what would happen if you know we built a guitar and then again sort of like the pickup sit thing it's just you don't see it coming I thought to myself it's like if I don't say yes to Paul Reed Smith I'm an idiot so I should say yes and then I did and what they built seriously the first prototype was what we ended up releasing as a signature guitar so they just they nailed it and for me sort of flying the PRS metal flag like you said yeah it's a great source of source of pride yeah because not a lot of people really think of metal when they when they hear the term PRS and and for me it works in such a harmonious way that I can't believe that it's not mentioned more at the forefront of like a metal guitar conversation yeah you know and I hope that's changing I think it's changing because I have an eight-string now we got the seven over there we got a bunch of six is kind of change the world oh yeah little by little yeah what string and string at a time that's a new PRS motto right there are you set up the same way with Misha and Jake in terms of strings they're doing the NX yl from yeah darío sevens exactly I use eleven 256 anyway exhales ooh Dario on my seven and this this will be a little segue here on my seven I run a ten to fifty to set a six string set and as the seventh string I use a 64 and I've gone lighter at times but we wrote the song called Ragnarok six years ago where we tune the seventh string down to F sharp I believe and so I just got in the habit of using a thicker seventh string yeah and we don't really play that song much anymore but I still use the 64 I just like the feel of a thicker 7th string yeah so we pretty much run the same set up string wise across the board and then also just to clarify also on Jake's behalf is that you guys are also running the invicta 'v PV with Misha and Jake run those okay yeah so where difference at so I don't use the PV invectives I use a really cool unit that Seymour Duncan built called the power stage 700 and again that was just a they told me last year they were working on a power end and I said what see what oh he's making a power and yeah and yeah and they said it's meant it's a power n specifically meant for guitar players and I had used power amps in the past that for one reason to another didn't really feel like it was meant for this context I was just using it because I needed something to power my cab technically worked it worked yeah sometimes and when I got it the first thing I noticed I was like this feels like an extension of this tone that I that I built because like when we build guitar tones on the fractal it's a painstaking laborious process we're spending weeks dialing this stuff in and we tweak it on a nightly basis too so I wanted something to sort of like to be suited towards what we were doing but also just make it sound bigger make it sound a little bit more human and and and breathe more onstage so I use the seymour duncan 700 or the power stage 700 and it just takes up one rack space and yeah real small and then they oh they make like a 300 350 or something like that it's like a little pedal square yeah yeah which is the 700 just a higher end take on that what's killer man I love I was telling someone this earlier it's like I've never been more happy with my live tone over the years there's always been variables that I wish I could tweak because some limitation of what I had in my possession or some limitation of the gear but I finally feel like now 2017 I'm happy I'm happy I found serenity you're done I'm I retired though in this house so this is the unicorn of my collection this is it's the only long scale seven string I think PRS has ever made I think they may have made one back in the day for another artist but 26 and a half inch scale length which they had never done finish you more extra birds in there than of that I want to put like a like an ostrich right here you know on the last one yeah no but this thing man I've had this for about five years now it's been through hundreds of flights at this point so it's beat up pretty badly but it's my main 7 I use they're the aresty ds4 motormouth in the live set but I use this for all the other seven string songs and it's just a beast man it's it's the best seven string I've ever played pan down in my life and it's so rare that I don't want to leave home with it you know but I have no choice yeah yeah it's it's an amazing guitar it's got the same Alpha Omega seven string set in there hip shot hardware which I added but kind of the same you know it's just an extension of the six strings you know you'll notice that a lot of the specs and appointments kind of outline what we had going with six strings so mark beautiful guitars appreciate it Thank You Matthew appreciate it thank you very much my pleasure any time everyone this is Chris keys for from your guitar another rig rundown thanks for watching don't forget to sign up for PG perks your all-access pass to exclusive gear giveaways and discounts on from your guitar calm

Channel: Premier Guitar

Views: 358,742

Keywords: Periphery, Misha Mansoor, Jackson Guitars, Ibanez, Ibanez Guitars, Jackson, Grover Jackson, Bare Knuckle, DiMarzio, PRS, PRS Guitars, Jake Bowen, Mark Holcomb, Periphery III: Select Difficulty, Juggernaut: Omega

Id: fhKo-JURY6w

Length: 61min 39sec (3699 seconds)

Published: Tue Jan 02 2018