On this episode of Dipped in Tone, Rhett and Zack are joined by Wales-born guitarist Chris Buck. Buck is gearing up for a string of US tour dates with his fast-rising rock band Cardinal Black, including a date at Nashville’s Basement East after the original venue sold-out within a few hours.
Luke Ottenhof HED: How Chris Buck Went From YouTube to the Royal Albert HallTEASER: From the tough economics of touring to building a personal style without theory, the Welsh guitarist talks about his journey from social media to sold-out shows.On this episode of Dipped in Tone, Rhett and Zack are joined by Wales-born guitarist Chris Buck. Buck is gearing up for a string of US tour dates with his fast-rising rock band Cardinal Black, including a date at Nashville’s Basement East after the original venue sold-out within a few hours.Buck starts off digging into the details of his custom Yamaha Revstar and why he chose the versatile guitar over better-known offerings from legacy brands. Buck’s rise has been nearly meteoric: He started off posting videos on Facebook and Instagram before his wife suggested he give YouTube a try. His channel now counts 226,000 subscribers, thanks to his popular Friday Fretworks videos. But as Buck explains, his content is a tool to help fund his original music—a very successful tool.
Still, it’s not all sunshine. Buck details how he and his band navigate the brutal economics of touring, including some horror stories of how they ended up losing money on merch sales. Later, we learn how Buck built his signature playing style—mostly by ear and by accident. “I don’t think anyone has ever ended up sounding like themselves through sitting down and going ‘Right, im gonna try to sound unique,’” he says. “It just happens over time.”
He’s gone from YouTube to the Royal Albert Hall, but Buck reveals a quiet concern that he’s peaked too early. What do Rhett and Zach make of that fear? Tune in.
Dickey Betts plays one of his many Les Pauls. This model, and the SG, were the Gibsons that were the cornerstone of his distinctive tone.
Magic happened when Dickey Betts and Duane Allman played together. Their sinuous, twined, harmonized guitar lines—inspired in part by Western swing and Miles Davis—were like nothing else in rock when the Allman Brothers Band’s debut album was released in 1969. And their Les Paul and SG partnership led the way in creating the Band’s reputation as the finest rock ensemble players of their day. Although that partnership was short-lived, due to Duane’s fatal motorcycle accident in 1971, that transcendent dual-guitar sound, best captured in the heroic performances on the live At Fillmore East double-album, continued throughout the band’s career and became a hallmark of Southern rock, largely thanks to Betts. And it will endure as one of the most recognizable dialects of electrified guitar-based music.
Betts soldiered on with the Allman Brothers Band until 2000, living in the shadow of Duane, whose early death cemented his legendary status. But Betts’ playing was equally commanding—the yin to Duane’s fat-toned, slide-driven yang. As a composer, he minted melodies and riffs that endure. “Jessica,” “Blue Sky,” “Ramblin’ Man,” and “In Memory of Elizabeth Reed” are Betts’ work. As a player, he was unerringly melodic, with a Gibson and Marshall tone that blended clarity and heft with the tang of distortion. He played loud. Really loud. But that volume fueled his expressive dynamic touch and his supremely articulate 6-string language was always worth hearing.
“The band was so good we thought we’d never make it. It was so amazing I don’t even know how to put it into words—even now.”
Dickey Betts died on April 18, reportedly from cancer and chronic obstructive pulmonary disease. He’d been sidelined since 2018, when he had a mild stroke which was followed by an accident at his home, which necessitated surgery to relieve swelling of the brain. He was 80 years old.
Like the Allman Brothers over the decades, Betts’ own career had its hills and valleys, but his musical character and abilities remained intact until recent years. When I spoke with him a decade ago at Nashville’s Hutton Hotel, the then-70-year-old observed, “I’m amazed that at my age I’m still effective. I have a formidable band together and I write new songs, although mainly we just do renditions of things like ‘Jessica’ and other hits.
Those are fun to play and people enjoy those songs. I’ve got a full catalog of instrumentals that I could play all night if I wanted to. A rock ’n’ roll career is supposed to last about as long as a professional football player’s—five years and you’re done. But I’m still out there swinging, filling theaters, and playing festivals.”
Passing the torch: Betts onstage with his son, Duane Betts, who leads his own band today. Here, they recreate the dual-guitar sound first cast in bronze by Betts and Duane Allman in 1969.
Photo by Jordi Vidal
Betts was in Music City on that occasion to celebrate the launch of the Gibson Custom Shop’s Southern Rock Tribute 1959 Les Paul, based on an instrument he owned, and was about to embark on one of his annual summer tours with his band Great Southern, which he’d been leading in various configurations since 1977. He also had his Dickey Betts Band, which he started in 1988 and included Warren Haynes, whom Betts drafted into the Allmans when the Brothers reformed in 1990 after a near-decade hiatus. I’d been warned by Betts’ handlers that he could be difficult, and Allman Brothers Band lore contains enough stories of his wicked temper and edge-of-violence outbursts to serve as warning. He was arrested for assaulting a police officer in 1993, and reportedly held a knife behind his back during a band argument shortly before he was dismissed from the Allmans. But, sipping a glass of wine while wearing a sleeveless white tee shirt, a straw cowboy hat, and a necklace of alligator’s teeth, he was cordial, funny, and thoughtful.
He reflected on his role in bringing jazz influences to the early Allman Brothers, which tapered well with Duane and Gregg Allman’s blues sensibilities. “I got that, initially, from Western swing,” he recalled. “My dad did play fiddle, but we didn’t call it bluegrass. It was called string music and he also played Irish reels and things. So, I think I got my sense of melody from Western swing and my dad.
“I also got my sense of tone from my dad. I saw how my dad would pay attention to his fiddle sound. He knew how to tune a fiddle by putting a tone post in, to push the top of the fiddle up. He would move that post around until he had just the right tone. So, I think that search for tone is just in my disposition. I always wanted my guitar to have a little edge on it, but with a clear sound. I experimented with different speaker combinations until I found it. Part of your tone is in your hand, too.”
After playing in a series of bands from his native Florida into the Midwest, including an outfit called the Jokers that Rick Derringer name-checked in his hit “Rock and Roll, Hoochie Koo,” Betts was recruited for the Allmans by Duane in 1969. “We didn’t do it consciously,” Betts said of their conflagrant dual-guitar sound. “We knew that when we started improvising, things fit, and we didn’t analyze it. Duane was more real militaristic into urban blues. And then I had a Western swing lilt to my rock playing, and it fit together beautifully. A lot of older folks said they thought we sounded like Benny Goodman, and it made sense to me later on when I listened to Goodman. He was pretty hip for his day, and would interweave his instruments together, too. We also listened to Miles Davis, who we thought was one of the greatest composers and bandleaders.
“Right from the beginning, we knew what we had,” Betts continued. “The band was so good we thought we’d never make it. It was so amazing I don’t even know how to put it into words—even now. With Duane, Berry Oakley, Greg and me as the songwriters, with everybody’s musicianship … it developed like a Polaroid picture. Nobody knew what it was going to be. They tried it at first as a trio, with Duane, Berry [Oakley, bass] and Jaimoe [Johnson, drums], and they cut some demos that were okay but they knew it wasn’t the Cream or Jimi Hendrix. And Berry told Duane the magic was happening when Betts was around, jamming, and from there we just grew into a six-piece naturally.
“We were elated with our sound, but every record company in the country turned us down. ‘All the songs sound the same.’ ‘They don’t have a frontman’… all this corny junk. So, we just started to travel around the country playing for free. In Boston, I remember we moved into a condemned building and ran an extension cord from the next building. We played in the park there. We’d get some hippies together and build a stage.”
While ’69’s The Allman Brothers Band sold poorly at first, it received critical acclaim, and the band’s grassroots mentality and love for playing—often relayed live via extended versions of their songs with plenty of improvisation—took hold in the potent American youth culture. The follow-up, Idlewild South, fared a bit better commercially, but At Fillmore East became their breakthrough. Sadly, Duane died just three months after its release.
“When we started getting killed off, well, there was nothing we could do about that,” Betts reflected. “It was tough times after we lost Duane and then we lost Berry. But then we had our biggest record [Eat a Peach, from 1972]. We figured. ‘Why quit when you’re losing?,’ and it worked out.
“And then, of course, the whole thing came apart,” Betts said of his 2000 ouster from the band. He was removed by the other charter members for the transgressions he was notorious for: drug and alcohol abuse, aggressive behavior. “But the Allman Brothers weren’t like the Rolling Stones, where we toured every five years. We were a working band. Thirty years is a long haul—especially when you’re doing something where your emotions are on your shirtsleeve all the time. The social dynamics just blew apart.”
Regarding the Southern rock mantle, Betts said, “We didn’t like it at first. It was kind of a reckless business label put on us by record companies. We thought of ourselves as progressive rock. We wanted to be more sophisticated than Southern rock sounds. We also didn’t think Southern bands sound that much alike, so why categorize them that way? As I get older I understand it was about record company marketing, but the difference between Marshall Tucker and the Allman Brothers Band is vast. They were more Western and we had a lot more jazz and blues, and improvising. My favorite was Molly Hatchet.”
Until his stroke and other illnesses waylaid him, Betts settled into his own music, seemingly content to be out of the heavy cycle of touring and recording required by a major band, settled into his life on Florida’s Gulf Coast. “I like fishing,” he said. “We live on the water and I’ve got a boat. I’m an archer. I can shoot stuff out of the air. We hunt wild hogs on the islands. It’s good to have something to do when you go home besides take dope [laughs]. I’d always get in trouble. On the road you’re busy; you go home and you don’t know what to do. Now I have some other good ways to apply myself.” Betts is survived by his wife, Donna, and four children: Kimberly, Christy, Jessica, and Duane, a skillful guitarist and bandleader in his own right.
In just seven years since meeting based on a recommendation, Eric Burton and Adrian Quesada formed the Black Pumas, released two albums, and have already been nominated for seven Grammys. However, this fruitful friendship was almost never developed.
Quesada was enrolled at the University of Texas but flunking out due to his dedication to guitar over textbooks. His parents gave him a proposition: Either stay home in Laredo, or return to Austin without a guitar in hand to focus on studying. He went with option B and headed back for school in Austin—or so his parents thought. Quesada took his remaining book money (about $200) and headed to Ray Hennig’s Heart of Texas, where he snagged a Squier Telecaster Thinline. His parents eventually figured out the switcheroo, but Quesada was determined and hasn’t looked back. (Side note: The family obviously sees and supports his musical talents, and attended Black Pumas’ Ryman show the night before the filming of this Rig Rundown.)
That matador move pulled off by Quesada allowed him to become a longtime fixture in the Austin music scene with bands Brownout, Ocote Soul Sound, Spanish Gold, Echocentrics, and Grupo Fantasma (with whom he played for over 15 years, earning a 2011 Grammy for Best Latin Rock or Alternative Album). He started to explore new ideas that didn’t fit the mold for Grupo, and needed someone to narrate his musical vistas. A friend recommended he link up with Austin newcomer Eric Burton, who traded his busking spot on the Santa Monica pier for the bright lights of Sixth Street. The duo met up, and as the results prove, the rest is history.
Before the Black Pumas’ second headlining show at the Ryman Auditorium in downtown Nashville, bandleader Adrian Quesada, bassist Brendan Bond, and band tech Bryan Wilkinson invited PG’s Chris Kies into the hallowed grounds for a chill conversation about their tonal tools. During our time with the Black Pumas, we learned about Quesada’s love for tremolo (he even included it as a secret weapon in a semi-hollow Jazzmaster), Bond’s fateful trip to the Wilco Loft in Chicago, and why a ’59 ES-125 is Wilkinson’s perfect pairing with Burton’s expressive and emotive voice.Brought to you by D'Addario:
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The Custom Shop Cracks the Code
Black Pumas’ 2019 self-titled debut was like a drug—it soothed, it hypnotized, it recalled the past, it burned slow, and it was an addictive listen. It helped the band tally four Grammy nominations. But in addition to all that attention, it caught the collective ear of the Fender Custom Shop squad, who wore it out for months—so much so, that the team built the above Telecaster. Their aim was to create a guitar that nailed Quesada’s tones on the album, and they surprised the Texan with it. He’s been in love ever since, and mentioned that he’s collaborated on two other Teles—having some input on specs and design—but neither sound as stellar as this one. This one-off Tele is a pairing of a ’60s-style T (sunburst finish with a maple fretboard, standard-sized headstock, small pickguard, and barrel knobs), and a ’72 Telecaster Custom (single-coil-and-humbucker pickup configuration). Since acquiring it, this Tele has been Quesada’s main guitar onstage. He puts D’Addario EXL125 XLs (.009 –.046) on all his guitars, and uses Dunlop Tortex picks with custom printed Black Pumas graphics.
Lucky Loaner
The guitar that Quesada used the most prior to Black Pumas was a Gibson ES-446 that marries a 335 with a Les Paul. He loved its woody core tone and its humbuckers’ ability to lasso fuzz in a musical way. He’s retired the steed to the sanctuary of the studio, but stills requires sinewy sounds, so he checked in with Gibson to borrow a 335. They didn’t have one available but gave him this 345, which has proven a dependable sidekick punching in for time onstage and in the studio. Quesada mentions that the Varitone switch is useful for the studio, but he leaves it in position one (bypass) for Black Pumas’ sets.
A Puma and Jaguar Walk Into the Ryman...
And they sell it out two nights in a row! This fresh feline is the result of another partnership between Quesada and the Fender Custom Shop. He wanted another thinline instrument, but already designed a Tele, so he gravitated to the popular offset body style. The alder body with a natural finish is a nod to his first Squier Tele. The pickups are a custom gold-foil (adorned with a coy puma hood) in the bridge and a covered ShawBucker. It features a Fender American Vintage Jazzmaster bridge and tremolo. A striking bound rosewood fretboard with block inlays sits atop a maple neck that is capped with a blacked-out headstock. The 4-bolt neck plate honors Quesada’s Electric Deluxe with the recording space’s logo.
The real magic in this cunning cat is where the Jazzmaster’s rhythm circuit is supposed to reside. In its place is a tremolo circuit because Quesada cooks his tone in that effect like it’s salt and pepper. In 2022, he confessed to PG, “I love everything with tremolo. I put tremolo on everything,” so we should’ve seen this coming. The rocker switch toggles the tremolo on and off, and the two rollers control speed and depth.You're My Boy, Blue!
Adrian adores Fender amps. His Austin-based recording studio is loaded with noteworthy models from the company’s golden years, yet he proudly tours with a Fender Limited Edition Electric Blue ’68 Custom Deluxe Reverb reissue. (It’s worth stating that a proper ’72 silver-panel Deluxe Reverb was in a road case.) The bright tolex covers an otherwise standard circuit, however the stock combo did have a Celestion Creamback in it. But when Quesada’s tech Bryan Wilkinson found and landed the score for his boss off Craigslist, it had been modded with an Electro Voice SRO Alnico 12" speaker. Adrian loved how it sounded, so it stayed in, and he’s been using the combo on tour ever since.
Adrian Quesada's Pedalboard
We’ve established that Quesada lays on some tremolo any time his guitar is plugged in, but another stompbox spice he rarely avoids is reverb. He does acknowledge that amp reverb, especially from Fender combos, is tasty, but having it in a pedal format allows fine-tuning from gig to gig and room to room. Doing the heavy lifting for both effects is the Strymon Flint. (Adrian mentions that he turned Alejandro and Estevan of Hermanos Gutiérrez onto this staple, found on both of their boards.)
The other stomp stalwart has been the Electro-Harmonix Holy Grail that provides a healthy dose of spring reverb. Both ’verbs are engaged for drippy songs like “Fire.” He has a pair of delays: a Line 6 Echo Park used for its tap tempo function, and a Catalinbread Echorec for longer, dreamier repeats. The Boss GE-7 Equalizer works to match the different outputs between his three main instruments. A Catalinbread Belle Epoch preamp/buffer pedal replaced an Xotic EP Booster because it has a second knob for preamp for more detailed contouring.
Any growl or sizzle Quesada needs for his Tele and Jazzmaster, the EarthQuaker Devices Park Fuzz handles it. The Fulltone Clyde Wah Deluxe has stepped in for a different filter sweeper because Adrian digs its full-sounding throw that stays warm from heel to toe. A Jam Pedals Ripple two-stage phaser gets used on a track from Chronicles of a Diamond, and a TC Electronic PolyTune2 Noir keeps his guitars in check.
His second board (bottom) bypasses the amp and was specifically built to play roughly with Quesada’s 345, recreating a guitar-into-console overdrive sound that gets pumped into the onstage monitors and PA. To capture that crackly goodness, he runs the 345 into a combination of pedals including a JHS 3 Series Delay, a JHS Crayon, and an Electro-Harmonix Nano POG. Utility boxes on here—Strymon Ojai, JHS Mini A/B, and TC Electronic PolyTune—handle switching, tuning, and power.
P for B
Black Pumas bassist Brendan Bond had the good fortune to hang out at the Wilco Loft in the Irving Park neighborhood of Chicago. He quickly bonded with an old P bass that preoccupied most of his time in the space. Up to that point, his fingers have mostly danced around newer basses, so the allure of vintage gear never tempted him. That all instantly changed (“It was like I was playing a different instrument,” he commented), and when he landed back in Austin, Texas, he took a car right to Austin Vintage Guitars, where he landed this 1974 Fender Precision bass. It’s been his main sweetheart ever since. He puts D’Addario ECB81 Chromes Flatwounds (.045 –.100) on it, and always plays with his fingers in Black Pumas.
Tube Time
Bond has toured with lightweight, class-D bass amps, but now given the opportunity that his own back doesn’t have to lug the gear, he’s bringing out the big guns in the shape of an all-tube, 6550-powered Fender Super Bassman that hits a matching Bassman 410 Neo cab.
Brendan Bond's Pedalboard
Three pedals get the job done for Bond: an Acme Audio Motown D.I. WB-3 Passive D.I., a JHS Colour Box, and a Boss TU-3 Chromatic Tuner.
A '59, But Not That '59
Black Pumas’ singer/guitarist Eric Burton started his career busking in Santa Monica. He’s always accompanied himself with an acoustic guitar, but as the Black Pumas formed and took off, he needed something louder, which pushed him into the hollowbody and semi-hollowbody realm. His main collaborator has been this 1959 ES-125 that is all original and still has its purring P-90. He uses it for the Pumas’ songs “Colors,” “Stay Gold,” “Fast Car,” and “Tomorrow.” Burton’s guitars take D’Addario NYXL1149 Nickel Wounds (.011 –.049).
Stealth Cat
For songs needing more gas and go, Burton will dance with this stock ES-335.
Regal Prince
This prototype was born from conversations with the Fender Custom Shop, who took inspiration from Eric’s connection with hollow and semi-hollow instruments. The Telecaster Thinline has a few special appointments, including a sparkle-purple finish offset with gold hardware and an anodized gold pickguard, conjuring thoughts of the president of Paisley Park. The other interesting bit is the hot P-90 in the neck position.
Mighty Mate
Burton plugs all his guitars into an off-the-shelf Fender ’65 Princeton Reverb.
Eric Burton's Pedalboard
Burton is the band’s lone wireless member. To accommodate his onstage prowling, tech Bryan Wilkinson uses a Radial JDI passive direct box that takes in the XLR from the audio subsnake wireless rackmount and routes it into the first pedal Boss TU-3 Chromatic Tuner. From there, Burton only has a couple pedals—a DigiTech Mosaic to mimic a 12-string for “OCT 33” and a JHS Colour Box for any required heat. A Strymon Ojai turns everything on.
Shop Black Pumas' Rig
Gibson ES-345
Fender ’68 Custom Deluxe Reverb
Strymon Flint
EHX Holy Grail
Catalinbread Echorec
Boss GE-7 Equalizer
Catalinbread Belle Epoch
EarthQuaker Devices Park Fuzz
Fulltone Clyde Deluxe Wah Pedal
JHS 3 Series Delay
JHS Crayon
Electro-Harmonix Nano POG
Strymon Ojai
JHS Mini A/B
TC Electronic PolyTune
TC Electronic PolyTune 3 Noir Mini Polyphonic Tuning Pedal
D’Addario EXL125 XLs (.009 –.046)
D’Addario ECB81 Chromes Flatwounds (.045 –.100)
Fender Super Bassman
Bassman 410 Neo Cab
Acme Audio Motown DI WB-3 Passive DI Box
JHS Colour Box
Boss TU-3
D’Addario NYXL1149 NYXLs (.011 –.049)
Gibson ES-335
Fender Telecaster Thinline
Fender ’65 Princeton Reverb
Radial JDI Passive Direct Box
DigiTech Mosaic