We take a look at five artisans who take much deserved pride in the design of their pedalboards: NYC Pedalboards, Pedal Pad, Pedaltrain, Pumaboards and Trailer Trash.
The combination and type of effect pedals a player has can say as much about him or her as the guitar and amp they use. And the power supply and cabling supporting those vintage pedals are almost as important as the pedals themselves.
Once upon a time, the more pedals you had, the more duct tape you needed to strap them down to the stage. In today's clubs, amphitheatres, and garages, you're more likely to see the guitar or bass player's pedals neatly secured and cleanly patched within the confines of a well-designed pedalboard. Pedalboards have now gone mainstream, thanks in part to the five pedalboard makers in this interview. From mass production boards like Pedaltrain, to flashy custom models like Trailer Trash, pedalboards are far more than an expensive duct tape substitute. But pedalboards are not just about simplifying your set up, they are also about getting a great sound in the form of clean reliable power and signal flow from the guitar, through our precious stompboxes, and eventually out into the room. We take a look at five artisans who take much deserved pride in the design of their pedalboards: NYC Pedalboards, Pedal Pad, Pedaltrain, Pumaboards and Trailer Trash.
NYC Pedalboards' Gigman board
NYC Pedalboards
Mike Rustin
New York City, NY
|
How did you get started making pedalboards?
Back in 2000, I was playing bass in a NYC-based band with a guitar player who used a ton of pedals yet had no pedalboard. Needless to say, it took a long time for him to set up and breakdown [and] it was a mess and took up a lot of stage space (It should be mentioned that he was on my side of the stage). We played most of our gigs at clubs with small stages where several bands played in the same night, so stage space was at a premium and it was imperative that bands could set-up and breakdown as quickly as possible. One day I put my foot down (no pun intended) and demanded that we solve the problem. We searched the stores and the internet for an affordable pedalboard that was large enough to hold all of his pedals, but it didnāt seem to exist. So I decided to build one myself and the first NYC Pedalboard was born.
I knew right away that I had hit on something marketable, so I went out and bought āThe complete idiots guide to creating a web siteā and within a few days I had a web site up and running, and was taking orders. It caught on so fast that within a few months I was making a living selling them. Of course, I have refined my product and my web site since then but I continue to do all of the work myself with the occasional hired hand.
How has your design evolved since you first started?
The early versions had carpet as the pedal surface. I quickly found out that the carpet could not survive the repeated attaching and removing of pedals, so I upgraded to a genuine Velcro loop surface. The early versions also had a tray-style pedal surface that had a three-fourths inch lip all around it. This proved to be obstructive to the inputs and outputs of the pedals, so my next improvement was what I call the āno-lipā design.
Who were your first artist customers?
I like to think of all my customers as āartists.ā I have yet to do an endorsement deal, nor have I solicited my products to widely known artists. With that said, many notable artists have discovered my products on their own, including Death Cab for Cutie, Brand New, Arch Enemy, Mercury Rev, Ike Willis (form the Mothers of Invention) and Dave Davies (from the Kinks). I think that Dave Davies was the first big name that I heard was using one. His rhythm guitarist (at the time) ordered one, and not long after he ordered another oneātelling me that Dave had taken a liking to his so he gave it to him. I have been a huge Kinks fan since I was a kid, so I couldnāt have been more thrilled to hear that a true legend of rock was using something that I built!
What would you do without Velcro?
I often have customers that do not want to put Velcro on their pedals, and there are other ways to hold the pedals in place. The most common alternative that I use is to put extra thick foam in the lid. Zip ties are another option, but this requires drilling holes.
Do your systems come with their own power supplies?
No. I believe that it makes more sense to keep the board and power supply separateāif you change one you donāt necessarily have to change the other.
What power supplies do you recommend?
I make a point to only recommend products that I have [had] personal experience with. Over the years, I have used a Boss TU-2 tuner (with a daisy chain cable) for my smaller boards and the Voodoo Lab Pedal Power 2 for my larger boards. Both of these have worked well, but the Voodoo Lab unit is definitely more versatile and reliable. I have always considered it to be the āindustry standardā when it comes to power supplies.
Any pedals out there that just are not pedalboard friendly?
The original āspaceshipā shaped Roger Mayer pedals come to mind. I have always called those pedalboard killers.
What are some popular customizations?
The second level riser is by far my most popular option. I have recently come up with a new custom option that I believe to be pretty innovative. I am calling it the āpop-up angleā option. With this option, the pedalboard surface is hinged in the front and has a hinged foldout support underneath in the back so the board can be flat or angled. The advantage to this design is that it can be angled for playing and then laid flat when you close the lid (which means that the overall case height does not need to be increased to accommodate the angle). So, now you can have a second level riser and an angled board and not need a ridiculously large case. I have just started doing this on a word of mouth basis and the response from customers has been very enthusiastic.
What materials do you use?
The primary ingredients are: high quality birch plywood, case carpet, steel hardware, rubber feet and of course genuine Velcro brand loop material. I have a reputation with my suppliers as being a stickler. I send back anything that does not meet my high quality standards.
What cables do you recommend?
I get asked this all time and Iāve been meaning to come up with a good answer for years, but the truth is that I donāt have a personal preference. Many of my customers prefer the solderless plug cables such as George Lās because you can make them whatever size you need.
How many fingers does your table saw guy have?
I run the table saw myself and I am glad to say that I still have all of my fingers.
What makes your pedalboards stand out in the crowd?
I believe that itās a combination of quality, practicality and affordability along with the fact that I will build one to the customerās exact specs. I feel that I offer a fairly unique customer-to-builder communication process and I make a point of providing the highest level of customer service possible.
What is the price range of your pedalboards?
Standard models go from $85-$179 plus options.
How long do you expect your pedalboards to last on the road?
A very long time. I provide a lifetime warranty, so in the rare event that something does require fixing, the customer can rest assured that it will be taken care of.
Pedal Pad
Mike Stratton
Topeka, KS
|
How did you get started making pedalboards?
My first inclination to build a pedalboard was based on saving time. I would finish a dayās work, rush over to the storage unit to load gear, drive over to the gig to set up, sound check and rush home to have time with my kids before driving back to the gig. I ran sound from the stage, so not only did I have to get the P.A. tweaked, I had to spend a lot of time getting my pedal setup just right for the room we were playing in. Iād dump my pedals out of a duffle bag, wire them up, hit a sustaining A chord and twist knobs for a good 20 minutes.
How has your design evolved since you first started?
My first designs were pretty simple, but they all had a compartment underneath for concealing the excess cables as well as other undesirable items that just got in the way of the pedals. I was using a Wah as well as a volume pedal for swells, so my feet stayed pretty busy. Since playing electric for me involved using more than just my arms, I started thinking of my pedals as an extension of the guitar, and wanted to have them positioned just right. Because I was always changing pedals, I decided to design a pedalboard that could also be changed.
Who were your first customers?
I met two of my heroes at the 2003 Summer NAMM show, Adrian Belew and Victor Wooten. I offered them boards and they seemed pretty enthusiastic about having them. Dweezil Zappa and George Lynch soon followed. I have not been very good about using the testimonials to maximum benefit. Maybe because I have always had the opinion that it makes sense to have even famous guys pay for their gear. That way you know theyāre really diggin' it.
What would you do without Velcro?
Cry. Velcro sometimes gets a bad rap because it loses it strength or the adhesive starts to give up. All I can say is prep your pedals, prep the pedal surface and use the Velcro consistently. Hook always on the pedals and Loop always on the pedalboard or visa-versa. That way you can move pedals around if you want.
Do your systems come with their own power supplies?
Yes. Our current power supply is the Power Pad II, which is a switching power supply module that can be located anywhere on the pedalboard just like the aluminum panels. We are coming out with the Power Pad Pro in March 2009, which will have eight isolated outputs via a toroidal transformer with multiple secondaries. All of the outputs will be able to run either 9 or 12 volts and will have protection features built in to each output. It will also include an AC courtesy outlet.
Is the power supply above the board or below?
On our MPS boards, which are powered, it is above the board as a module within the pedal surface. On our non-powered AXS boards, a power supply can be placed either on top or below.
Any pedals out there that just are not pedalboard friendly?
Talk Boxes come to mind, as well as the multi-effects units, which are the root of all evil in my opinion. They are so big and players get painted into a corner with factory sounds. With our adjustable design, just about any pedal can be placed comfortably on the Pedal Pad.
What are some popular customizations?
The adjustable panel design on our MPS series boards which allows the player to customize for longer or shorter pedals is at the heart of the Pedal Pad design. The hinged panel on our AXS boards is pretty handy if not a little bit innovative.
How long does it take to make a pedalboard?
This is where it gets a little weird. We assemble 100% of the pedalboards in a prison using custom-made tools just for Pedal Pad building. My old partner was a whiz at designing a jig or fixture for every single function, so construction goes rather quickly and the consistency is usually dead on. None of the Pedal Pads go from start to finish before another one is started, so it is a little difficult to say how long it takes to make one. We usually schedule the ordering of materials and the labor around production runs based on a certain number of units. Runs of 100 are pretty common and that can take two or three weeks.
What materials do you use?
We use 9-ply, void free, Ā½ā Baltic Birch for the rim and Ā¼ā for the top and bottom. We then roll the entire case with adhesive and cover with the standard Ozite-style carpet, which is common with speaker cabinets. We use a charcoal color so that lint doesnāt show up very well. Once the hardware is fixed to the case, we start on the inside. The Baltic Birch center support beam, which controls the functionality of the adjustable panels, is outsourced to a local cabinet shop [that] router cuts about 500 per run for us via CNC machinery. The center support beam is sanded and painted then fastened into the pedalboard case. Panels, power supply, patch bay and accessories are added and then boxed up. The aluminum panels and power supplies are produced for us in Asia.
What cables do you recommend?
There are a lot of good cables out there, but I have always made my own. My recommendation to anyone handy with a soldering iron is to produce their own guitar cables using a high-quality three-conductor mic cable. Make sure the mic cable has braided shielding, because cable with the spiral shielding can literally be twisted in your fingers to roll off the treble in your signal. Connect the white to the tip on both ends, and twist the black wire and the shielding together and connect to the sleeve. This makes an excellent guitar cable.
How many fingers does your table saw guy have?
34. He collects them.
Any interesting stories of pedalboard use or abuse?
One guy who works for Robert Keeley told me that his fell out of a truck or trailer on the highway and he was still using it the last time I talked to him. Another guy had his fall from a 14-foot ledge. I had to replace the lid for him, but that is the only time out of 12,000 units where I replaced a case.
Any special or odd customization requests?
I pretty much stay away from this, because it is not a good fit with my production strategy. I do sometimes change the height of the AXS pedal surface for players so that they can put taller objects below. People have asked for longer units and shorter units, but itās easier for me if I spend my time trying to talk them into less pedals or more pedalboards.
What is the price range of your pedalboards?
Our models start at $150 for the AXS Road Buddy and go to $350Ā for the MPS-XL.
How long do you expect your pedalboards to last on the road?
Life, baby!
PT-PRO-HC
Pedaltrain
John Chandler
Nashville, TN
|
How did you get started making pedalboards?
I was a touring guitar tech for about 15 years and worked on just about every style and type of pedalboard you can imagine. Out of my frustration with many of them, I decided to build something to make my job easier. I wanted something that could go together quickly, be easy to reconfigure, and be extremely durable. I built the first one for myself and began showing it to clients and from there it just took on a life of its own.
How has your design evolved since you first started?
Not really very much since it first began. The biggest change came when we decided to make all the Pedaltrain models more compatible with the Voodoo Lab Pedal Power, which has become an industry standard. Folks used to have to mount them on top of a pedalboard taking up precious pedal mounting real estate. Everyone wanted to get the board as small and efficient as possible. When I decided to patent the design and go into mass production of the first model everything regarding the size, shape and features were based on years of research and development.
Who were some of your first artist customers?
Mostly players in the Christian music industry. Guys like Mark Townsend and Barry Graul of dcTalk and solo artist Wes King.
What would you do without Velcro?
Probably lay down and cry. Seriously though, I guess where thereās a will thereās a way and weād use whatever attachment method available that people think is best.
Do your systems come with their own power supplies?
No, and that is by design. In my opinion the best power supply options for effects pedals usually do not come with a pedalboard. Most of them are designed to work on any custom board or piece of plywood.
Do you recommend certain power supplies?
My best recommendations for which power supply is right for you would be based on exactly what pedals you need to power, what their individual requirements are and what country you're using it in. I wish there was one unit that would do everything you ever wanted but unfortunately thereās not. Not yet anyway.
Any pedals out there that are just not pedalboard friendly?
I havenāt seen a pedal yet that I canāt figure out a way to get it onto one of our boards. Although there are some that are unusually large or weird shaped that make mounting them a challenge.
What are some popular and/or innovative customizations?
Certainly the most popular innovation was modifying the boards and designing mounting brackets for securely attaching a Voodoo Labs Pedal Power underneath. We had been doing these mods for folks for about three years and then it just got so out of hand that I said, weāve got to redesign and make this easier for us and [for] the end user.
Do you do custom switching?
No, but I really see that true bypass switching strips are the current trend in moving the pedal world forward. I am constantly talking with people who are working on creating the next great innovation. Since weāre not electronic minds around here, we will leave that to the folks who are. I think in the next two or three years there will be lots of choices available for players who want to use effects on a board but control them by means other than stepping on them. However, I still donāt think weāll see anyone going back to pushing around big racks of pedals mounted on pull out shelves with elaborate switching systems. Itās just so complicated and a hassle if you want to change something. And one thing I have learned about pedal junkies is that theyāre never satisfied, they're always buying, selling, swapping and trying something new.
What materials do you use?
Our entire pedalboard is made by welding together specifically shaped hollow aluminum tubing. Itās about as simple as you can get.
Take us through the process from raw materials to finished product?
We start with raw aluminum, melt it in a foundry to about a zillion degrees, then form our own extrusion profiles of the tubing. Next, specific lengths of tubing are cut and the pieces assembled in a jig that holds everything in place while itās welded together. Then, the frames are sanded smooth before powder coating, and lastly the rubber feet get riveted to the bottom.
What cables do you recommend?
For wiring up pedalboard I have always used George Lās solderless connectors and cables. Theyāre consistent, reliable, easy to work with, never failed me, sound great, and the factory is just across town.
How many fingers does your table saw guy have?
Eleven, itās like, one more.
Pedaltrain 1 |
I think whatās different about us is that weāre making custom shop quality solutions for the do-it-yourself crowd.
Any interesting stories of pedalboard abuse?
Iāve always made the claim that you can drive your car over our boards and it will be fine. I never suspected that anyone would actually do it. Well it has actually happened twice! In both cases I asked if they would do it again and video it for YouTube, but they declined.
Any odd customization requests?
Naturally we get lots of requests for custom sizes and shapes, but since we donāt have a custom shop thatās pretty impossible. However, when we get enough requests for a certain size, shape, or feature then we use that data when planning new models. This is how we went from one model to seven.
What is the price range of your pedalboards?
$69.95 for the PT-MINI with soft case up to $299.95 for the PT-PRO with road worthy flight case with wheels.
Is there an average price?
Our biggest selling model is the 24āx12.5ā Pedaltrain-2. Itās $119.95 with soft case and $189.95 with a flight case.
How long do you expect your pedalboards to last on the road?
As long as you want it to. It has a full lifetime warranty that covers everything except negligence, abuse, misuse or airline damage.
Pumaboard Classic #69
Pumaboards
Kevin "Pumaman" Perkins
Oregon
|
How did you get started making pedalboards?
Well what really got me thinking about it was meeting Ron Thorn, a custom guitar builder in Glendale, Ca. While his guitars are about as good as it gets (Iām lucky enough to have two), what always impressed me from the first time I met him was his enthusiasm with his guitars and his appreciation and interaction with his customers. A couple of visits to his small shop for his yearly gathering of Thorn enthusiasts, and seeing how it was just him and his Dad working together to turn out these beautiful guitars, and my wheels [started] turning. [With] an unexpected, career-ending back injury, it was time to get serious about doing something enjoyable for a living. I actually sat down with a piece of paper and listed the things that I liked about Ronās business and a couple I didnāt like. Working pretty much 24/7 like he does wasnāt going to be possible with my back. This would need to be something I could do at a pace my back could tolerate. As luck would have it, a month before my injury I was mapping out on paper and cardboard plans for a pedalboard for myself. So, I had a pretty good idea of what I thought a pedalboard should be like. After a few months of research and development came the final piece. My webmaster/daughter set me up with a cool website with pics and now videos, and using a nickname that was given to me years ago, Pumamanās Custom Pedalboards was born.
How has your design evolved since you first started?
The basic design has been consistent. No rocket science here, just a wedge shape with room underneath for wiring and power supplies. Any size a customer wants and power sockets and quarter-inch jacks arranged to suit.
But I felt there was room for boards that looked cool as well as being functional. We all tend to take pride in our gear and enjoy having a cool looking guitar or amp. Why not a cool looking board to put those fancy pedals on? The thought of Tolexing boards to match amps sounded like a good idea. [It] didnāt take long before I was looking at my boards like the hot-rods I grew up with, so stripes just seemed right. I remember being so excited when I figured out the way to do them. Now my hot-rods were looking seriously cool. My wife thought I was a little nuts at the time. I probably put stripes on more than half the boards I build now. They have kind of become what a Pumaboard is.
I just recently came up with a new option that seems to be going over wellāthe two-piece slotted top. I was always bugged by the usual grommet in the front of the top for passing cables through from underneath. Seemed like I always wanted to put a pedal where that grommet was, and with bigger boards and more pedals, one grommet would not be enough, then with each added grommet there was another spot on your board you could not place a pedal. Now I can place a one inch wide slot two inches down from the front of the board that spans the entire width of the board. With this, no matter how you arrange that top row of pedals, you will have multiple spaces in between pedals to bring cables up through, while keeping the good looks of a solid top. And I have some flexibility as to where to place the slot. Itās already been helpful to a couple of guys to have the slot just in front of a midi switcher or loop box that can have a lot of cables coming out of it.
Tell me about your customers.
I consider all my customers artists. Iām just as thrilled to build a board for the at-home guy as the guy out on tour. No big name artists yet that I am aware of, although I did build a massive board as a gift for Vic Johnson, guitarist for Sammy Hagarās Waboritas. The phone call I got from him when he opened it was priceless.
What would you do without Velcro?
I guess I would be stocking a lot of screws and bicycle chain links and building more replacement tops. You know, I think everyone that builds pedalboards has looked for a ābetterā surface than Velcro. Iāve done Formica and Plexiglas as well. But, to me, Velcro is still the best. It remains the most user-friendly way to go. You give that up when you try anything else. Itās been my experience that any additional holes in a board for mounting pedals or routing cables will ultimately result in a need for a new top. You know us guitar players canāt ever be totally happy with our pedals. I really like my boards to not only be user-friendly, but also ready to handle pedal changes anytime. For my money, Velcro is still the logical way to achieve this. Oh and a new two-piece slotted top will help as well [grin].
Do your systems come with their own power supplies?
No. What I provide is the power socket and patch cord needed to use any of the many power supplies available.
What power supplies do you recommend?
Well, Voodoo Lab's PP2 is hands down the most popular and a great product for most guys. But there are a lot of comparable units available. It really depends on the application. I have built boards powered by simple daisy chains [and] huge boards powered by multiple power supplies. The big thing now is the need for power supplies that cover all the different voltage needs of all the great pedals available these days. Eliminating the need for wall warts is always a good thing. Promising new products that address this are right around the corner from Voodoo Labs and others.
Any pedals out there that just are not pedalboard friendly?
Yeah big pedals and heavy pedals come to mind, and of course, ugly pedals are no good either.
What are some popular customizations?
My customers really appreciate options. Just the fact that I can build boards any size is a big help for a lot of guys. Sometimes it can save a guy a lot of money when I can build a board to fit an ATA case he already has, or one he can purchase for much less than having the case custom built to fit the board. I can cover a board with about anything I can get my hands on. Matching a guy's board to his amp is very popular.
Guys dig those crazy stripes, too. So do I. The early responses would suggest [that] the two-piece top is going to be a hit.
How long does it take to make a pedalboard?
I ām currently building about two boards a week.
What materials do you use?
Clear Ā¾ā Pine for the frame, 5/8ā Ply top, various Tolexes and vinyls.
Take us through the process from raw materials to finished product?
Boards are cut, with great care to keep my fingers. Then pieces are routed for top recess and lap joints. Then I will rough sand pieces to give the wood teeth for better adhesion for the Tolex glue.
Pieces are then glued and pin nailed at the corners. Next will be the hand sanding and rounding of the corners. Time to lay out and draw the holes for Power socket and jacks on the board. Then Iāll snap a couple pictures for the customer to see if there is anything they would like to change before drilling holes. Then the messy partā¦ Tolexing. Add sockets, jacks, corners and brackets and itās time to cover and install the top.
How many fingers does your table saw guy have?
Well, that would be me. Still have them all. Being a guitar player, I would like to think Iām more careful than some.
What cables do you recommend?
I have always been happy with George Lās. I love the small footprint, and they are easy to use once you get the hang of it. However, Iām about to step up to the new solderless Lava cables, a great product from what I have read.
"Pumaman" applies racing stripe Tolex to a board's frame |
I would say the cool looks, solid design and options such as any size and any Tolex. This makes it a lot of fun for the customer to put together a special board. It can be anything from a clean, well laid-out, black board, a striped and chromed-out hot-rod or a '50s red sparkle vinyl classic. If you want a board covered in something you donāt see on my site, just ask. I can actually cover a board with about anything I can get my hands on.
Any special or odd customization requests?
Classic #38 comes to mind. My customer wanted his board covered in Leopard skin fabric like he used for inside his custom guitar cases. I wasnāt too keen on the fabric for durability, but he was okay with that. It actually turned out pretty damn cool. Iāve been surprised by the sizes of some of the boards ordered.
With the use of switchboxes and midi switchers, guys can have a row, or even two, of pedals they donāt have to step on. I actually have built a board 28ā deep.
What is the price range of your pedalboards?
$150 and up
Is there an average price?
I would guess maybe $350 - $400
How long do you expect your pedalboards to last on the road?
Forever, of course. At least thatās how I try my best to build themāoverbuilt, just like I would any hot-rod. After a lot of use, I suppose itās possible the Velcro could stand to be replaced, although I havenāt heard of that happening. But replacing tops easily, if needed, is one of the intentions of my design. Other than that, I really canāt see one of my boards failing in any way under normal use.
I still hear from some of my earliest customers that their boards still look like the day they got them. And I know that to be true of all the boards that I have I built for myself. I am my own test subject, you know.
Trailer Trash Pedalboards
James "Rooster" Olson
Arvada, CO
|
How did start making pedalboards?
I have been a pro guitar player my entire life. I was Chely Wrightsā, and Mark Chesnuttsā touring guitar player for many years. In October 2003, I walked into my home at 8 a.m. to find that it had been gutted of its contents. I lost $25K in guitar gearāTom Andersons, PRS, Collings, Old Fender ampsāNaylors, etc. It was only a month after the burglary of my home that I was forced to start my idea for my pedalboard company. I did pursue the theft with a detective and we caught three of the thieves responsible. The head thief had cased my home and waited for me to be gone. We discovered that he was a real bad news druggie guy who lived in a nearby trailer park with a two-page rap sheetāpure trailer trash. After the case had run its course and we jailed the guy for three years, my detective called me up and told me that the State of Tennessee (Nashville) had not awarded me any restitution in the case. I was very burnt over this and took the approach, if Iām not going to get repaid by the guy who robbed me, then I will make money off of him. So I named my company after the guy who took everything from meāTrailer Trash Pedalboardsāit was a true blessing in disguise!
How has your design evolved since you first started?
We are the company that changed how pedalboards were perceived. Trailer Trash was the first pedalboard company to upholster & match the look of many famous amplifiers. We did the entire vintage line of Fender, Marshall, Bonner, anything you could dream up. This design made a huge splash at Winter NAMM 2005, making the Barry Wood NAMM Oddities list. Then we started exporting worldwide [and] changed our look to many different paint options in an effort to keep up with the demand for our boards. Today we stock six sizes, six colors, three top options, two case options.
Who were your first artist customers?
Rascal Flatts, George Thorogood, Steve Stevens, to name a few. Soon after starting the company, I was contacted by Mark Burnett Productions and was asked to supply his reality TV series' Rock Star INXS, and Rock Star Super Nova with our custom product. This really put us on the map as we were seen by 22 million people per night, three nights a week for three-plus months, two seasons in a row. As far as we have been told, Trailer Trash Pedalboards was the first pedalboard company to be listed in a major network TV shows end-roll credits along with Fender, Matchless, Bogner, etc.
Do your systems come with their own power supplies?
Yes, we do custom installs of many different power supplies. Basically there are never two boards alike, so we install whatever power is necessary to keep all in isolation. I like the Voodoo Labs Pedal Power supplies. There are higher dollar supplies with more options available on the market, but I have great results with the PP2s. We sometimes are installing three to five of these units under our boards and they always live up to the Trailer Trash mottoāIt donāt leave our shop until it runs clean. Pedal Power delivers.
Is the power supply above the board or below?
Trailer Trash is proud to be responsible for starting the wave of companies that have had to change their design to be able to install power supplies under their boards. This was the most important feature that I addressed with my first design in 2003. Today in 2009, itās pretty funny to get calls from customers now who ask if they can install a power supply under our pedalboardsāT-Trash started it! This is why our slogan at the top of our website reads, Trailer Trash PedalboardsāCreation, Not Emulation.
Take us through the process from raw materials to finished product?
Remove hat, scratch head, remove hat, scratch headārepeat for many days until finished. [laughs]
What cables do you recommend?
I really like the Evidence MonoRail. It works with George Lās plugs, tests real nice on our meter. The solid core dresses out nice. Oh yeah, it sounds great!
Style, class, wicked clean signal to the front of the amp combined with Made in USA pride & integrity gets āem every time. But thatās before we plug in our sick Glow-Tops.
What is the price range of your pedalboards?
We have built pedalboards that if you combine the entire cost of all of the pedals on top and under, power suppliesāeverything to make a pedalboardāT-Trash wiring etc., a few have went out of our shop that had a total worth of $15,000 to $18,000. Our standard-sized board, say a 28x16, custom-wired with ATA case, etc. typically goes out of our shop for approximately $1300.
How long do you expect your pedalboards to last on the road?
As long as you take care of it, it will last forever. Be kind to your gear, it costs a lot and is delicate.
The Man in Black returns with the unreleased Songwriter album. John Carter Cash tells us the story.
āThe Man Comes Aroundā is a much-played song from the final album Johnny Cash recorded before his death in 2003, American IV: The Man Comes Around. Now, the Man in Black himself has come around again, as the voice and soul of an album he initially cut in 1993, titled Songwriter. It hits the street on June 28.
For fans who know Cash only through his much-loved American Recordings series, this is a very different artistāhealthy, vital, his signature baritone booming, his acoustic playing lively, percussive, and focused. This is the muscular Johnny Cash heard on his career-defining recordings, from his early Sun Records sides like āCry! Cry! Cry!ā and āFolsom Prison Bluesā to āRing of Fireā and āSunday Morninā Cominā Downā to later, less familiar hits like āThe Baronā and āThat Old Wheel.ā In short, classic Cashāthe performer who became an international icon and remains one even 21 years after his death.
I recently visited the Cash Cabin recording studioāa log cabin on the Cash family property in Hendersonville, Tennessee, that was originally built as a sanctuary where Johnny wrote songs and poetryāwith PGās video team of Chris Kies and Perry Bean to talk about Songwriter with John Carter Cash, the son of Johnny and June Carter Cash.
In addition to getting the lowdown on Songwriter from John Carter Cash, he showed us some of the iconic guitarsāincluding original Johnny Cash lead guitarist Luther Perkinās 1953 Fender Esquire and a Martin that was favored by the Man himselfāthat dwell at the busy private studio. Check out this visit.
With new features like the Aguilar Cabinet Suite, dual XLR outputs, and upgraded power sections, these amplifiers are designed to meet the exacting standards of todayās bassists.
The latest innovations in the Tone Hammer and AG series include the introduction of the Aguilar Cabinet Suite, dual XLR outputs, expanded connectivity options, and power section upgrades.
Key features of the next-generation amplifiers:
Aguilar Cabinet Suite: This new software allows players to load Aguilarās custom-designed SL/DB cabinet impulse responses (IRs), or their own custom IR files. This feature is available through both XLR and headphone outputs, offering new tone shaping and cabinet emulation options.
Dual XLR Outputs & Expanded Connectivity: Musicians can now tailor their tone and utilize cabinet IRs for their monitor mix, while also sending a pre-EQ ād signal directly to the front-of-house. This dual functionality ensures optimal sound for both the artist and front-of-house. The new amplifiers include auxiliary input and headphone output options for silent practice. They also feature mix controls to fine-tune the listening experience, ideal for both practice and performance.
Upgraded Power Sections: Previously exclusive to Aguilarās 700-series, the upgraded power sections in the Tone Hammer and AG 500 now support a 2.67 ohm load and include universal mains. These enhancements make the amplifiers perfect for international touring, offering seamless voltage adaptation.
āThe new Tone Hammer and AG series amplifiers are a testament to Aguilar ās commitment to world-class sound and performance, providing bassists with the tools they need to define their sound on the global stage,ā remarks Jordan Cortese, Brand Manager, Aguilar Musical Instruments.
The next-generation Tone Hammer and AG series amplifiers are available for purchase through aguilaramp.com and Aguilarās extensive dealer network worldwide.
For more information, please visit aguilaramp.com.
Introducing the next generation in Aguilar Amplification!
Aguilar TH500V2 Tone Hammer Gen 2 500-watt Bass Amplifier Head
Gen 2 TH 500w Bass AmpSee how three different gear philosophiesāpowered by crunchy combos, classic guitars, piles of pedals, studio outboard gear, and a Beatles DI console fuzzāwork together to bridge the bandās brash, punkified roots with their polished pop hooks.
Cage the Elephant was formed nearly 20 years ago in Bowling Green by vocalist Matt Shultz, guitarists Brad Shultz and Lincoln Parish, drummer Jared Champion, and bassist Daniel Tichenor. That core lineup has only changed once, with Nick Bockrath replacing Parish onstage in 2013 and officially in 2017. CTEās earliest albumsā2008ās Cage the Elephant and 2011ās Thank You, Happy Birthdayācaptured their punk-rock pandemonium that turned venues into hurricanes. Cageās mayhem cloaked melodies, like a Trojan horse creating early-career earworms and sing-alongs out of hits āIn One Ear,ā āAin't No Rest for the Wicked,ā āShake Me Down,ā and āAberdeen.ā
2013ās Melophobia brandished a trio of mellower, melodious singles: āCome A Little Closer,ā āTake It or Leave It,ā and āCigarette Daydreams.ā Then, 2015ās Tell Me Iām Pretty saw the band enter Easy Eye Sound to work with Dan Auerbach, sending the bandās sonics back to the ā60s with an emphasis on direct, pointed performances and console-driven fuzz. Their last two albums, 2019ās Social Cues and 2024ās Neon Pill, partnered them with producer John Hill, who helped wrap their memorable hooks in a smokier, after-hours backdrop that incorporated ā80s sheen with drum machines, shifting synth textures, and sleek production that pulses with flow and emotion.
The constant glue that holds these albums together (aside from the members' cohesive creativity) is the constant applicationāin varied amountsāof garage rock, psychedelia, and a little bit of danger. Even their softest, smoothest work portrays these gripping vibes. And while the velvet packaging of their songs have them sounding more Abbey Road than Albiniāearning the group back-to-back Grammys for Best Rock Album for Tell Me Iām Pretty and Social Cuesāthe Shultz brothers still bring their signature piss-and-vinegar performances to the stage, where the front row will likely play host to both throughout any given setlist.
Before the bandās Bonnaroo set on Saturday June 15, Cage the Elephant invited PGās video team to their rehearsals inside East Nashvilleās Steel Mill space to cover the gear theyād be touring with in support of their sixth album, Neon Pill. On guitar, lap steel, and pedal steel, Nick Bockrath starts off the Rundown going through his sizzling setup that includes custom guitars, a bountiful pedalboard, and a special instrument from a deceased friend and Nashville legend. Then, tech Mason Osman details how Brad Shultz transformed his rig to mimic his preferred recording setup that relies on studio tube preamps and compressors for a direct, broiling sound. Lastly, tech Bailey Griffith shows a simplified-but-tsunami-sounding bass setup that includes two Fender 4-strings and 300W tube heads that kick like a mule.
Brought to you by DāAddario
Some Like It Hot
Guitarist Nick Bockrath was approached by luthier Jacob Harper to collaborate on his ādreamā guitar. The fellas landed on Harperās existing Marilyn model with some key requests: a Bigsby vibrato, gold hardware, a Bockrath-drawn dude on the truss-rod cover, and the striking red-sparkle finish. Harper was the brains behind the pinball-flapper-button kill switch (with Bockrathās blessing). The semi-hollow has a chimey, jangly tone thanks to its TV Jones FilterāTron pickups. All the knobs were originally identical, but as Nick says, āwe just keep it moving,ā so heās been replacing the road thrash with random knobs from his personal collection as needed. All his electrics take Ernie Ball Power Slinkys (.011ā.048).
Sniped
Los Angeles-based producer John Hill, who worked with Cage the Elephant on Social Cues and their brand-new Neon Pill, had his eye on this early 1990s GibsonĀ Les Paul Deluxe goldtop that was for sale at Carterās Vintage Guitars. He sent the listing link to Nick Bockrath, who was going to visit the store to inspect the goldie. Bockrath called Hill from the shop, who wondered how the guitar sounded. Nickās sly response: āIt sounds like Iām gonna buy it in five minutes [laughs].ā The previous owner removed the original pickups and dropped in a P-90 in the bridge and a gold-foil in the neck.
Torn and Frayed
Bockrath scooped this on a trade from Blues Vintage Guitars in Donelson. He canāt quite nail down its birth year, but from the serial number and similar online listings, heās been able to deduce that itās a SG Custom from 1969āā71. This is a bus companion that travels with Nick because he doesnāt want it out of his sight.
Trust in Russ
Russ Pahl is a pedal-steel guitar icon. Heās on a short list of first calls when an artist needs that classic country sound. On top of being an ace musician, Pahl builds partscaster guitars, and he assembled this mean T with Nick in mind. It has a standard T-style bridge pickup, but to give Bockrath a bit more bite, he opted for a Firebird-style mini humbucker for the neck slot.
Knockin' on Heaven's Door
Nickās early Nashville mentor and a friendās father William "Bucky" Baxter played lap- and pedal-steel guitar for Bob Dylan and Steve Earle. This century-old Gibson BR-6 lap steel toured with both iconic songwriters. Bucky sold this to Bockrath because, he said, āif you were ever gonna play lap steel in a rock ānā roll band, this would be the one,ā so Nick honors his old pal every night.
Steeler
Bucky Baxter got Bockrath hip to the GFI pedal-steel guitars when he first expressed interest in the slide instrument. Nick landed on the single-neck GFI Ultra 10-string model thatās added fresh elements to Cageās sound on their last two albums and subsequent tours.
Royale with Cheese
Nick Bockrath's Pedalboard
Bockrath has everything but the kitchen sink on his stomp station, but he assured us that each pedal has its role and itās all very organized. Starting on the left there are four separate time machinesāa duo of Boss DD-8 Digital Delays, EarthQuaker Devices Disaster Transport, and a Death By Audio Echo Dream 2. Modulation and weirdo effects include a Moog Moogerfooger MF-108M Cluster Flux, a Boss TR-2 Tremolo, an Electro-Harmonix Mel9, and a Malekko Omicron Vibrato. His pair of fuzzes are the single-knob Big Ear Pedals Betty White and the Malekko Diabolik. Reverb comes from the amps and the Malekko Spring Chicken, pitch-shifting is handled by the venerable DigiTech Whammy, and spicing up his signal is either an Analog Man Comprossor or a Pedal Projects Growly boost. All the pedals are routed through the GigRig G2, a Lehle 3at1 Instrument Switcher allows him to quickly bounce around his three string-bending roles, and a Boss TU-3S keeps his guitars in check.
Tuxedo
When we last spoke with Cage in 2014 and for most of the bandās earliest years, Brad Shultz destroyed and revived import Fender Mustangs. He preferred the short-scale studs for their thin, bright sound, compact frame, and their ability to handle several surgeries. Since working with Dan Auerbach and John Hill in the studio, Shultz has broadened his stable to include models from Gretsch, Kay, Gibson, and others depending on what the song needs. For the bandās summer tour, heās slimmed down his options to three main instruments. First up is a Silvertone 1449 BSF that employs the companyās ālipstickā single-coils that offer Brad a similar bitey, high-end snarl heās used to with the Mustangs. Both of Shultzās electrics take Ernie Ball Power Slinkys (.011ā.048) and he hits them with Dunlop Tortex .50 mm picks.
Spacely Space Sprockets
If his Silvertone 1449 is a blast from the past, this Baranik RE-1 is one of the most futuristic designs guitardom has seen in years. Luthier Mike Baranik specializes in refurbishing and repurposing recycled parts with a modern eye, while maintaining a strict focus on tone and playability. This RE-1 features his handwound gold-foil pickup that slides, in real time, to provide maximum sonic flexibility. Other interesting bits include a wood-intonated saddle, glow-in-the-dark fret markers, illuminated control pod, and a total weight of six pounds.
Bell Curve
A handful of songs during Cage shows will put Shultz on this Gibson J-45 Standard, including āAināt No Rest for the Wicked,ā āTrouble,ā and the title track off their newest album Neon Pill. To avoid any feedback or howling buzz, his tech Mason Osman slid in a DāAddario Screeching Halt Soundhole Plug. And this burst beauty takes Ernie Ball 2004 Earthwood 80/20 Bronze strings (.011ā.052).
From the Studio to the Stage
We interviewed Brad around the Tell Me Iām Pretty sessions that were recorded with Dan Auerbach in his Nashville Easy Eye Studio, and thatās where the band first explored plugging straight into a console. āAs a guitarist, the whole approach of going direct really appealed to me, and I got that from [ā60s] bands. A lot of them did the exact same thingāwent right into the console. But I think the thing that influenced us the most about those bands was the separation of their tracks. When you sit and really listen to their recordings, you notice how each instrument is doing something very specific. Each part is so thought-out and placed so deliberately. I really drew from that.ā
That immediate connection between instrument and player resonated with Shultz so much that he revamped his live rig to include studio gear. He tours with no amps and no modelers; instead, he plugs his guitars into a pair of rack-mounted Thermionic Culture devices for his pure, lively toneāa Phoenix SB stereo valve compressor and The Rooster 2 preamp.
Back in 2016, Shultz explained that this synergy provides a different playing experience. āIt feels more human. When I hear that, I really hear the person playing, not so much this amp sound. The strings speak for themselves, almost, if that makes any sense. You can hear the pick actually hitting each individual string as you strum a chord, or you can hear each individual stroke of a lead part. So that was really appealing to me, maybe because I'm such a raw player. I basically beat the shit out of a guitar. I'm very heavy-handed. I want to hear the separation between each string when I'm strumming a chord.ā
Brad Shultz's Pedalboard
All his filth, fury, and ferociousness come from hitting the rack gear with as much input signal as possible. The incremental levels of destruction are handled by five agitatorsāa JHS Colour Box V1, a JHS Crayon, a JHS Colour Box V2, an EarthQuaker Devices Tone Job, and a Jext Telez White Pedal. The rest of his pedal roster contains a Boss DD-7 Digital Delay, MXR Phase 100, a pair of MXR Reverbs, Caroline Kilobyte lo-fi delay, and a Boss AW-3 Dynamic Wah. Shultzās utility boxes are a Boss NS-2 Noise Suppressor, a couple of Boss TU-3 Chromatic Tuners, a Radial Engineering BigShot ABY, and a Voodoo Labs PX-8 switcher simplifies all his changes.
Big Cat Growl
Original bassist Daniel Tichenor has been a Fender-heavy thumper. When we saw his rig in 2014, he was using a Jazz and P basses; when he spoke with PG about Tell Me Iām Pretty, he recorded with P, Jag, and Mustang 4-stringers. For this 2024 run supporting Neon Pill, heās mainly laying down the groove with the above Fender American Standard Jaguar bass that uses La Bella RX-S4D Rx Stainless Roundwound Bass strings (.045ā.105). Tichenor bounces back and forth between fingerstyle and using a pick, but when he does the latter, he rakes the strings with Dunlop Tortex .88 mm picks.
'Stang Stinger
For Cageās mellower numbers, Tichenor will saddle up on this Fender Player Mustang bass that rides with La Bella 760FS Deep Talkin' Bass Flatwound strings (.045ā.105).
Tower of Power
The Jag and āStang go through a Fender Super Bassman 300W head (the second is a backup) that feeds two Fender Bassman 810 Neo cabinets.
Daniel Tichenor's Pedalboard
The lone effect that colors Tichās tone is a Fender Engager Boost that spurs the flatwound Mustang with a punch of dBs. The other boxes on the Pedaltrain Nano+ board are DIs for FOH, and the boost is powered with a Truetone 1 Spot Pro CS6.
Shop Cage the Elephant's Rig
Gibson Les Paul Deluxe Goldtop
Gibson Custom 1963 Les Paul SG Custom Reissue
Supro 1933R Royale 2x12 Combos
Boss DD-8 Digital Delay
EarthQuaker Devices Disaster Transport
Boss TR-2 Tremolo
Electro-Harmonix Mel9
Lehle 3at1 SGoS Instrument Switcher
Gibson J-45 Standard
JHS Colour Box V2 Preamp Pedal
EarthQuaker Devices Tone Job
MXR M107 Phase 100 Phaser Pedal
MXR Reverb
Boss AW-3 Dynamic Wah
Boss NS-2 Noise Suppressor
Boss TU-3 Chromatic Tuner
Radial Engineering BigShot ABY
Voodoo Labs PX-8 Switcher
Fender Player Mustang Bass
Fender Engager Boost
Fender Super Bassman 300W Head
Fender Bassman 810 Neo Cabinet
Ernie Ball Power Slinkys (.011ā.048)
Ernie Ball 2004 Earthwood 80/20 Bronze Strings (.011ā.052)
La Bella RX-S4D Rx Stainless Roundwound Bass Strings (.045ā.105)
La Bella 760FS Deep Talkin' Bass Flatwound Strings (.045ā.105)
Available in 4-string and 5-string versions with unique finish options. Each purchase includes a certificate of authenticity signed by Wimbish.
Wimbish collaborated with Spector's USA Custom Shop to create the DW-4 and DW-5 models, echoing the iconic instruments that have been favored heavily throughout his recording and performing career.
These signature basses faithfully replicate Wimbish's originals, down to the smallest details like neck contours and nut widths. Customized EMG pickups, developed in collaboration with Wimbish, capture the distinctive sound that has shaped his monumental musical impact. These models invite players to explore the feel and response that have defined Wimbishās signature style over the years.
Available in 4-string and 5-string versions, each model boasts unique features & finish options. The DW-4 comes in Amber Stain Gloss and Black Stain Gloss options, while the DW-5 offers Dark Blue Stain Gloss and Faded Natural Gloss. Every purchase includes a certificate of authenticity signed by Doug Wimbish.
Wimbish comments, āSpector took the time to get every little nuance right, and that to me is dedication and being thoughtful enough to know āI want to nail it,ā and they did. Iām able to pick these instruments up for the first time and play them like Iāve already had them for years.ā
For more information, please visit spectorbass.com.