Hear how close the EHX Soul Food, J. Rockett Archer, NUX Horseman, Wampler Tumnus, and Way Huge Conspiracy Theory come to nailing the tone of a legend.
It's been more than a quarter century since the Klon Centaur overdrive debuted. So why are we still talking about it?
The Klon became a cult item soon after it appeared, celebrated for its transparent overdrive. āTransparent" isn't exactly a scientific term, but it makes sense when comparing the Klon to the popular overdrives that preceded itānotably the Ibanez Tube Screamer, which to this day provides the template for a large percentage of overdrive pedals.
A Screamer trims highs and adds a prominent midrange bump at around 750 Hz. A Klon's core sound is less highly colored, with clearer highs and greater clean headroom. A Screamer's compression smoothes out note attack, while a Klon delivers faster, crisper transients. Screamer tone never cleans up completely, even with the gain knob at minimum. But a Klon with its gain knob fully counter-clockwise delivers a pure clean boost. (Though it might not sound clean, depending on how hard the Klon's output is slamming your amp's input.) To many ears, the Klon was a sonic upgrade over previous overdrive pedals. When the guitar magazine I worked for in the '90s covered the initial version, I bought the review model. I used that pedal (serial number 309) for reference while exploring our five klones.
Secrets of the Klon Kult
How does the Klon work its magic? Like most overdrives released since the 1970s, it owes its tones to an overdriven op amp, with extra color and compression from a pair of clipping diodes. Klon fanciers tend to focus on those two parts: the TL072, a low-noise, JFET-based op amp, and two NOS germanium 1N34A diodes.
Generally, germanium diode distortion is slightly softer and "spongier" relative to brighter, crisper-sounding silicon diodes and LEDs. But you only hear the diode's character at the circuit's highest gain settingsāmost of the distortion comes from the op amp. Meanwhile, the TL072 is a common and inexpensive part. But even if it weren't, any number of op amps would yield similar results.
My tests suggest that the Klon's character comes from its ingenious circuit topology, and not from "magic" parts. There's a charge pump that generates 18 volts from a standard 9-volt power supply, and you hear the differenceātones are sparklier and more dynamic, with more clean headroom. The gain architecture is even more innovative. Incoming audio is split into three paths, one of which passes through the distorting op amp and diodes. Another path sends undistorted lows to the output, anchoring the bottom end. Meanwhile, the third path is a relatively hi-fi clean boost. The pedal's gain knob simultaneously controls the levels of both the distorted and clean boost paths. Turning the pedal's gain knob clockwise emphasizes the distortion while lowering the clean signal, and vice versa.
Other factors include an especially nice-sounding input buffer that prevents guitar pickups from loading down the circuit, a handsomely voiced treble-cut tone control, and memorable cosmetics. Original Klons have expensive, custom-cast enclosures with that striking bronze-and-oxblood color scheme. And, of course, there's the sword-wielding centaur icon, usually referred to as "the horsie." (Horsie Klons have the highest resale value.)
Klon vs. Klone
Image 1 ā Original Klons obscured their circuitry with black epoxy. That trick never works! The Klon schematic is readily available online.
Original Klons tried to maintain circuit secrecy with a coat of black epoxy (see Image 1).
It didn't work. The schematic is widely available. Copyright law doesn't protect circuits, so the schematic is free for the cloning. On the other hand, copyright law says you can't mimic a product's "trade dress"āthe visual appearance that identifies it to consumers. But that hasn't prevented klones from paying "tribute" to the original's gold/bronze enclosure, dark red knobs, and centaur sketch.
The original Klon employed traditional through-hole parts. Our contender klones have modern surface-mount components, which facilitate automated production and keep list prices low. Two of them employ NOS through-hole germanium diodes, while the other three substitute modern silicon ones. All are scaled-down relative to the original, with enclosure sizes ranging from a standard B-sized box down to tiny AAs. There's also a dramatic price spread: from $69 to $199. All pedals run on standard 9V power supplies.
Testing Procedures
To keep things as objective as possible, I recorded the demo clips straight into my DAW with no processing, and then re-amped them through each of the klones. That way, you hear the identical performance through each pedal. Aside from switching klones, nothing in the signal chain changes. For the audio-only clips (see the page at the end of this article) I used a Fender Telecaster Deluxe with Lollar Regal wide-range humbuckers, a clean-toned Carr Telstar amp, and a Royer R-121 ribbon mic, recorded into Logic Pro via a Universal Audio Apollo interface. For the video I used a "parts" S-style guitar with Lollar Firebird pickups and Fender-style Carr Skylark.
In the audio-only clips you'll hear four audio comparisons arranged into four playlists. First, there's a 1:23-long passage with all pedal knobs set to noon. Next comes a gain test: You hear each pedal, first with the gain control at minimum (that is, in full clean-boost mode) and then at maximum. The third comparison displays the full range of the tone controls, first at minimum, then at maximum, and then back to the noon position. The final test compares the output controls. First, you hear the passage with a low output setting, with the knob around nine o'clock, and then at maximum. The low output setting is too quiet to overdrive the amp, isolating the distortion color produced by the pedal, as opposed to how that sound interacts with an overdriven amp.
Image 2 ā A spectral comparison of a passage played through the original Klon and through the EHX Soul Food reveals that their EQ curves are nearly identical. Other comparisons yielded similar results.
In each case, you hear the original Klon first, followed by the five modern pedals in alphabetical order, from Electro-Harmonix Soul Food through Way Huge Conspiracy Theory.
Spoiler alert: These pedals sounds remarkably similar, and that's not just a subjective impression. Consider Image 2, which compares the spectrum (EQ curve) of a passage recorded through the original Klon and through the EHX Soul Food.
The orange portion depicts the Klon, the blue portion the EHX. Their EQ profiles are superimposed in the main window. The orange and blue lines track so closely that it's sometimes hard to discern two separate measurements. Comparisons between the Klon and the other contenders yield similar results. In other words, prepare to listen for very subtle distinctions.
āDiodes to Die For?
Finally, a word about those germanium diodes: Judging by the online forums, this is the crucial feature separating the Klon from the klones. Even Klon founder Bill Finnegan cites particular germanium diodes (from his stash of NOS 1N34As) as the most important ingredient in the Klon casserole.
I think the audio suggests the opposite.
Klon vs. Klones by premierguitar
RatingsPros:Great price. Excellent overdrive sounds. Adapter included. Cons: Keen ears might miss low-end weight. Street: $86 Electro-Harmonix Soul Food ehx.com |
Tones: Ease of Use: Build/Design: Value: |
Electro-Harmonix Soul Food
Priced at a modest $86, EHX's Soul Food is the second-least-expensive pedal among the five competitors. It lives in a standard B-sized enclosure large enough for a battery compartment. You can also use standard 9V power supplies. (Soul Food is the only pedal in this roundup that comes with an AC adapter.)
The Soul Food circuit board employs mostly small, surface-mount components, with the exception of several capacitors and the clipping diodes. The latter are silicon in lieu of the Klon's germanium. Still, as Image 2 above shows, the Soul Food's tone profile matches that of the original Klon almost exactly. At heavy settings, I think I hear slightly more compression and gain from the Soul Food, but I'm not always certain. We're quite close to Klon here.
Hear for yourself: As mentioned, most of the Klon's overdrive comes from the TL072 op amp. The clipping diodes are only a factor at high-gain settings. For the clearest comparison of diode color, listen to the second halves of the clips in the Gain Control playlist, where the gain knobs are at maximum. Even here, the two tones are quite similar. The Soul Food is a little brighter at the very top end, and the Klon has a wee bit more weight under 100 Hz. But these differences are far from dramatic.
Soul Food has a secret trick: a small internal switch to select between true bypass mode (the default) and buffer bypass mode. Again, the differences are extremely subtle, unless you're connecting a retro-style fuzz downstream from Soul Food. (A germanium Fuzz Face, for example, is likely to sound too thin and bright when placed after a buffered effect.)
RatingsPros:Exceedingly accurate Klon sound. Germanium diodes. Extraordinary build quality. Cons: Relatively costly. Street: $199 J. Rockett Archer rockettpedals.com |
Tones: Ease of Use: Build/Design: Value: |
J. Rockett Archer
The Archer, a klone from J. Rockett, stands out from the herd even before you plug it in. While all the pedals covered here sound convincingly Klon-like, the Archer clearly aspires to the original's build quality, too. Measuring 4" x 2.25" x 1.25", it is slightly smaller than a standard B-sized box. The top-mounted jacks will suit overpopulated pedalboards, but there's still enough room for a 9V battery. The enclosure isn't quite as deluxe as the original Klon's sculptural, custom-cast shell, but it has a similar heft. The Archer is this roundup's most reassuringly solid stompbox. And at $199, it's the most expensive.
The Archer's circuit board features a roughly 50/50 mix of through-hole and surface-mount parts. The op amp is a TL072, while the clipping diodes are NOS germanium. Clearly, the Archer aspires to be as Klon-like as possible, as if that weren't already clear from the round oxblood knobs and a weapon-wielding mascot with hooved hindquarters. Mission accomplished! While all five of these pedals get close to the Klon sound, Archer is one of the nearest dead-ringers. I wouldn't be able to differentiate the Klon and the Archer in a blind listening test.
RatingsPros:Absurdly low price. Dual buffer and gain modes. Good tones. Cons: Klon-like, but not quite as Klonic as some options. Inexpensively made. No battery compartment. Street: $69 NUX Effects Horseman nuxefx.com |
Tones: Ease of Use: Build/Design: Value: |
NUX Horseman
Original āhorsie" Klons currently fetch $3,000 on Ebay. For that price, you can buy 43 1/2 NUX Horseman pedals. Yupāthis klone sells for a mere $69. It's the only contestant to be built in China. (All the others are made in the U.S.)
The Horseman's stable is a tiny AA-sized enclosure, which means there's no battery compartment. That makes it about 1/6 the size of the original Klon. It's a bit surreal to see that legendary circuit crammed into a device requiring only a sliver of pedalboard space. Unsurprisingly, given its low cost, the parts and build quality don't quite match those of the pricier options. But you can't argue with the Horseman's excellent tones.
The electronics layout is interesting, with two circuit boards facing in toward each other. Silicon Schottky diodes replace the original's germanium parts. Compared to the Klon, the Horseman's tones are marginally less sparkly and a bit boomier below 200 Hz. Transients are slightly less crisp. But even if this pedal's sound is the easiest to differentiate from the vintage Klon, it's still awfully close. I'd have no qualms gigging with this bargain-priced burner.
The Horseman can do a few extra stunts. Like the EHX Soul Food, it offers a choice of true or buffered bypass, depending on whether you hold the bypass switch down during startup. Again, the sonic differences are usually negligible, though the setting can affect the tones of retro-style fuzzes placed after the Horseman in the signal chain. You can also press the footswitch for a few seconds to select between āgold" and āsilver" modes. According to NUX, gold mimics the gain character of the original bronze Klon, while silver evokes later silver-colored models, which are a bit gainier. Yes, high-gain silver mode settings are slightly more distorted than the same settings in gold mode, though the distinctions remain subtle. A small secondary LED indicates the status.
RatingsPros:Highly accurate Klon tones. Excellent build. Ultra-compact. Cons: No battery compartment. Street: $149 Wampler Tumnus wamplerpedals.com |
Tones: Ease of Use: Build/Design: Value: |
Wampler Tumnus
Brian Wampler's pint-sized klone replaces the horsie with a goatie. The pedal is named for Mr. Tumnus, the friendly faun from C.S. Lewis's Narnia books. It occupies a tiny AA box like the NUX Horseman, but it's even a bit smaller. (Obviously, there's no battery compartment.) Tumnus's build quality is superior, as you'd expect for a pedal costing twice as much. It's also attractive, with its enclosure painted a deep gold color and bedecked with subtle figuration.
Tumnus nails the original Klon tone with great accuracy. This is interesting, given that it employs surface-mount silicon diodes in lieu of germanium. Clearly, you could argue that it's a further refutation of claims that rare diodes are essential for Klon-like tones. Again, I refer you to the second part of the relevant clips in the Gain Control playlist, where diode color is most evident. Even here, the two sounds are almost indistinguishable.
Wampler also loaned us their newer Tumnus Deluxe pedal. We don't have space for a standalone review, but we can summarize what it brings to the party: The control layout on the relatively large 125B-sized enclosure retains the usual treble-cut tone control (which functions just as it does on the original) but adds active bass and midrange controls. There's also a buffer bypass switch and a āhot" switch that boosts gain.
The Deluxe model can sound as Klon-like as the mini version, but it can also veer in different directions. The bass control can add thudding lows and low mids that you won't get from a straight klone. The midrange control also unlocks many new sounds. At extreme settings, this filter gets nasal and resonant, almost like a notched wah pedal. There's a demo clip in the Extras playlist called 1. Tumnus Deluxe (various settings), where I work the tone controls while the demo riff plays. On a Klon, it's hard to dial in a bad sound. The Tumnus Deluxe makes it easierāunderscoring the balance and smart design behind the original control set. Of course, those ābad" sounds may be perfect in context and represent interesting possibilities. Notice how thrashy everything gets when I flick on the high gain switch at around 1:08. At $199, Tumnus Deluxe is perfect for a player who wants great straightforward Klon overdrive and many usable variants.
RatingsPros:Excellent overdrive sounds. Quality build. Germanium diodes. Cons: Ever-so-slight bump in low-mids might distract some original Klon purists. Street: $129 Way Huge Conspiracy Theory jimdunlop.com |
Tones: Ease of Use: Build/Design: Value: |
Way Huge Conspiracy Theory
Way Huge's Conspiracy Theory is yet another fine-sounding Klon klone. It uses modern surface-mount parts, except for a pair of NOS germanium diodes. The op amps are TL072s. Its folded-metal enclosure matches the scaled-down proportions of the J. Rockett Archer, but the material is light aluminum rather than heavy steel. (At $129, the Conspiracy Theory is $70 cheaper, too.) Red pointer knobs and a gold finish evoke the original Klon design. The scaled-down enclosure is still large enough to accommodate a battery.
The Conspiracy Theory's voice is ever so slightly warmer/darker than that of the original Klon, with just a hair more low-mid weight under 500 Hz or so. I still gave this pedal a maximum tone score, because the differences are extremely subtle, and some players will probably prefer the Conspiracy Theory's slightly warmer characterāif they notice it at all.
The Verdict
All five of these effects get very close to the sound of a first-generation Klon Centaur. In other words, they sound terrific! Reviewing them taught me a lot about the originalāmost notably the fact that its character has little to do with specific clipping diodes, despite countless claims to the contrary. The J. Rockett Archer uses old-school germanium diodes, and it's nearly indistinguishable from the Klon. But then so is the Wampler Tumnus, which substitutes silicon surface mount diodes. As far as I'm concerned, the germanium clipping diode is a big, fat red herring.
The Electro-Harmonix Soul Food gets close to Klon despite using silicon clipping diodes. At $86, it's a steal. At high-gain settings it's ever so slightlybrighter than the original, but that's not necessarily a bad thing. It even comes with an adapter.
J. Rockett's Archer, with its germanium clipping diodes, is the Klon's sonic twin. It's easily the most rugged of the klones, with a reassuring heft that evokes the original. But quality isn't cheapāat $199, the Archer is the most expensive option. If cost is no object, it's my No. 1 pick.
Nux Effects' Horseman sells for a remarkably low $69. Of the five pedals, it's the easiest to distinguish from the original Klon, but that's not saying much. It still gets quite close, and some players may even prefer its slightly rougher sound. Its AA-sized enclosure is a panacea for overpopulated pedalboards. This is the no-brainer bargain pick.
Wampler's $149 Tumnus is pretty and petite in its tiny AA enclosure. It rivals the Archer for most authentic Klon sound, even though it employs silicon diodes. The construction is lovely. We also took a quick peek at the $199 Tumnus Deluxe, which adds a high-gain mode and 3-band tone stack that yield many variations on the famous formula.
Way Huge's Conspiracy Theory also gets extremely close to the Klon sound. It sometimes sounds a wee bit warmer/darker, but some players may prefer this profile, assuming they ever notice it. It's the least expensive option to include germanium diodes.
Admittedly, it sounds terminally wimpy to conclude with, āGosh, they all sound great." But it just happens to be true. (Well, they are clones!) I'd use any of these onstage or in the studio without hesitation. Your choice may be more about price and pedal size than any minor tonal discrepancies.
Oh, one last fun detail: After recording all the re-amped examples into a single Logic Pro session, I thought it might be fun to hear the Klon and the five klones simultaneously. That's the last item in the Extra playlist (All at Once!.mp3). I panned the six tracks in stereo, but there's no additional processing. I expected a bloody mess. But it sounds pretty much like a Klonājust like everything else here.
Other Affordable Klone Options
Chellee Ponyboy, $119 street, chellee.comJoyo Tauren, $54, joyo.com
Keeley Oxblood, $199 street, robertkeeley.com
MXR Sugar Drive, $120 street, jimdunlop.com
[Updated 9/10/21]
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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 Gibson 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.