Inspired to by play guitar by his 6-stringing father, Shawn Tubbs emerged from the Christian-music scene. By his late teens, he was doing club and session gigs, and became part of The Violet Burning. In 1992, he played with Stone Temple Pilots on an episode of MTV Unplugged, then got deeper in the high-profile Nashville session scene, and began touring with Carrie Underwood. He’s since stopped road-tripping in favor of the studio, where he’s a first-call player and his credits include recent work with David Crosby. The 30-year-veteran guitarist’s current album, Demolition, A Collection of Short Jams, can be heard on SoundCloud, and he’s got a popular YouTube channel, but you can hear him demo is own gear in this Rig Rundown, filmed at his home studio.

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When you produce acts like Taylor Swift, Fall Out Boy, Panic at the Disco, Weezer, Green Day, Pink, Rayland Baxter, Keith Urban, and Harry Connick Jr., it’s hard to find time for your own music. Yet in 2022, Butch Walker managed to release his 10th album, Butch Walker as … Glenn—a surprising tribute to the ’70s piano-rock balladeers that were among the rulers of FM radio in his youth. Nonetheless, that didn’t stop him from bringing a fleet of cool Fender and Gibson guitars, and a hemi of an amp, a Two-Rock Bloomfield Drive, on his recent It’s About Damn Tour tour.

For Walker, playing those guitars is something of a comeback celebration. In 2007, the house he was renting in Malibu from Flea of the Red Hot Chili Peppers caught fire and the Rome, Georgia, native lost the collection of classic axes he’d spent a lifetime accumulating, as well as the masters to every song of his own that he’d recorded. As Walker explains in the Rundown, it was a hard lesson about keeping up with insurance and making sure all his valuable instruments are covered—which they weren’t.

Today, he splits time in Nashville, where he’s also built a new version of his RubyRed studio in the old Warner Music building, from the 1950s. As Walker said in a Facebook post. “There’s been countless hits and amazing country and rock ’n’ roll songs recorded here over the years. It smells a little funny. It’s maybe haunted (hell, it was a morgue at one time). But I love it. It’s got vibe for days, sounds incredible, and people dig working here.”

So, dig into Walker’s Rig Rundown, which we filmed in November at Nashville’s Brooklyn Bowl.

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Trivium steadily raised its metal flag through the old-fashioned method—relentless touring. The band took any and all opening slots, priming crowds for Metallica, Iron Maiden, Killswitch Engage, Machine Head, DragonForce, Korn, and Megadeth before graduating to headliner status. That constant grind was fueled by 10 full-length releases that incorporate varying tints and tinges of their three core musical tenets: metalcore, melodic death metal, and thrash. (The band derives their name from a Latin word that means “three-way intersection,” describing their combination of these aggressive subgenres.)

And while tone dictates many decisions made by a guitarist, touring comes with a cost and might be the one thing that could trump a player’s desired setup or sound. Now, with elevated gas prices, venues fleecing bands for merch cuts, and overall hiked inflation, many artists are having to compromise and condense their live arsenal. Thankfully, digital modelers like the Fractal Axe-Fx and Kemper Profiler have made that decision easier (or harder, depending where one sits on the digital-versus-analog debate). Trivium embraced the future in the early 2010s, when they shifted towards the Axe-Fx II and then pivoted to the Kemper Profiler.

“We were one of the first bands to use Axe-Fx and Kemper, and both those things rule,” says Matt Heafy. So, it’s rare to see a hard-charging, globetrotting force like Trivium—who were rocking Kempers during our 2014 Rig Rundown—return to their roots, blasting through furious 5150-style heads after nearly a decade on the digital dial.

“In 2019, when we were in the studio recording What the Dead Men Say, we didn’t have any amps and it was a bummer. We had to scramble to find somebody who had tube amps that we could use to track, so after we finished that album, I never wanted to be stuck in that situation again. I scoured Reverb and bought all my favorite amps and everything we used for all our past albums. Through that process, I really got back into messing with gear,” explains Corey Beaulieu.

Onstage, the return of the stacks enhanced their performance. “The modelers had a slight latency—I don’t think the crowd noticed the difference—and I felt that if we could shave off a little bit of that by bringing back the amps, reducing the response even closer to zero, we’d be better for it. We’ve just really loved returning to live tube heads.”

The afternoon ahead of Trivium’s headlining performance at Nashville’s Marathon Music Works on October 14, guitarists Beaulieu and Heafy joined PG’s Chris Kies to cover the pair’s smorgasbord of signature gear—they know what they like, and brands are eager to hit their high standards—and why they transitioned back to traditional tube-drenched tone.

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Rut busting and reconstructing has probably been happening since the discovery of fire and advent of the wheel. Guitarists confront it each time they pick up a new instrument to avoid predictable patterns and tones. Premier Guitar contributor (and recent Rig Rundown subject) Pete Thorn has addressed this by suggesting several practices to approach our beloved 6 strings in a fresh perspective. And recently John Bohlinger recommended playing a different instrument to fertilize musical crops. But what does a guitar-playing producer and multi-instrumentalist do to shake things up for his band’s fourth album? Well, for Puscifer’s Mat Mitchell and the band’s 2020 release, Existential Reckoning, you go back in time 40 years to 8-bit synth sounds and the archaic sampling lurking inside the proto-digital Fairlight CMI.

“Part of [the appeal],” Mitchell told PG in a 2021 interview, “is the flow—the way that you work when you’re using these tools. It forces you to do things differently. They are very limited, and being creative within very set boundaries is really good.” And being the creative force he is, Mitchell found gold in the antiquated sounds and tech.

“They sound very unique,” he explains. “Of course, you can sample one and put it in a laptop, but it’s different. All the voices are separate hardware. When you hit a note, it is bouncing around between [processor] cards, so you can hit a note five times and it may sound different all five times. There are all these little things that affect the way it sounds when you’re performing, which is a very different sound from what you get when you sample.”

But he would never tour with this digital dino, so how does Mitchell recreate 8-bit tones in a performance setting? Thankfully, moments ahead of the audience filling the pews of Nashville’s iconic Ryman Auditorium, Puscifer’s aural architect welcomed PG’s Chris Kies for a chat about how Existential Reckoning’s inspiration took him back to the future, and how his live rig has metamorphized and been miniaturized with contemporary gear to realistically represent those superannuated sounds.

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The Smashing Pumpkins' first two albums, Gish and Siamese Dream, were a huge part of the soundtrack for the early ’90s alternative rock revolution. Still sounding revolutionary all these years later, the band’s leader, Billy Corgan, recently brought the Smashing Pumpkins to Nashville’s Bridgestone Arena for the Spirits on Fire tour, on the heels of their 11th studio album, Atum: A Rock Opera in Three Acts.

The concept album is a sequel to the Smashing Pumpkins’ definitive three-LP masterwork Mellon Collie and the Infinite Sadness, from 1995—which also brought them crushing into the mainstream. Acts two and three of Atum are scheduled for January and April 2023. But meanwhile, there are live shows … and all the gear it takes to recreate more than three decades years of the band’s signature sounds. PS: Special thanks to super-tech Trace Davis for his help with the fine points.

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If you were to ask my wife, “What two things sum up Chris?” … she’d likely respond with “grilled meats and heavy metal.” So, given the chance to interview the self-appointed (and unchallenged) founders of “Drive-Thru Metal” that solidified their crispy claim with classic cuts “Frying Pan,” “Sweet Beef,” and “Pair-a-Buns,” I ordered a full plate.

The thing is, you don’t just interview guitarist Slayer MacCheeze and bassist Grimalice. Not because they’re from the “bowels of outer space” and don’t speak or understand English. They converse quite well. But these seasoned freaks don’t do anything for free. Everything’s on the menu and it’s all for sale. Thankfully, minutes before doors opened at Nashville’s longstanding rock beacon, Exit/In, Mac Sabbath’s techs Bill Woodcock and Jonathan Hischke summarized their monster masters’ tangy tone tools. The flash-fried, seedy conversation quickly taps some key signature gear of another Sabbath that equally sweetens and thickens the band’s sound like a condensed and chilled milkshake. Plus, there’s a story about how one fateful Black Friday deal provided an iconic, golden-arch bass. Here’s to a fun-hearted Rundown with the Milky Way marauders that fight back against stale food and rotten riffs. And by the end, we bet you’ll be saying “I’m loving it.”

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Pete Thorn has constructed a dream career on being heard, not seen. He’s toured the world backing Chris Cornell, Don Henley, Melissa Etheridge, Jewel, and Japanese rock icon Tsuyoshi Nagabuchi (even performing at Mt. Fuji for over 100,000 fans on the biggest concert stage ever assembled in Japan). For a self-proclaimed “guitar nerd” (check out Pete’s 2011 album under the same name), it was a 21st century guitarist’s goal. After that, what does one do in between tours to stay busy and relevant in a modern world? You become a beloved YouTuber, of course!

His channel is a great destination for gear demos and comparisons, but Pete’s content stands out with his simple, and east-to-apply tone tips. (It’s worth noting that Pete did this very thing inside Premier Guitar for years with his “Tone Tips” column. Check it out!) The fun, diverse, informative videos Thorn has delivered have blossomed into a parallel profession with a built-in audience pushing 250k subscribers.

While PG was on the road in SoCal, Thorn graciously invited Chris Kies into his Hollywood-based recording sanctuary, where his YouTube channel takes form. The hour-long chat covers Thorn’s signature Suhr gear (guitars, amps, and humbuckers), he shows how his setup can switch between eight tube amps in a flash (only outdone by his ability to interchange cabs, mics, and speakers in a snap), and we dive deep into Pete’s primary pedalboard.

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When Joe Robinson was learning to play in the remote village of Temagog, New South Wales, Australia, YouTube was his teacher. Then he discovered Tommy and Phil Emmanuel—Australia’s sibling 6-string slicers—and set out on a path that would lead him to Nashville, where he’s been a part of the city’s guitar cognoscenti for the past 13 years.

At 31, Robinson’s fans include Tommy Emmanuel (who’s been a committed mentor), Steve Vai, Robben Ford, Eric Johnson, Steve Lukather, Albert Lee, Steve Morse, and Lee Ritenour. He’s released six acclaimed albums, performed in 40-plus countries, and continues to serve a large online audience through livestream concerts and his own popular YouTube channel. Robinson shared his current touring rig before an October 18 show at his adopted hometown’s City Winery.

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When Chris Shiflett left No Use for a Name and joined the Foo Fighters in 1999, he almost had no gear. The band was rehearsing to support their third album, There Is Nothing Left to Lose, and leader Dave Grohl was doing an inventory check on their newest member.

“Dave asked me how many guitars I had, and I said, ‘Well, I have two, but one has a broken headstock,’” recalls Shiflett. “Dave chuckled and said, ‘We gotta get you a few more guitars.’”

The duo ventured down to Sunset Boulevard hitting all the guitar shops and Grohl gifted Shifty a pair of Gibsons (that we’ll meet later). (This story is even more proof that Grohl is one of the coolest rock stars ever.)

“I had been going to some of those Sunset stores since I was a teenager, and they’re never nice to you because they know you’re not buying anything. So, when I went in there with Dave Grohl and his AmEx card, it was a real moment for me. Here I am joining my dream band, and he’s like, get whatever you want … and he really meant it!”

Shiflett’s gear germination didn’t stop there. “When I joined the band, I didn’t have any pedals. And now my bandmates constantly make fun of me for the size of my pedalboard—it’s ridiculously big and there are a lot of pedals on it—but my view has always been, ‘as long as I don’t have to carry it around, bring them all [laughs].’”

But they all serve a purpose and allow Chris to stand out in a three-guitar band. “I do love that my role in Foos over the years has become the color guy with all these pedals.”

His growth as an artist doesn’t stop there. Shiflett’s put out punk albums in Jackson United and for nearly 25 years, he sparked endless good times in the best punk-rock cover band (Me First and the Gimme Gimmes). In 2010, he shifted his creative outlet to busting out alt-country twangers and Bakersfield barroom bruisers as Chris Shiflett & the Dead Peasants, and then, later, solo. Since 2013, he’s been hosting a podcast (Walking The Floor with Chris Shiflett) that’s featured conversations with Wolfgang Van Halen, Mike Campbell, Greta Van Fleet, Billy Strings, and recent Rig Rundown subject Marcus King. Where does the dude find the time?!

Following Foo Fighter’s recent Taylor Hawkins Tribute Concert at L.A.’s Kia Forum to honor their dearly departed drummer, Shiflett carved out some precious time and invited PG’s Chris Kies to the Foo’s HQ, Studio 606. The laidback conversation covered his essential live guitars (including a not-so-golden ’57 Les Paul and a few gracious gifts from Grohl), some custom Friedmans, and a pair of unusual AC30 stacks that only he and Sir Paul have … and all his pedals that sting, sparkle, shimmer, and sizzle.

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Since Marcus King’s previous Rig Rundown in 2017, he’s made two albums—produced by the Black Keys’ Dan Auerbach—and scored a Grammy nomination. He’s also busted out his own signature Orange amp with an allusive name, and upped his profile, stepping from clubs to big halls. Not bad for a South Carolina kid with blues in his bloodline.

And, really, not entirely unexpected. King hit the scene in his teens as a full-blown virtuoso, playing club gigs at night and going to high school by day. He was initially championed by Warren Haynes, who was so impressed that he released the Marcus King Band’s 2015 debut, Soul Insight, on his Evil Teen Records label. And then the hard-playing young roots genre-blender rode that wind under his wings.

Before his September 29 gig at Nashville’s Ryman Auditorium, touring behind his recent release Young Blood, he entertained PG’s John Bohlinger—with some help with the details from guitar tech Cody Bates—with a close-up look at his current touring rig. Dig in!

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