Mark Tremonti guitar rig

Mark Tremonti liveMark Tremonti is the lead guitarist for the bands Creed and Alter Bridge. Raised on a steady diet of KISS, Slayer, Celtic Frost, Journey and Metallica, Tremonti has carved out a name for himself as one of rocks premier "riff'ers". In May 2000, Guitar One magazine Tremonti was voted "Best Riff Architect", ahead of some big names such as James Hetfield (Metallica) and Adam Jones (Tool).

Guitar wise, Tremonti favors guitars made by Paul Reed Smith, in particular his own PRS Mark Tremonti signature model. The Tremonti signature model is said to be a thicker-bodied version of the standard Singlecut, and features mother-of-pearl bird inlays, a 12th-fret Mark Tremonti inlay, and custom Tremonti Treble and Tremonti Bass pickups.

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Tremonti was rumored to confess that he had been shaving down the necks of his Tremonti models to make them thinner and more accessible, which led to the development of the "Tremonti II" model. Sharing a lot in common with the original Tremonti model, the Tremonti II features a thinner (wide-thin) neck and up routed floating bridge.

Tremonti's touring rig features several of his signature guitars, including 3-4 black models, 1 tribal and 1 tiger eye variant. He also uses a charcoal burst, black cherry, blue/white and platinum versions, all fitted with floating vibrato bridges. The acoustic guitar he favors for live use is a Taylor 614CE.

The core component of Tremonti's tone, particularly his rhythm tone, is the Mesa/Boogie Triple Rectifier. The Triple Rectifier is big part of his live rig. According to the setting on his Triple Rectifier are:

Channel 1:
Presence - 2; Master - 3; Gain - 7
Bass - 8; Mid - 3; Treble - 6
Channel 2:
Presence - 3; Master - 3; Gain - 7
Bass - 7; Mid - 5; Treble - 5
Channel 3:
Presence - 7; Master - 8; Gain - 3
Bass - 5; Mid - 7; Treble - 7

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Around the time Alter Bridge took off, Tremonti also began using a Bogner Uberschall head for some of his dirty tone.

Tremonti also uses a Bogner Shiva head run through a Mesa/Boogie 2:Ninety power amp for much of his live lead tone.

For his clean tone Tremonti relies heavily upon the Fender Twin Reverb 1965 Reissue with 2x12 speakers. Live he has two of these amps working in stereo. His settings for the Fender Twin as published on are:

Channel: 2 (vibrato)
Volume: 3 1/2
Treble: 7
Mids: 5
Bass: 7 1/2
Reverb: 3
Speed: 1
Intensity: 1

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Other amplifiers he is thought to have used in the studio include:

  • Bad Cat Hot 100
  • Diezel VH4 head
  • Mesa/Boogie Heartbreaker
  • Mesa/Boogie Road King
  • Mesa/Boogie Dual Rectifier
  • Rivera Knucklehead
  • Marshall 1968 Plexi Superlead

Cabinet wise, on stage Tremonti uses four Mesa/Boogie 4x12" straight-back cabinets loaded with Celestion Vintage 30s. In the past he was also seen with custom Mesa/Boogie 2x15 speaker cabinets.

Tremonti's pedal board is relatively simple. His amplifier switching is handled by a Voodoo Lab Ground Control Pro.

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He uses his own signature model wah pedal, the Mark Tremonti Power Wah by Morley as well as his signature model phaser pedal, T-REX Tremonti Phaser manufactured by T-Rex Engineering. The Tremonti Phaser replaced the MXR Phase 90 that used to sit on his board. His board is all powered by a Voodoo Labs Pedal Power 2.

Earlier in his career he was known to have used a Morley Bad Horsie Wah as well as a TC Electronic G-Force rack effects unit.

He plays with Jim Dunlop Jazz III picks, although he used to use the 1mm variety.

Here's a short video clip of Tremonti running through his live rig and how it all works.

Edit: Here's a more recent video of Tremonti running through his live rig.

Dean DeLeo (Stone Temple Pilots) guitar rig

Dean DeLeo is guitarist and one of the creative forces behind rock icons Stone Temple Pilots. He's also played in 'super groups' such as Army of Anyone and Talk Show.

His guitar tone and style can best be described as crunchy and psychedelic. While in the studio, the gear he uses can vary. By his own admission he owns more than 100 guitars. DeLeo's live rig, however, keeps things relatively simple.

Guitar wise, DeLeo plays a number of 1978 Gibson Les Paul Standards, a '57 TV Les Paul Special fitted with P-90's, as well as a range of Fender Telecasters. In a 2001 interview with Guitar World, DeLeo discussed his fascination of 1978 Gibson's.

"The first Les Paul I got was my sunburst, which I bought brand-new at Manny's on October 29th, 1978. And for some reason, man, every Les Paul that stepped into my life was a '78. Except for my Special, which is a '57. That guitar's been in the family awhile. I got that just prior to making the Purple album, and I used it a lot. 'Interstate Love Song' is that guitar and my sunburst Tele. I got both guitars around the same time."

Dean DeLeo and his Les Paul StandardDean's main live guitar is a black '78 Standard with rewired controls. The tone knob has been replaced with a push-pull pot that in the "up" position places the two pickups out of phase and creates tone filter-style timbres.

When touring with Army of Anyone, DeLeo also played two custom-built six-string double-necks. These guitars allowed DeLeo to perform some of the tunes on Army of Anyone's self-titled debut, without the need to switch guitars mid-song, as he explained in the Guitar World Vulgar Display of Power column in 2007/08.

"I recorded some songs using alternate tunings for the rhythms and standard tuning for the solos. When it came time to tour, I got together with Fender and designed a couple of double-neck Strats. That way I can play the rhythm on the bottom neck and switch to the top neck for the lead."

DeLeo has also been known to use a PRS hollowbody electric tuned, low to high, G G D G D D, which was often seen live when the band played a cover of Led Zeppelin's "Dancing Days". DeLeo also relies on a piezo-equipped Gibson J-45 acoustic.

DeLeo has also been known to mix things up a bit, in particular on the recording of the Shangri-La Dee Da album. He used a Danelectro electric sitar on the track "Transmissions from a Lonely Room" and a Cumbus during "Regeneration", as discussed in his 2001 interview with Guitar World magazine.

There was also an exotic Turkish instrument called a cumbus. "Kind of like a banjo, with a bigger, deeper body," says Dean. "It has 12 strings [six courses with two strings each], which we tuned like a regular, 12-string guitar. The resonance of the metal body gives you this really Turkish sound. I used it just in one spot on the chorus to 'Regeneration.'"

Live, DeLeo's backline has remained relatively unchanged over the years. His signal is routed through his pedal board, beginning with a modified Dunlop Crybaby Wah into a Boss CE-1 Stereo Chorus Ensemble. One of the CE-1 outputs it sent to an S.I.B. Varidrive Tube Preamp pedal, which then goes into a Vox AC30 amplifier. The CE-1's other output is sent to DeLeo's rack, which houses a Demeter TGP-3 three-channel preamp, Rocktron Intelliverb and a VHT Classic power amp that is a 50 watt stereo unit. The VHT's stereo outputs are then run into two Marshall 4x12 cabinets. Live, his rig is usually mic'ed with four mics, allowing the engineer to mix and blend the signals in order to give the impression that DeLeo's tone is almost made up of two guitar players. His rig allows him to take advantage of the clarity of the VOX and the crunch of the Demeter. While he's often seen with three VOX amps onstage, there is generally only ever one switched on at any given moment.

The image below was featured in Guitar World's Vulgar Display of Power column in May 2007. While the rig is that which was used on the Army of Anyone tour, the basic signal flow mirrors the rig used live with Stone Temple Pilots.

[Edit: had to remove the image because didn't like the fact I'd scanned it from Guitar World magazine and posted it here. Do a google search and I'm sure you'll find other copies floating around.]

Dave Friedman, who put together DeLeo's backline for the re-formed Stone Temple Pilots, also posted images of DeLeo's 2008 backline online.

Dean DeLeo's 2008 rack

Dean DeLeo's 2008 control board

In terms of the effects he uses, the switching was previously handled via a Rockman Midi Octupus pedal. In 2008, the Rockman was retired and replaced by a RJM Mastermind midi pedal, as can be seen in the image above.

In the 2001 Guitar World article, DeLeo's guitar tech Rich Mazzetta talk about his use of effects on stage.

"It's very simple," Mazzetta notes. "Dean's only got five patches on it. And the chorus pedal is used very sparingly, only on 'Piece of Pie' and at the very beginning of 'Trippin.' The Varidrive is heard only on the intro to 'Interstate Love Song.'"

In the studio however, DeLeo's likes to experiment with different gear, including amplifiers. For the recording of the Shangri-La Dee Da, used a variety of different amps, including an old vintage Gretsch with 6x9 speakers, vintage Marshall's from the late 60's, including a 18 watt 2x10, 18 watt 1x12 and 20 watt 2x10 combos.

He also used an Ampeg B212, Sovtek MIG50 and a number of VOX's which he spoke about in the 2001 Guitar World interview.

"And remember the Ampeg B15 flip tops? Well, I have a B212, which is actually an accordion amp. It looks just like a B15, but bigger and wider and incredibly heavy. And the cool thing about it is, when you ordered that amp from Ampeg in the Sixties, they custom-engraved your name onto this clear plastic template, right beneath the Ampeg logo. So whoever ordered this amp I got, his name was Harold. You turn it on and this plastic thing light up. Adorable. It's got that Ampex blue Tolex. I used that amp in the bridges of 'Wonderful'; it's that real big, Texas-like guitar sound going on there.

"And for a lot of stuff I just used a Sovtek MIG50 through a 4x12 cabinet. Very interesting sound; very, very inexpensive amp. And of course I have an array of Vox stuff: an AC10, an AC15, and I usually bring a couple of AC30s."

This article was put together from information gathered from a variety of sources including:

  • 'Double Or Nothing', Guitar World, May 2007.
  • 'We Will Rock You - On Tour with STP', Guitar World, December 2001.
  • Dave Friedman's post at Huge Racks Inc.

Corey Beaulieu (Trivium) guitar rig

Corey Beaulieu plays guitar for metal outfit Trivium. Along with co-guitarist Matt Heafy, Beaulieu is responsible for the bands crushing tone and blistering leads. As you may expect, Beaulieu's rig is one befitting any metal head.

In the early days of Trivium Beaulieu predominantly used Jackson guitars. These included a Jackson DX10D and Jackson KV-2 USA's. Beaulieu can be seen playing his Jackson KV-2 with Blue Ghost Flames graphics. He would also occasionally be seen playing a B.C. Rich Warlock and Ibanez RG270DX Blue fitted with EMG-81 and EMG-85 pickups.

In 2005, Beaulieu took up an endorsement with Dean Guitars. Throughout this period he played variety of Dean guitars, including his own Dean Corey Beaulieu Signature seven string and Corey Beaulieu Signature CBV. He also plays a number of Dean Dime Razorback V's including the Dean Dime Razorback V "Blood Angel" which made its first appearance on the 2007 Trivium tour. This Razorback V is metallic red with the Trivium circle logo placed between the bridge and neck pickups and is also fitted with a Floyd Rose Locking Tremolo and a Seymour Duncan Dimebucker. More recently, Beaulieu parted with Dean Guitars and although he has still been spotted playing his Dean guitars live, he can be seen with a Jackson V in the Throes of Perdition video.

In terms of pickups, Beaulieu also has his own custom model called "The Ascension", also made by Dean Guitars. Other pickups he has/does use include Seymour Duncan Blackouts, Seymour Duncan '59 (in the neck position), Seymour Duncan Dimebucker (in the bridge position), and EMG's. He's also been known to use Bill Lawrence pickups, most probably in one or more of his Dean Dime Razorback's.

In terms of amplifiers, Beaulieu has used a variety of Marshall, Peavey and Crate heads and Cabinets. Previously he has played through a Crate Blue Voodoo 120 watt head and Blue Voodoo cabinet, a Peavey 5150 II head and matching cabinet, and Marshall JCM2000DSL heads. Currently Beaulieu uses Peavey 6505+ heads through Marshall JCM900BV cabinets

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Effects wise, Beaulieu has used a Boss NS-2 Noise Suppressor and Ibanez Tube Screamer TS-9, but since taking an MXR endorsement, Beaulieu has replaced these units with the MXR Smart Gate and MXR GT-OD Overdrive, and added an MXR EVH Phase 90 to his rig.

Robin Finck (Nine Inch Nails) guitar rig

Robin Finck is best known for his work with Nine Inch Nails, as well as Chinese Democracy era Guns 'n' Roses. He's also best known for his live performances and wacky hair styles. What follows is a collection of information I've found scouring forums and websites. If you have anything to add, please drop me a message in the forum.

While on tour with both NIN and G'n'R's, Finck predominantly uses Gibson Les Paul guitars, a mix of Custom's, Standard's, Studio's and Goldtop's. He has also endorsed Godin Guitar LGX Series and is still listed on the endorsers list on the Godin website.

Since rejoining NIN, following his departure from G'n'R's, Finck has also been spotted playing a Jerry Jones Baritone and a Fender Jazzmaster. During the NIN 'Lights in the Sky' tour, Finck has also been seen playing a lap steel guitar with an effects pedal mounted to the body. There have also been reports of a ukulele and mandolin popping up, although I have not seen any pictures to confirm that.

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In a June 2002 interview with Guitar World, Robin Finck spoke briefly about the gear he used reproducing the sounds from the Fragile live, on the Fragility tour.

"Danny and I will go through the 25 guitar tracks on the record and break it down to the most essential parts," says Finck, who has been using an assortment of Godin guitars on the Fragility tour, employing their piezo pickups to reproduce some of Reznor's Parker ones. For meatier stuff, Finck plays a Les Paul. He's using a Marshall JMP-1 preamp and a Bradshaw switching system with a TC Electronic G-Force and a Voodoo Valve as featured effects.

In terms of amplification, Finck is a long time Marshall user, in particular the Marshall JMP-1 midi pre-amp. In the late 90's during a stint with G'n'R's he was also reportedly using a JCM800 head.

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The following image shows Finck with his rack gear, in 2000, during touring for the NIN Fragile album.

Here's a best guess at what is pictured, from top to bottom.

  • Power conditioner
  • Mesa Boogie Triaxis
  • Marshall JMP-1 midi pre-amp
  • A Rocktron Voodoo Valve (although it's a little unclear)
  • TC Electronics G-Force
  • Unclear (perhaps a tuner?)
  • CAE switcher (used in conjunction with a CAE midi foot controller and expression pedal)
  • Unclear
  • Two Mesa Boogie 2:90 Power Amps
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In terms of effects pedals, Finck also uses a Dunlop Crybaby Wah pedal. During a live show he'll often make use of a speaker cabinet in order to create some feedback and drone type effects.

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Update: 3 August 2009

Here's a picture of Finck posing with his pedal board that has been doing the rounds on the message boards. Apparently it was taken mid-2009 during the NIN tour.

Robin Finck with pedal board 2009

Here's a second, clearer, shot of the same pedal board.

Robin Finck's pedal board

Here's a list of the pedals on the board (as far as I can tell).

Top left to right:

  • Boss TU-2 Tuner
  • Boss GE-7 Equilizer
  • Boss MT-2 Metalzone (modded)
  • Electro Harmonix Big Muff Pi (green Russian version)
  • Boss BD-2 Blues Driver (potentially modded?)
  • Devi Ever Legend of Fuzz
  • Crowther Audio Prunes and Custard

Bottom left to right:

  • Ernie Ball Volume Pedal (not sure of specific model)
  • Ernie Ball Volume Pedal (not sure of specific model)
  • Electro Harmonix Micro POG Polyphonic Octave Generator
  • Eventide Time Factor
  • Boss LS-2 Line Selector
  • Unknown
  • Dunlop Crybaby Wah

Ray Toro (My Chemical Romance) guitar rig

My Chemical Romance are one of those bands that people either love, or love to hate. Personally, I think that 'Three Cheers for Sweet Revenge' is a cracking good album, although 'The Black Parade' is a little bleak for my tastes. In any case, guitarist Ray Toro is responsible for the bulk of the bands flashier guitar solos and harmonized lead settings.

Early in his career, Toro played an Epiphone Elitist Les Paul Standard and Gibson X-plorer. For 'The Black Parade' tour, Toro used one Gibson Les Paul Standard (either 91 or 93) fitted with Seymour Duncan Phat Cat (SPH90-1) P90 style pickups and a '93 Gibson Les Paul standard with a Seymour Duncan JB (SH-4) fitted in the bridge. This was confirmed in a January 2007 interview with Seymour Duncan's Groundwire magazine. During this time he was also seen playing a Gibson Les Paul Junior.

Throughout the recording of 'The Black Parade' Toro mainly used his Gibson Les Paul Standard with the Phat Cat pickups. Occasionally he used a Fender Telecaster for some of the clean tones, for example, the clean verses of the tracks "Mama" and "I Don't Love You". A Fender Stratocaster was also used for the solo on "I Don't Love You".

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For amplification, Toro uses a Marshall JCM 2000 DSL100 with two Marshall 1960A cabinets for the bands live shows. For the recording of 'The Black Parade' Toro relied on a 100 watt Marshall JCM800 head he borrowed from Rob Cavallo after his DSL100 broke down during preproduction. He has described the JCM800 as being the "loudest and ballsiest amp" he has ever heard. In the studio a Hiwatt head was also used on occasions, paired up with a fuzz box or other effects pedals to add additional textures.

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In an interview with Seymour Duncan's Groundwire magazine in January 2007, Toro described his approach to effects.

I don't use many pedals. I'm very basic. I just have a Dunlop Crybaby wah, Boss EQ pedal, Boss Pitch Shifter to do harmonies, Boss Chorus Ensemble, and Electro-Harmonix POG Polyphonic Octave Generator, which you can set up to play one octave below, an octave above, or two octaves above. You can make your guitar sound like a Hammond B3 organ when you use that in combination with the chorus pedal. It's a really cool pedal.

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While much of his tone is typical guitar into amp with splashes of wah, Toro experimented with a Roland midi guitar synthesizer for some of the stranger tones and occasional riff on the album.

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We did use a Roland midi guitar synthesizer for all sorts of cool sounds. We used that any time there was a heavier riff on the record. We usually doubled it two octaves lower than the actual note. A lot of the stuff you're hearing is just straight guitar tones that are very layered. On certain songs, like "The End," which is the intro to the record, when the tone gets really heavy and the single-note riff comes in, we stacked it by tracking the lowest octave on the guitar to the highest. It's that Brian May-type mentality of making the guitars very symphonic.

Toro uses Dunlop black nylon 1 mm picks and his guitars are strung with .011-.052 S.I.T strings.

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Jimmy Page (Led Zeppelin) guitar rig

Jimmy Page is an undisputed guitar god, the driving force behind Led Zeppelin and the inspiration for countless guitar riffs. As you'd expect of someone of 'guitar god' status, Page is reputed to own in excess of 1,500 different guitars. Obviously trying to list every piece of gear Page has used over the years is all but impossible, and time consuming, so instead of trying to do that, I'll focus on the gear he has relied upon most commonly to form the core of his guitar tone, or the other 'stand out' pieces of kit.

While playing for the Yardbirds, Page would often be seen playing a 1958 Fender Telecaster, that was given to him by Jeff Beck. Page repainted this Telecaster to feature a psychedelic Dragon. It's often referred to as Page's Dragon Telecaster. As well as being used with the Yardbirds, the Dragon was used on early Led Zeppelin tours (1968-69), as was used to record the solo of "Stairway To Heaven".

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His number one guitar, and the one most commonly associated with him, is the Gibson '59 Les Paul that was given to him by Joe Walsh. The neck was shaved so that it was similar to the '58 neck, and the bridge was rounded slightly so that he could play all the strings with his bow. Without the rounded bridge he would only have been able to play the low and high E's. Two additional switches were added, one used to switch the pickups in and out of phase, and the other to switch the pickups to series/parallel mode. The tone knobs were replaced with push-pull knobs for coil tapping and also allowed him to play with the four coils in parallel. The original tuners have also been replaced. For the hardcore fan or trivia nut, the serial number is #91703. This is also the guitar that the Jimmy Page Signature Les Paul, that was released in 1999 and 2004 was based on.

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His number two guitar was a Gibson '58 Les Paul, that underwent several neck modifications, leading to the loss of it's serial number. The original tuners were also replaced with gold plated Grovers.

Another well known guitar Page used was the Gibson '60 "Black Beauty" Les Paul Custom, that was stolen during the 1970 tour. The Black Beauty also featured a Bigsby vibrato arm. The serial number was 06130, and even after issuing an ad in Rolling Stone, the guitar has to this day, never resurfaced. This guitar has also been reissued as a signature model in 2007. The 2007 model has some additional pickup modifications, including a 6 was pickup selector switch, and coil tap on the bridge pickup.

The double neck guitar Page used most often live was a 1971 Gibson EDS-1275, while other guitars used were a '59 Danelectro 59-DC, tuned to alternate tunings for songs like Kashmir and In My Time Of Dying.

Amplifier wise, Page favored a Marshall SLP-1959 100-watt amplifier which was modded to run KT-88 tubes and boosted to an output of 200 watts. Live he was also seen playing Hiwatt Custom 50 and Custom 100 heads.

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If you watch the Song Remains The Same DVD you might catch a glimpse of an Orange amplifier used in conjunction with a theramin. A Supro 1x12 combo amplifier was also reported to have been used in the studio during the recording of Led Zeppelin I.

Other amplifiers in his arsenal included Vox AC-30's, a Fender Dual Showman, Fender Vibro-King.

In terms of effects, with the Yardbirds and early on with Led Zeppelin, Page was using a Gibson overdrive pedal that had been customised for him by Roger Mayer. Generally though, most of the overdrive came from his amplifier, more often than not the Marshall 1959 SLP.

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He used a Vox Wah Wah primarily, but has also been reported as using a Dunlop Crybaby. Live, he used a Maestro Echoplex for his on stage echo/reverb.

An MXR Phase 90 was used on Achilles Last Stand and the Wanton Song, while an MXR Blue Box is known to have been used for the guitar solo on Fool In The Rain.

In more recent outings he has also used an Eventide H949 Harmonizer as well as a Digitech Whammy Pedal.

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If you want to chat about Jimmy Page's rig, or put forward additions or correction, feel free to post them in the forum here.

Jon Donias (Shadows Fall) guitar rig

Jon Donias forms the other half of the Shadows Fall potent guitar attack. In comparison to his bandmate, Matt Bachand, Donias has kept his guitar rig relatively simple.

As of 2007, Donias picked up an ESP endorsement. He now play his custom Jon Donias ESP model, which features a EMG85/81 pickup combination. Previously he held a Washburn endorsement, and used a Washburn Face Eraser, which was his signature model.

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Donias currently endorses Krank amplifiers, and plays through a Krank Revolution Series 1 heads and Krank Chadwick heads, into Krank Revolution 4x12" cabinets.

In terms of his current effects line up, Donias uses a Maxon OD808 Overdrive and Dunlop Crybaby Wah.

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Donias' early rig was featured in the Guitar World Vulgar Display of Power column, and is pictured below.

At the time he was using two Washburn NX6's with EMG85/EMG81pickups. One tuned down a whole step and the other tuned to Drop-D then down a whole step.

For amplification, he was using a Marshall JCM800 All-Tube 2203 head into a Marshall 1960B straight front 300 watt 4x12 cabinet loaded with 75-watt Celestion speakers. A second JCM800 is kept on head as a back up.

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Effects wise he was using a Korg AX30G Guitar Effects Processor and Dunlop Crybaby Wah. Interestingly at the time he was plugging into the low input of the JCM800 and relying on the Korg unit for his distortion.

Scott Ian (Anthrax) guitar rig

Scott Ian is the rhythm guitarist for the metal band Anthrax, guitarist for Damnocracy (formed for the VH1 reality show SuperGroup) as former guitarist Stormtroopers of Death. Chances are if you don't know Scott Ian for his music, then you'll at the very least recognise his goatee. In a interview promoting the release of "We've Come For You All" album, Ian describes his guitar tone as, "angry, dark, exciting, physical, burly, energetic, electric, thick, clear, and it's in own way very clean because I can't stand overly-distorted fuzzy tones. It's just all those things together".

In terms of guitars, throughout much of the 1980's Ian predominantly used ESP guitars, before he took on a Jackson endorsement.

In August 2003, Scott Ian's rig was profiled in the Vulgar Display's of Power column. At that time he was using a Jackson JJ Scott Ian Signature tuned 1/2 step down, fitted with custom Seymour Duncan "El Diablo" pickups. His second guitar was the exact same specifications however tuned dropped-D 1/2 a step down.

Since that article he has left Jackson and taken up a Washburn endorsement. His main guitar now is a custom Washburn "SI75TI". Other Washburn models he currently uses are Washburn WV540VASI, Washburn WV40VASI, Washburn SI60MW and Washburn SI61G.

Amplifier wise, Ian played through Marshall head, including the JCM800, for a long period, before making the switch to Randall heads. After his move to Randall he started out playing though the Randall Warhead, before switching to the Cyclone, prior to the release of the Vmax head. His stage rig as of 2003 featured a Randall VMax heads with custom cabinets loaded with two 12-inch speakers and a 15-inch speaker. His heads are set up in a "Master"/"Slave" configuration.

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For the recording of the "We've Come For You All" album, Scott Ian's rhythm tone was a combination of the Randall VMax and the Bogner Uberschall. For some tracks on the album Ian looked turned to Marshall's.

"For other stuff, for instance, on "Safe Home," I didn't need my big, fat, huge, crushing rhythm tone on that because that song has a different vibe to it. So I actually went back and used a Marshall for that. I went straight into a JCM 800."

For the recording of the "We've Come For You All" album, Ian kept effects to a minimum.

"For effects, I used the BBE Sonic Maximizer 482i running in line, and that was about it."

In his 2003 Guitar World profile Ian described his effects setup.

"I basically only use three sounds: clean with chorus, my heavy sound and then my heavy sound with the Whammy Pedal".

Scott Ian's signal flow diagram as featured in the August 2003 edition of Guitar World is pictured below.

His Whammy pedal is a black version Digitech Whammy II while his chorus pedal is a Digitech XMC Multi Chorus.

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Not long after the Guitar World profile he added a DigiTech digital delay to his line up.

Ian also uses a few rack units to sculpt his tone. The BBE 462 Sonic Maximizer, Rocktron HUSH IIC and Korg DTR-1 Tuner are all powered Furman PL-Plus Power Conditioner. A Samson UHF Synth 6 Wireless also sits in his rack.

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In the 2004 interview, Ian commented on his strings and guitar action.

"I'm using .011-.056 gauge DR Strings and I keep my action as low as possible, but not too low. It's more medium height. I'm playing rhythm all night, so I want to sink into it. I play really heavy with my right hand and I really dig in, so I can't have the action too low, just because I'd be fretting out all over the place and it would just be buzzing constantly."

Scott Ian also has his own signature Digitech pedal, the DigiTech Black 13. The Black 13 is designed to simulate seven of Ian's best known and most sought after tones. They are:

Whether he actually uses the Black 13 or not, I'm not really sure, I mean why would you want to simulate your own tone?

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If you want to have a listen to some Anthrax, check out "We've Come for You All".

If you want to chat about Scott Ian's rig, or put forward additions or correction, feel free to post them in the forum here.

Matt Heafy (Trivium) guitar rig

Matt Heafy is the guitarist and lead vocalist for the metal band Trivium. He's a guy that's dedicated to his music. It is said that when he was 12 years old he was practising guitar eight hours a day. That's heavy.

Up until 2005, Matt Heafy primarily used Gibson guitars. Three of the Gibson's he was seen playing most often were a Gibson Les Paul Custom Black Beauty, Gibson Les Paul Supreme Alpine White (which was sold on eBay for charity in January of 2006), and a Gibson Voodoo Explorer. In the early days of Trivium he was also known to have used a Washburn Stealth, Ibanez RG7621, Fender Stratocaster and LTD ESP M-107. A majority of his guitars were fitted with EMG pickups, most commonly EMG-81's in the bridge and an EMG-85 or EMG-89 in the neck.

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For the recording of The Crusade, an Ernie Ball Putrucci 7 string was used for a large portion of the rhythm work, while leads were recorded with a Dean Hardtail, Dean Razorback V and a Dean ML.

At the end of 2005/early 2006, Heafy left Gibson to take up a Dean endorsement. Initially he used a Dean Dimebag Rust Tribute Razorback (up until early 2007), Dean Timecapsule MLF, Dean Custom White Razorback, Dean Trans Black ML and Dean Razorback V. Heafy's Dean guitars up until early 2007 were fitted with Seymour Duncan pickups, either a Seymour Duncan '59 or Alnico II in the neck and a Dimebucker in the bridge.

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Dean issued the Dean Matt Heafy Signature series in 2007 and he's used them since. They include the Dean Matt Heafy Signature MKH Rising Sun, Dean Matt Heafy Signature MKH 7 string Snow White as well as the Dean MKH Prototype 7 string. Heafy's signature series guitars are fitted with his custom USA Dean Matt Heafy “MKH86” pickups.

Heafy's amplifier of choice has changed relatively frequently. For much of the early material, such as Ember to Inferno, he relied heavily upon a Peavey Triple XXX.

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When it came time to record The Crusade, the main rhythm guitars were recorded with a Bogner Uberschall and a 1995 model two channel Mesa Boogie Dual Rectifier. Both amplifiers went through a Marshall cabinet with V30's. The rhythm guitars were also boosted via an Ibanez TS-808. Leads were recorded with a Kustom 72 Coupe, and Peavey 5150, once again boosted by an Ibanez TS-808.

Touring for The Crusade, Heafy turned to a Marshall JCM2000 DSL head. For a brief period in early 2007, Heafy used a Mesa Boogie Roadster head and Mesa Boogie Rectifier cabinets. More recently he has adopted the Peavey 6505+ head through Marshal 1960BV cabinets.

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In terms of effects, Heafy keeps things relatively simple.

Early on he used a Maxon OD808 Pedal and Boss NS-2 Noise Gate. A Dunlop Dimebag Crybaby from Hell Wah pedal Boss DD-3 Delay have also been seen on his board. More recently Heafy appears to have picked up an MXR/Dunlop endorsement, as he's been known to use an MXR GT-OD Overdrive, MXR Phase 90 EVH and MXR 10 band EQ.

He uses some rackmount gear including an ISP Decimator Noisegate and Korg DTR1000 Tuner powered by a Furman PL-Pro Rack Power.

If you're new to Trivium and want to give them a listen, give either The Crusade
or Shogun a try.