From my friends at Norman’s Rare Guitars: the game changer. This guitar has drastically changed the way I approach the instrument. Pre-1968 neck joint (at the 16th fret) means I don’t have as much runway room to solo up the neck, which has forced me to learn how to play differently. Kept in immaculate condition considering it’s from the Lyndon B Johnson administration. P-90 pickups that don’t always play nice with feedback, but they scream.
Gibson Les Paul Classic, Cherry Sunburst
60's slim neck, Seymour Duncan Alnico II Pro pickups, TonePros tuners, bridge, and tailpiece.
My main workhorse guitar that I got for my 12th birthday in 2003. It has an abnormally thin neck that I'm in love with and I've had the neck on my black Les Paul shaved down to match.
Gibson Les Paul Classic, Wine Red
1992. Seymour Duncan Alnico II Slash pickups, Tone Pros bridge and tailpiece.
Special thanks to Gil and the guys at Tone Pros for outfitting my Les Pauls with their locking bridge and tailpiece systems. Not only do they look badass, but they noticeably improve sustain and tuning stability, and I don't have to worry about my action height slipping around when I change strings.
Ovation 1869 Custom Legend, Redburst
Another gift from my uncle in Thailand. This one is a little warmer and rounder sounding than the blue Adamas.
Ovation Adamas II 1681-T
A gift from my uncle who's an avid Ovation collector. Super bright sound and really comfortable V neck profile.
Kemper Powerhead, Bogner 1x12 Cabinet, and Chompers the Sabertoothed Tiger
The good folks at Kemper hooked me up with a Powerhead before I headed to Australia for a quick three-week tour. Luggage fees are not musician-friendly, so I needed something light and compact that wouldn’t compromise my tone.
Enter the Kemper. In addition to being the size of a toaster, it’s reliable and the tones and onboard effects are incredible. I can hear the tube amp fanatics now, but if you’ve never tried one for yourself, I sincerely challenge you to open your minds and ears and give it a shot. To have an arsenal of amps and effects at my disposal, with direct outputs to eliminate the need for micing a cabinet, and most importantly, the ability to organize sounds as “Performances” for each individual song in the set - is completely invaluable.
It comes in a hideously ugly forest green paint job, though. So I took it to my local auto body shop to have it painted red. Then Ken of Happy Kemper Skins made me a custom faceplate skin that adheres using 3M magnetic paper, and behold: a thunderingly desparate beacon of individuality. And it’s MIDI-switchable too!
An extra shout out to the guys at STL Tones, who as far as I’m concerned, make the best Kemper profiles on the market. Though the Kemper can hold hundreds of different sounds, I really only use about six - the main sound being their “AC30 Lead 3 Rock” profile from their Rock Season bundle.
Along with a 1x12 cabinet that Bogner made me for rehearsals and smaller live shows, is Chompers the Sabertoothed Tiger: my travel buddy who guards my rig with anatomically inaccurate ferocity, and hugs.
Bogner Ecstasy Classic
This thing is just a fucking monster.
I used one of these for the first time while tracking the Mad Moon Riot album with producer Bob Marlette and I was hooked and I knew I had to get my hands on one. After a few phone calls, Charley and the awesome dudes at Bogner Amplification were kind enough to resurrect this now discontinued model for me, and I couldn't be happier.
It's easy to see why Bogner amps are beloved by so many guitar players that I personally admire- specifically, two of my favorites in Jerry Cantrell and Steve Lukather- and I'm proud to use the same weapons they do. The Ecstasy Classic's different gain and EQ voicing options are versatile enough to do everything from a squeaky clean to a screaming hi-gain lead, but the amp is still simple enough to where I can plug in and have an unrivaled tone at my disposal.
1987 Marshall JCM2553 Silver Jubilee
This amp is older than I am.
It's a special mini-stack Canadian version (50W head with a metal toggle power switch and two 2x12 cabs- together it stands about 5'5" and makes me look tall, which is awesome) of an already hard to find amp that was made for Marshall's 25th Anniversary in 1987.
It features a really unique tonal character that's not as burly and harsh as a regular 80's era JCM 800 and has a biting upper-mid character that I don't think can really be duplicated
This also happens to be the same amp that a certain tophat wearing guitar-slinger uses. My early woodshed moments involved hours of ripping into this amp and playing along to Velvet Revolver's first album, "Contraband".
1964 Ears V3 In-Ear Monitors
Three drivers for great frequency response, comfortable fit. Overall just sold reliable tone!