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Download "Kenny Wayne Shepherd Rig Rundown Guitar Gear Tour [2023]"

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Table of contents
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Table of contents

0:00
D'Addario XS Strings
0:15
Kenny Wayne Shepherd Intro
1:58
1961 Fender Stratocaster "Martha"
5:36
Fender Custom Shop '61 Strat Replica "Martha Jr"
7:18
1960 Gibson Les Paul
11:51
Fender Jimi Hendrix Monterey Strat
14:20
Fender Kenny Wayne Shepherd Signature Stratocaster
18:50
Fender Custom Shop Masterbuilt Stratocaster "Copperboy"
21:58
Fender Custom Shop Masterbuilt Todd Krause "Crossroads" Strat
22:49
Fender Reclaimed Old Growth Redwood Stratocaster
25:08
Kenny Wayne Shepherd's Pedalboard
31:01
Kenny Wayne Shepherd's 3 Dumble Amps
Video tags
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Video tags

guitar
guitars
guitarist
demo
guitar player
electric guitar
fender
fender guitar
gibson
gibson les paul
guitar gear
pedalboard
pedals
guitar effects
guitar pedals
premier guitar
kenny wayne shepherd
joe bonamassa
blues
blues guitar
blues rock
blues music
rig rundown
rig rundowns
jimi hendrix
hendrix
strat
stratocaster
fender stratocaster
jeff beck
stevie ray vaughan
eric clapton
kenny wayne shepherd gear
john bohlinger
nashville
dumble
dumble amps
rigrundown
kennywayneshepherd
Subtitles
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Subtitles

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  • ruRussian
Download
00:00:01
the coding durability test puts excess
00:00:03
through a cycle of 10 000 strums
00:00:06
through the lens of a microscope it is
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clear that excess retains its
00:00:09
composition better than other coated
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strings testing complete
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[Music]
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[Applause]
00:01:03
[Music]
00:01:17
hey this is John goldinger with Premiere
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guitar we're at the historic Ryman
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Auditorium and I'm with Kenny Wayne
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Shepherd Kenny Wayne hey man what's
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going on brother good seeing you good to
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see you too yeah it's been a while yeah
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it has been a while yeah and you did a
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rundown with us God a while ago yeah it
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was like one of the one of the early
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ones like in the very early days it was
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actually one of the longest ones I think
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that's ever it was like 47 minutes long
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or something yeah but we pulled
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everything out that we had out on the
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road that day and they left it all in I
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figured they would edit it out there you
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go uh and condense it but it's like pure
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gold yeah yeah it's all it's all
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interesting yeah so anyways you know
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yeah it was one of the I think it was
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one of the very earliest ones and you
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know now we're having a chance to catch
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up again right and this guitar was in
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that one I think it was it probably was
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that guitar has been with you like since
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the beginning yeah tell me the whole in
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fact I know but these people don't so go
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ahead let's hear the whole story right
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well actually this one I picked up after
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my first album came out
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um I wish I would have had it for the
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first album but at that time I couldn't
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I couldn't afford yeah you didn't have
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any money before the first album I know
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and actually when I got this guitar I
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still couldn't afford it yeah it was a
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really unique situation so this show the
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shortest version of the story is that my
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very first trip about to Los Angeles I
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was doing a showcase kind of gig and the
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big thing was I want to go to the um go
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to the Guitar Center on Sunset because
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that's like the mecca sure and I've
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never been there so I went in there I
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went into the Vintage Room obviously I
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went straight to the Vintage Room and
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this guitar was like hanging right dead
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center in the middle of the wall there
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and it just spoke to me and so I picked
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it up and I played it and it was
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literally that aha moment it was like it
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fit like a glove everything about it was
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right I had been playing guitars at
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Guitar shows you know all over the place
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yeah just kind of searching for that
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mythical one guitar that everything is
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perfect you know and I'd never found it
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I actually played some vintage strats I
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was really disappointed in and I was It
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was kind of baffling me you know I
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thought all vintage guitars are supposed
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to look and sound great and play great
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but anyways this one everything about it
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was amazing and at that time I had to
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walk away from it because I couldn't buy
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it I couldn't afford it and it would
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took I mean it was like so difficult for
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me to walk away from that guitar so I
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think it was a year maybe two years
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later I came back and I was doing my
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first gig I think it was the House of
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Blues on Sunset or maybe it's the Viper
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Room I can't remember but anyways first
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thing I did was go to Guitar Center to
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see if the guitar was still there and it
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was still there that's shocking I know
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and so I picked it up and I played it
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I'm like yes this is it I can't believe
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it's still here so my dad was there my a
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r guy from the record company Jeff
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Aldrich was there and my attorney who's
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here uh from Nashville
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um Jim zumwal they were all there out
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for the show
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and they were like hey man we got to go
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do sound check and I'm like I'm not
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leaving without this guitar and my dad's
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like what and I'm like I'm not leaving
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this room without this guitar I left it
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once if I leave it again it's not going
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to be here the next time and he's like
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you can't afford that guitar I'm like I
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don't I'm not leaving here with that so
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the three of them put their heads
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together and they agreed to split it uh
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amongst the three of them on their
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credit cards under the condition that I
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paid them back yeah so that's how I got
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this guitar they split the cost and I
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think at the time I can't remember I
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want to say it was like 7 500 bucks yeah
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which you know nowadays a 61 Strat would
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be I don't know at least three times
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that right
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um but they split it up I paid them back
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and it's been with me ever since and
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it's lost a lot of paint since yes it
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didn't yeah it did way better yeah it
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didn't look like this when I originally
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got it you could find some old pictures
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of me when I first got it playing it and
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you know there's barely anywhere like
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right here this is all honest to
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goodness playing where
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um you know no trickery going on here a
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lot of people don't believe it because
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they say this just looks so unnatural
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but if you watch me play especially on
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Play Rhythm I have a really broad stroke
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with my right hand and my pick I mean
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you can see the the scratch marks here
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where it's still I'm wearing it off but
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it's so beautiful the way the layers of
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the grain have worn at different
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intervals and it's almost like water
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running over a rock and it just kind of
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smoothed it out you know it's pretty
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remarkable that's the perfect simile
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like water running over a rock yeah yeah
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and you know Fender built me they built
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a replica
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which looks it's pretty close
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um and when they first made it it looked
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even closer but they couldn't duplicate
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this at least not at the time maybe they
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have the ability to do it now because
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it's actually the wood grain that's worn
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out and at different you know levels so
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they kind of you know wore this out and
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they stained this pattern on this game
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but you ate away right but you know
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they're really close and I mean
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obviously I can tell the difference if
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you put them side by side you can kind
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of tell the difference between the two
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but they really kind of got it and and
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when I travel and I can't bring this one
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and I play this one it really does kind
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of have the spirit of the original it's
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like it feels like an extension of of my
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original guitar so you don't even miss
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number one well I do miss it I just
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don't realize how much I miss it until I
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get it back in my hands and I'm like oh
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there it is you know it's so great
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that's great yeah that's the one okay
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yeah perfect that is your number one
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yeah yeah recently you know this is the
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thing like you know everybody a lot of
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guys name their guitars and I've always
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had a difficult time naming my guitars
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it takes a really long time especially
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this one which is why we always referred
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to it as the one or whatever but I
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actually settled on the name Martha
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because I feel like you know this is a
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this is a strong lady right here you
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know and the the name Martha just sounds
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like a you know an old-fashionable
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strong you know willed woman yeah and I
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think that's what this one is so we call
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it Martha now okay yeah fabulous well
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that one's not going anywhere no I'll be
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buried with that one yeah
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um so yeah I don't know if we just kind
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of want to go through yeah just pick the
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highlights yeah yeah sure they're all
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cool well yeah well there's so there's
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Martha and I call the replica I call it
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Martha Jr right and so good I mean this
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is always a good one we'll do this one
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kind of right off the gate yeah this is
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a recent acquisition uh been on my
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bucket list for a long time uh it's a
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1960 Les Paul all Sunburst I'm sure you
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guys all know what that is
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um all original like everything is
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original the only thing is I replaced
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this because I was scared that I was
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going to lose the original one and you
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know they're hard to come by and then
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this this uh Jack cover this Jack Plate
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right here uh the original one had a
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couple little cracks in it and I didn't
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want it to just get banged around so I
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took that off yeah everything else the
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Frets I mean every single thing is
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original
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um killer top I mean it's got all it
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this is like from the uh the run I think
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in the mid 60s uh they you know they
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were changing the color right the red
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because they went to a different color
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red so that it wouldn't fade so much and
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then they changed the knobs and stuff
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like that but at a certain point like
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Midway through the production cycle in
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1960 I'm told uh that they went you know
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and made a run of these guitars that
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basically has all you know the
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Aesthetics of a 59 uh Les Paul but this
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still has the thinner neck and for me I
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prefer the thinner neck I mean when I
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played a bunch of them before I got to
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this one and you know the 58's 59 is
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just the chunkier neck I feel like I
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play faster and it's a little more
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effortless with the thinner neck and
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maybe that's because you know I've
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played so many 60s stratocasters and
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they're not necessarily known for the
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big chunky Nets you know but it just
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feels good to me and it's this thing has
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all the looks and the personality like
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it sounds killer yeah and uh you know I
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just I couldn't believe it when I saw it
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and when I plugged it in and it checked
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all the right boxes and and thankfully
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uh the search was over and I'm the kind
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of guy like you know I have some really
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good friends that you know can't stop at
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just one but I'm okay with somebody just
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won like I feel like you know all right
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I can check that off the list I got you
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know it's kind of like the one and I
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don't really feel like I'm gonna find
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another one just like it so I'm good
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with it what a relief right you can like
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just stop looking I know and it's you
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know it's one of the Holy Grails and it
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really is for all of its hard players it
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is just for some people just to play one
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and I got I got to play a lot in in my
00:09:44
search you know you meet these guys
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there's this community yeah in the
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Sunburst community and you meet these
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guys and the key players and and people
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are really generous like they'll be like
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like tonight there's a guy bringing a 59
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Sunburst out he wants me to play it on
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stage it's like these guys have these
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guitars and they want to see them played
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you know and they'll hook you up with
00:10:03
the other guys and they think maybe
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maybe this guy has the guitar you're
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looking for and the search was really
00:10:07
compelling it was a really amazing
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experience and I met so many great
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people along the way and ultimately like
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to be honest with you guitar is great
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and it sounds great I've already used it
00:10:16
in the studio and stuff but the stories
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and and the experience getting to the
00:10:21
guitar to me is just as valuable maybe
00:10:23
even more so than the guitar oh that's
00:10:25
great yeah yeah well very cool it was It
00:10:29
was kind of big news to see you playing
00:10:31
Les Paul's because you've always been
00:10:34
such a strat guy I have and you know at
00:10:36
the end of the day when you're a guitar
00:10:37
player it's like you you you go for the
00:10:39
sound you go where the sound is and
00:10:42
sometimes if you want that sound you're
00:10:45
only going to get it right here right
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and I mean if you go back to my 2004 on
00:10:49
the place you're in I would say probably
00:10:51
60 percent of that record was a Les Paul
00:10:54
that's a pretty rocking album but that
00:10:57
was when my grandfather gave me a Les
00:10:59
Paul that he had around that time and I
00:11:03
started playing it and I used it on that
00:11:05
record and then I took a Les Paul out on
00:11:07
tour for that tour and then you know I
00:11:09
really kind of started getting into the
00:11:10
whole Gibson thing you know yes I'm a
00:11:12
strad guy but at the end of the day I
00:11:15
want you know you don't want just like
00:11:17
one screwdriver yeah so you come to my
00:11:19
house you look in my garage I got all
00:11:21
kinds of tools and I got about five sets
00:11:23
of the same different kinds of tools
00:11:24
because you need different sizes for
00:11:26
different applications and different
00:11:28
sounds for different songs you know yeah
00:11:30
it brings different things out of you
00:11:31
yeah yeah okay that's that's a that's a
00:11:34
strong opener those two those two yeah
00:11:36
it's all downhill from here guys yeah
00:11:39
but we know that you know you might tune
00:11:41
out so we're going to get you from this
00:11:42
yeah yeah hey but there's amps and stuff
00:11:45
too so oh yeah well that's right we got
00:11:47
some amazing amplifiers so you might
00:11:49
want to hang around yeah hold on all
00:11:51
right so look here this one's a this is
00:11:52
a great one yeah I actually just saw I
00:11:55
think it was Emerald City just sold one
00:11:57
of these guitars I don't know how much
00:11:58
they sold it for but I think I gotta
00:12:00
look at my number here
00:12:02
this is uh see I thought I had 181 this
00:12:04
is 151 they had 181.
00:12:08
um and so it's the Jimi Hendrix Monterey
00:12:10
Pop uh Strat that Fender did in the late
00:12:12
90s uh this is all like hand painted I
00:12:16
think the lady's name was pamelina I
00:12:18
believe that did the artwork I had the
00:12:20
custom left-handed neck so they had the
00:12:22
reverse headstock Vibe put on it cool
00:12:25
um so I have the original neck that I
00:12:26
put away but I had that one made for the
00:12:28
guitar and it's so funny how like random
00:12:30
people would be like I didn't know you
00:12:31
could play guitar left-handed I'm like
00:12:33
no
00:12:34
it's so weird
00:12:36
um but you know I started wearing this
00:12:38
off and and so we put some tape on it to
00:12:40
try and Salvage that little you know
00:12:42
sticker it was kind of like a backstage
00:12:43
passing that they put on the guitars
00:12:45
when they were new but you know I've
00:12:47
really worn this guitar out I mean it's
00:12:49
been banged up I used to throw it on the
00:12:50
ground and just do full-on Jimi Hendrix
00:12:52
you know crazy stuff on stage and I
00:12:55
still kind of get down with it um yes
00:12:57
you should yeah well most of these you
00:12:59
know collectors have these and and
00:13:01
they've never been played and I think
00:13:04
John Mayer has one actually he told me
00:13:06
when I saw him at one of the shows I
00:13:08
think I was out on the road with
00:13:10
Aerosmith at the time but he told me
00:13:12
that uh he saw me playing one of one of
00:13:15
these and that's why he wouldn't go oh
00:13:17
really he plays his I play mod but just
00:13:20
about everybody else they just look at
00:13:22
them because they're beautiful but they
00:13:23
actually sound great too so we do Jimi
00:13:26
Hendrix songs and I'm usually playing
00:13:28
this one if you did the whole Hendrix
00:13:30
tour thing too yeah yeah the experience
00:13:32
Hendrix thing I've been a part of that
00:13:33
since before was even a tour yeah it
00:13:36
started as a birthday celebration
00:13:39
um
00:13:40
actually the first time we were
00:13:41
celebrating Jimmy's father's birthday oh
00:13:43
really in Seattle and we did like a
00:13:45
concert and a club and then we did a I
00:13:48
think it was a hen a Jimmy birthday
00:13:50
celebration like twice is that at the
00:13:52
experience well that was at the EMP
00:13:54
thing for the very first time yeah with
00:13:56
his with Jimmy's dad when he was still
00:13:58
here oh
00:13:59
um but then after that they had done it
00:14:01
in a club I can't remember what the name
00:14:03
of the club was and then at some point
00:14:04
they thought oh let's see if we can turn
00:14:07
this into a tour yeah so I've been part
00:14:09
of it since you know the very beginning
00:14:11
and then it's just morphed into this
00:14:13
massive tour yeah it's a big that's
00:14:15
that's become a big thing yeah a lot I
00:14:17
mean really great guitar players on that
00:14:19
oh God so
00:14:22
this is uh this is my latest uh Kenny
00:14:24
Wayne Shepherd Signature Series
00:14:26
Stratocaster I love it
00:14:28
um and I use this okay so what made you
00:14:30
go for the bound fingerboard okay so I
00:14:33
mean obviously Eric Johnson had a
00:14:34
signature maybe still that maybe they
00:14:37
still sell that version with a binding
00:14:39
on the neck
00:14:40
um so then I started digging around
00:14:42
because you know there was a small
00:14:44
amount of guitars in the mid to late 60s
00:14:47
that Fender release that were strats
00:14:50
with bound necks uh Brad Whitford from
00:14:52
Aerosmith has a mint condition one I
00:14:54
mean it looks brand new and it's what
00:14:56
it's like Olympic white and has binding
00:14:58
it's just beautiful right and then that
00:15:01
got me intrigued so then I started
00:15:02
trying to find one of those original
00:15:04
guitars and then I stumbled across that
00:15:06
guitar that had a bound neck and had
00:15:09
block inlays right and rumor has it that
00:15:13
they also let a few of those out of the
00:15:16
factory you know I guess they were
00:15:17
trying out different things and you know
00:15:19
they had other guitars that had block
00:15:21
inlays and bound next but not
00:15:22
necessarily necessarily Australia yeah
00:15:24
the Jaguar right so Jazz master I think
00:15:27
I don't know so then you know my goal
00:15:29
with this guitar
00:15:30
because I had a signature before this
00:15:32
and it was uh it was a Mexican assembled
00:15:36
Strat right so made in Mexico and we had
00:15:39
three different models but the goal
00:15:40
behind that was so that young people it
00:15:42
was the price point was in re Within
00:15:44
Reach for young people yeah they could
00:15:46
like play guitar they could you know not
00:15:48
have to like sell an arm or a leg right
00:15:50
to buy the guitar and that went really
00:15:53
well and but the specs on that guitar
00:15:55
are almost completely different than
00:15:57
this one that one had a big thick
00:15:58
baseball bat neck and a 12 inch kind of
00:16:00
flat radius on it
00:16:03
um had medium jumbo Frets on it uh the
00:16:06
pickups were different the body was
00:16:08
older so we changed it all up so I went
00:16:11
with an ash body
00:16:12
uh and it's chambered to make it to
00:16:15
lighten it up I mean it's a light guitar
00:16:16
you know it's not not too bad for an ash
00:16:19
body yeah yeah no not not particularly
00:16:21
heavy and so that also makes it more
00:16:23
resonant but then we took a a factory
00:16:26
color and created a custom color out of
00:16:28
it so we took Sonic blue and created
00:16:30
translucent Sonic blue cool but if
00:16:33
you're going to make a trans color then
00:16:34
you have to be able to see the wood
00:16:36
grain right right otherwise it's kind of
00:16:37
pointless all the early strats were Ash
00:16:39
bodies for the most part
00:16:41
um so I wanted that look that kind of
00:16:43
50s translucent Mary Kay kind of vibe
00:16:47
um but with this new color
00:16:49
um so we chamber the body lightened it
00:16:51
up I did the graftex Saddles just like
00:16:52
on my all my other guitars we came up
00:16:55
with a new version of the Kenny Wayne
00:16:57
Shepherd pickups that sound great
00:16:58
they're hotter clearer and louder and
00:17:01
quieter right
00:17:03
um all kind of in in a similar package
00:17:06
um we did a nine and I'm sorry seven and
00:17:08
a quarter radius on this because I
00:17:11
started thinking about I'm like this is
00:17:14
as close to a copy of my actual neck on
00:17:18
my 61 Strat as they've ever created and
00:17:21
because to me that's the ultimate neck
00:17:22
on a strat just feels perfect so you
00:17:26
know I was like if we're really going to
00:17:27
recreate that neck it needs to be seven
00:17:29
and a quarter and also all of my custom
00:17:31
shop strats are seven and a quarter
00:17:33
radius so if people want to play what I
00:17:35
play that's it's going to be seven and a
00:17:37
quarter uh we did 6100 jumbo Frets and
00:17:41
we did a matching headstock and I went
00:17:43
back to the original days of the
00:17:46
signature series and put my signature in
00:17:47
front of the guitar because when I was a
00:17:49
kid and I saw Stevie Ray or Jeff Beck or
00:17:53
Buddy Guy Robert Cray
00:17:55
um although Eric Clapton those original
00:17:57
signature series guitars all their
00:17:59
signatures were on the front and then
00:18:01
eventually they started trying different
00:18:02
things though my last one had it on the
00:18:04
back of the headstock some guys do it on
00:18:05
the on the plate here but I was like no
00:18:08
man we want to do a throwback to the
00:18:10
original days of the uh yeah of the
00:18:12
signature guitar so put it back on the
00:18:14
front block inlays binding and basically
00:18:17
what the goal was is that a really great
00:18:20
sounding guitar great playing guitar but
00:18:21
I wanted people to feel like they're
00:18:24
getting a custom shop
00:18:26
kind of experience yeah sure but it's an
00:18:28
American-made Strat so it doesn't
00:18:30
necessarily have the custom shop price
00:18:32
attached to it yeah so it's a really
00:18:34
compelling guitar it sounds great and I
00:18:36
think it's absolutely beautiful yeah it
00:18:37
is I love it so it's been selling they
00:18:40
catch they actually can't keep them in
00:18:42
stock which is a good problem to have oh
00:18:45
yeah that's great uh okay that's very
00:18:47
cool so far all cool guitars well
00:18:50
there's one behind you this one goes
00:18:52
this one's really cool this one is a
00:18:54
custom shop creation that I did with
00:18:56
Todd Krauss and we've done a couple of
00:18:59
collaborations together I kind of had
00:19:01
this in my mind and he helped it come to
00:19:03
reality and Billy Gibbons actually named
00:19:05
this guitar I don't even know if he knew
00:19:07
he was naming it but I was playing here
00:19:09
we were inducting I think it was Double
00:19:12
Trouble into the musicians Hall of Fame
00:19:13
in Nashville and me and Billy and some
00:19:16
other guys were playing and uh and I had
00:19:18
just gotten this guitar and I showed it
00:19:19
to him because I knew he could
00:19:20
appreciate it and then the next day we
00:19:23
showed up for sound check and he goes
00:19:25
did you bring copper boy with you and
00:19:28
from that day forward this guitar has
00:19:30
been called copper
00:19:32
um so you know I just figured a lot of
00:19:34
times on stage we're all kind of wearing
00:19:36
dark clothing and stuff and you know we
00:19:38
need some real eye candy and and I wind
00:19:40
up why shouldn't be the guitar so
00:19:43
amazing goal uh I think the base of it
00:19:46
is gold Sparkle and then they put this
00:19:48
kind of tangerine orange on top of it to
00:19:50
give it an orange Sparkle matching
00:19:52
headstock reverse headstock like my on
00:19:55
my Monterey Strat uh left-handed tremolo
00:19:57
a la Hendrix reverse Bridge pickup a la
00:20:00
Hendrix but these are regular these
00:20:03
aren't Dan electrodes these are regular
00:20:05
single coils some of the last pickups
00:20:08
that were wound by Abigail at the custom
00:20:10
shop before she retired and they just
00:20:12
have the metal covers over the top which
00:20:15
actually to be honest with you
00:20:16
does affect the sound they become a
00:20:19
little microphonic but they actually
00:20:20
it's it gives it a slight kind of
00:20:23
humbucker sound to it a humbucker
00:20:25
quality to it just because of that metal
00:20:27
cover over the top
00:20:28
um you're not going to fool anybody
00:20:29
thinking you're playing a Les Paul but
00:20:31
it changes the nature of the sound of
00:20:33
the guitar it doesn't sound like an
00:20:35
immediately like a strat
00:20:37
um so this one's a fan favorite people
00:20:38
love to see this guitar on stage and and
00:20:40
it definitely has its own identity was
00:20:42
it a bit of a an adjustment with that
00:20:44
with that left-handed
00:20:46
no because uh in my earliest days on my
00:20:50
first album Ledbetter Heights I use the
00:20:52
Stevie Ray Vaughan signature shot
00:20:54
because you know I came that way
00:20:55
everybody knows uh how big of an
00:20:57
influence he was on me and so I've been
00:21:00
playing his signature model you know for
00:21:02
a couple of years before Fender started
00:21:04
building me guitars so I was used to
00:21:06
then there's actually a huge benefit to
00:21:08
that if you can get used to the only
00:21:10
problem is is it's a slight adjustment
00:21:13
if you like to pick and use the bar like
00:21:15
a Jeff Beck kind of thing yeah but but
00:21:17
it's not hard to get used to it but what
00:21:19
the real advantage to it is that if
00:21:21
you're going to do like a dive bomb you
00:21:24
can go you can hit that e and go all the
00:21:27
way down to the body of the guitar and
00:21:30
that string is still going to throw you
00:21:32
ringing right where if it's here your
00:21:35
hand is choking it out yeah and so you
00:21:37
can really sonically you can get some
00:21:40
really cool sounds that you really can't
00:21:42
get otherwise without having that there
00:21:44
and you can anchor your hand on the back
00:21:46
of the guitar right there just like it
00:21:47
was made for it yeah and it's really
00:21:49
cool yeah that is cool yeah it's nice
00:21:53
so that's copper boy okay love that and
00:21:56
then I don't know here's one more oh
00:21:58
well there's two more this one this is
00:22:00
the crossroads strats another Todd
00:22:01
Krauss collaboration Highway 49 and
00:22:04
Highway 61. the idea you know there's
00:22:07
like a mythical like a a make-believe
00:22:10
story about this guitar that you know a
00:22:11
guy went to the crossroads yeah he's
00:22:13
gonna sell his soul to be famous and be
00:22:15
a great guitar player except he got
00:22:17
jipped and it didn't work and what makes
00:22:19
you think it's uh not real
00:22:21
so the guy tosses the guitar in a ditch
00:22:24
and leaves it and it just like you know
00:22:26
is like abandoned and it kind of looks
00:22:28
like a reject kind of instrument but
00:22:30
it's great and it sounds killer and you
00:22:33
know just but this is kind of a nod to
00:22:35
my love for blues music and what musical
00:22:37
roots and stuff and a guy made this for
00:22:40
me and then sent that it's only guitar
00:22:41
that I keep one of these on actually
00:22:44
um but yeah it's visually it's just a
00:22:46
stunning guitar and it plays great
00:22:47
sounds great yeah that's great yeah and
00:22:49
then probably you know the last one that
00:22:51
we have time for is this one now I had a
00:22:54
conversation with the guys at Fender
00:22:56
about doing reclaimed wood guitars this
00:22:59
is years ago and they they were open to
00:23:02
it and but they said you know the real
00:23:04
issue is getting your hands on the
00:23:05
material and the cost of the material
00:23:07
sure you know and and yeah Hard To
00:23:10
Source yeah you'd think it'd be easy but
00:23:12
it's not exactly and it's expensive and
00:23:15
you know it's a limited Supply and
00:23:18
so anyways I had this conversation with
00:23:19
them about it and it kind of seemed like
00:23:21
you know they had already decided that
00:23:23
it wasn't possible but it was like not
00:23:25
very long after that that they
00:23:27
introduced the reclaimed wood uh Strat
00:23:30
and I think they did I think there was
00:23:32
two versions of a strat maybe a
00:23:34
Telecaster but this one is uh was built
00:23:37
from a barn in Michigan in northern
00:23:40
Michigan that was disassembled the barn
00:23:42
was constructed in the 18 late 1800s wow
00:23:46
and this is Pine oh wow and it's super
00:23:48
light and instead of like painting it
00:23:50
and putting like a clear coat on it they
00:23:53
just did an oil rubbed finish on it and
00:23:55
so it just really rings and it's like
00:23:58
you know this is wood from the well
00:24:00
before the 18 late 1800s because it was
00:24:03
grown before they built the the barn and
00:24:07
uh it's fully you know resonant dried
00:24:09
out cured everything I'm gonna get any
00:24:11
drier than that and it just sounds
00:24:14
amazing and so I was so excited when I
00:24:15
found out that they actually made some
00:24:17
of these guitars so I got one and what's
00:24:19
cool is like this thing was brand new
00:24:21
and within literally like less than like
00:24:24
one tour this thing started looking like
00:24:27
my 61 Strat right because that uh that
00:24:30
oil-based finish just it doesn't take
00:24:32
much effort to get it to come off and so
00:24:35
now it's actually wearing just in the
00:24:38
same pattern as my 61 Strat it's a
00:24:41
sledgehammer right hand man yeah and so
00:24:44
I was actually I started to document it
00:24:46
a little bit on my social media in the
00:24:48
very beginning when I got the guitar and
00:24:49
I saw that it was wearing so quickly to
00:24:51
say hey watch the evolution of this
00:24:53
guitar and how long it takes it to start
00:24:55
looking like the 61. so we call this one
00:24:58
woody all right perfect
00:25:00
perfect well okay amazing guitars I
00:25:04
think we had to plug some in and see
00:25:05
what those amps and pedals and such look
00:25:07
like yeah all right so here we are
00:25:10
pedalboard amps kind of take us through
00:25:12
the whole enchilada yeah I'll run you
00:25:14
I'll just do a quick run through the
00:25:16
signal chain so first off we have the
00:25:18
Vox wall pedal I think this is a newer
00:25:20
one uh but inside the guts it's this guy
00:25:23
that custom made it and he made an
00:25:25
actual Clyde McCoy circuit with like the
00:25:26
tropical fish caps and all that stuff
00:25:28
the Halo inductor uh really cool so it
00:25:31
sounds nerd deep nerds this guy's legit
00:25:34
man he's legit I can't think of his name
00:25:37
right now but I'll get it to you because
00:25:38
you guys somebody in the comments what's
00:25:40
his name
00:25:41
Venus
00:25:43
Venus okay there we go that's a good
00:25:45
idea so here you go oh my God so the
00:25:48
Venus which was like you know if you
00:25:49
can't get your hands on a real Clyde
00:25:51
McCoy this is the closest thing you're
00:25:52
gonna get I have two originals and they
00:25:54
sound incredible but out on the road
00:25:56
this thing you wouldn't know the
00:25:57
difference yeah
00:25:58
um and you've always met a quarter inch
00:26:00
cable guy never yeah no I've done some
00:26:02
Wireless right like I've done some
00:26:04
Wireless rigs but you know I found that
00:26:06
it compresses the signal yeah I mean
00:26:08
it's great when you want some people
00:26:09
like yeah well for me I wanted to sound
00:26:12
as real and analog and connected as
00:26:14
possible and so you know mentally I had
00:26:17
a hard time getting beyond the whole
00:26:18
Wireless thing yeah but it's you know
00:26:21
when you open up for the Rolling Stones
00:26:22
it's great to be able to run to have
00:26:25
such a big stage it's great to be able
00:26:27
to run over there and play for those
00:26:28
people right because I did it the first
00:26:30
time I played with them and I had like I
00:26:32
don't know a 30-foot guitar cable and I
00:26:34
ran that way and my guitar cable came
00:26:35
flying out of my guitar in front of 80
00:26:37
000 people that's after that is when I
00:26:39
started using it yeah right but I kind
00:26:41
of brought worked my way back towards
00:26:42
just using cables all the time so yeah
00:26:46
we got the Vox wow the next thing in the
00:26:49
line is probably
00:26:51
the Octavia so we got the Octavia that's
00:26:54
the Roger mayor spaceship Octavia that
00:26:56
is the sound for Blue on Black that's
00:26:59
the guitar so Blue on Black then the
00:27:01
analog man king of tone which to me is
00:27:04
like the most you know that's the go-to
00:27:06
overdrive if I'm gonna go sit in with
00:27:07
somebody I think I need a pedal if I'm
00:27:09
gonna do anything I've got that pedal
00:27:11
with me yeah and what's cool is it's got
00:27:13
two channels you can set it
00:27:14
independently one's a high gain one's a
00:27:17
lower gain uh it's pretty transparent
00:27:19
but it's got everything you need and if
00:27:21
you're in a really bad situation and
00:27:23
your amp's really not cutting it then
00:27:25
you can just stack those on top of each
00:27:27
other and get as much you know sustain
00:27:29
and drive out of the pedal as you'll
00:27:31
probably ever need sure so it's a good
00:27:34
cheat for that kind of stuff
00:27:35
um then we're going to have the uh well
00:27:37
actually from the from the wah we
00:27:39
probably went into the univi because
00:27:41
univive signal is always best at the
00:27:43
very beginning of the signal chain so
00:27:46
this univive actually my guitar tech
00:27:48
Dustin makes these this is called the
00:27:50
Sir Henry and I'm gonna when I say
00:27:53
painstakingly recreating unified oh yeah
00:27:57
this guy takes it to another level we
00:27:59
were actually before you arrived we were
00:28:00
talking about the whole thing yeah that
00:28:02
is so deep nerd it is and I mean he's
00:28:06
like having Parts manufactured like they
00:28:08
don't exist right now to try and get the
00:28:12
actual correct sound you know because
00:28:14
it's really hard to do and I have some
00:28:16
Originals I have one that allegedly was
00:28:17
owned by Hendrix and they're they're
00:28:19
delicate things you know they can break
00:28:21
really easily this thing has been Road
00:28:24
tested and it has the sound so you want
00:28:27
a univive that's going to hold up and
00:28:29
you don't have to worry about like
00:28:30
thousands and thousands of dollars you
00:28:32
know getting banged around on the road
00:28:34
this is the way Sir Henry yeah Sir Henry
00:28:37
um then we've got the Analog Man by
00:28:39
course it's kind of like the king of
00:28:40
tone in a chorus pedal so it has two
00:28:43
independent uh channels basically and
00:28:46
you can I use it for like a Leslie sound
00:28:48
so I'll have a high speed and a slow
00:28:50
speed
00:28:51
and I really only use certain like most
00:28:55
of these pedals only get used on like
00:28:56
one or two songs sure specifically yeah
00:28:58
pretty much your tone is yeah it's
00:29:00
guitar and amp yeah and then guitar and
00:29:03
amp and king of tone yeah
00:29:06
um so the chorus is there for like one
00:29:08
or two songs but it's a great sounding
00:29:10
unit and especially if you don't want to
00:29:11
carry around like one of those Viber
00:29:13
tones or something like that Leslie
00:29:15
speaker then we have free the tone delay
00:29:16
pedal the cool thing about this is is it
00:29:19
looks really confusing it's kind of
00:29:21
overwhelming but you can program it and
00:29:24
you can get it exact you can really go
00:29:26
down the rabbit hole Yeah uh sometimes I
00:29:28
get overwhelmed and have to walk away
00:29:30
from it come back to it but I have
00:29:31
gotten some really great delay sounds
00:29:33
and again I'm not a guy that you won't
00:29:35
hear delay on My Guitar Rig all the time
00:29:37
it's like on one or two songs yeah it's
00:29:39
like I don't even hear verb on your yeah
00:29:41
well you know that's right pretty dry so
00:29:44
I had to actually because of the amps
00:29:46
that dumbbell's been had been making for
00:29:48
me uh none of them had Reverb yeah and
00:29:50
so I ended up getting the free the tone
00:29:52
Reverb pedal okay in case I want to do
00:29:54
like a really back alley Blues thing and
00:29:56
I need that Reverb sound and then I'll
00:29:58
kick that thing on
00:30:00
um and so otherwise uh oh and I have the
00:30:03
uh the Clone So This Is the Gen 2 clone
00:30:05
it's the con reissue in the smaller
00:30:07
housing I have an original I have like
00:30:09
one of the earliest made uh original
00:30:11
clones I think it's like serial number
00:30:13
31 or 33.
00:30:16
um but obviously that one's at home and
00:30:17
this one sounds great
00:30:19
um so that kind of rotates between a
00:30:21
ts808 or the Clone but that's it then we
00:30:24
have this uh radio thing and this is
00:30:27
basically just splitting out to the
00:30:28
three different amps that we have back
00:30:30
there and you know with very minimal
00:30:32
signal loss and that's it I mean that's
00:30:35
that's the deal we have the voodoo lab
00:30:36
switching system and that's just so I'm
00:30:38
not tab dancing all the time sure so
00:30:39
there's no like really like crazy
00:30:41
trickery going on it's just like here's
00:30:43
my Blue on Black Rhythm sound so that
00:30:45
kicks on the univive for me and then I
00:30:47
want to hit the solo and it
00:30:49
automatically turns on the Octavian the
00:30:50
delay this it's preset for the tempo for
00:30:52
the song I mean you know what a swishing
00:30:54
system is yeah it just kind of makes
00:30:55
your life a little bit easier yeah and
00:30:58
keeps that signal a little more pure and
00:31:00
right that's great
00:31:01
and okay so amp wise so this is a
00:31:04
slightly different setup than I've been
00:31:06
running but these are all dumbbell
00:31:07
amplifiers
00:31:08
um you know before he passed away he and
00:31:10
I became very close he built me 11
00:31:13
amplifiers over the course of our
00:31:14
friendship wow and uh this is three of
00:31:17
them and what I really liked about it is that
00:31:20
you know these are like I'm a car guy
00:31:22
and in the hot rod world we have what
00:31:25
you call a sleeper which is like you
00:31:26
know it looks like your grandmother's
00:31:28
car but under the hood you've got like
00:31:29
800 horsepower and you'll burn the tires
00:31:32
off of it well that's what these are
00:31:33
they look like your you know average
00:31:35
run-of-the-mill vintage Fender
00:31:38
amplifiers but under the hood that is
00:31:41
100 dumbled he would take these amps he
00:31:43
basically used the cabinet and the
00:31:45
chassis and then everything else was
00:31:48
taken out Transformers
00:31:50
um you know the circuit everything he
00:31:52
would hand wire all that stuff from
00:31:54
scratch so wow you know they're just
00:31:56
kind of in appearance Fender but inside
00:31:58
under the hood it's 100 double so the
00:32:01
pro Reverb originally that was a combo I
00:32:03
had it converted to a head cabinet
00:32:06
um so I could do the two close back um
00:32:08
the closed back cabinet with the two
00:32:09
twelves and that thing is one of maybe a
00:32:13
handful or less amps that he built in
00:32:15
that configuration where in one side of
00:32:18
the AMP one channel he has what he calls
00:32:21
this ultrasonic circuit and in the other
00:32:24
channel he has what he calls the rock
00:32:26
phonics circuit which just has more of
00:32:29
everything and a lot more gain on tap
00:32:31
and a lot more sustained and I don't
00:32:33
think he made five amplifiers in that
00:32:35
configuration in his entire life so it's
00:32:37
monstrous I think sounds incredible and
00:32:39
he made it so that I could take that to
00:32:41
Europe so it has a switchable
00:32:43
Transformer so I can take it over Europe
00:32:45
open it up inside switch it and then it
00:32:47
converts over and it can run on 220. oh
00:32:49
that's great yeah thought of everything
00:32:51
yeah exactly so the the one in the
00:32:53
middle
00:32:54
that's a uh originally it was a basement
00:32:56
reissue so again you know those original
00:32:59
those LTD basements they were like a a
00:33:01
printed circuit board yeah right so I
00:33:04
mean I watched him he took it out tossed
00:33:06
that in the trash and you know had his
00:33:08
own board you know pressed all the holes
00:33:11
and the eyelets and everything for the
00:33:13
board and wired it all up and it's just
00:33:15
absolutely beautiful inside but that is
00:33:17
called the slide Winder and again that's
00:33:19
another one that I believe maybe he only
00:33:22
made
00:33:23
definitely less than 10 of those
00:33:25
probably in his life and it's just
00:33:27
absolutely sounds incredible it has
00:33:30
everything it has all the growl that you
00:33:32
could ever want out of like a Tweed
00:33:34
basement style kind of amplifier and the
00:33:37
next one over there is a black face band
00:33:39
master so that's a 67 original 67 band
00:33:42
master that he got it and he did for
00:33:45
this one I usually run a Ultra phonics
00:33:47
band Master It's a 65 that he did but
00:33:50
that one is at home right now this is
00:33:52
what he called the ac763 circuit so
00:33:55
essentially this from the way he
00:33:58
explained it to me is this is what would
00:34:00
have been what he envisioned the next
00:34:03
like lineage of the ab 763 circuit that
00:34:07
Leo Fender had created this is it would
00:34:09
be the ac763 so it's like if you just
00:34:12
compare it to its original uh or to the
00:34:15
other version of it or its original can
00:34:17
you know circuit then it would it would
00:34:19
sound like the difference between
00:34:21
listening to Something in like mono
00:34:23
versus like High Fidelity surround sound
00:34:27
it's the Fidelity that comes out of the
00:34:29
amplifier is absolutely incredible
00:34:30
especially when you a b it with what the
00:34:32
original actually sounds like and are
00:34:34
you really running it on 10 yeah oh yeah
00:34:37
wow yeah that yeah yeah I mean you know
00:34:40
they put 10 on there because they want
00:34:42
you to use it right yeah yeah we run it
00:34:45
through all all the full range and
00:34:47
what's incredible about his amps is like
00:34:50
one of the first things I noticed is the
00:34:53
range you know some amps like you can
00:34:55
get and you turn the knob and maybe from
00:34:58
between one and five live on the dial is
00:35:01
like very little difference right right
00:35:02
and but on his man it is unbelievable
00:35:06
every notch on that dial does something
00:35:08
noticeable so there's Nuance every step
00:35:11
unbelievable I mean the amount of low
00:35:13
end that you can get out of these amps
00:35:15
is like nothing I had ever heard of any
00:35:18
Fender amplifier yeah in fact I see
00:35:19
you've got the base like rolled all the
00:35:21
way right because it's like it's too
00:35:23
much like well it's not too much it
00:35:26
probably would be just enough for
00:35:27
somebody yeah but for me it's like it's
00:35:29
more bass than I would ever know what to
00:35:30
do with but I just admired him so much
00:35:33
for like making I told him I'm like it's
00:35:35
incredible because every knob you have a
00:35:38
hundred percent use of of the full
00:35:40
spectrum of what's available there and
00:35:42
it never seemed like that was possible
00:35:44
before and I was really proud of that so
00:35:46
what what was the process like would you
00:35:48
just say hey I want something like this
00:35:50
no or he would just tell you I'm making
00:35:53
you something like this no no so well
00:35:56
yeah I would say hey I kind of like this
00:35:57
is what I'm thinking we need you know I
00:35:59
I need or the sound that I need every
00:36:00
amp he built for me was a different
00:36:02
circuit and everyone has a different
00:36:04
sound so everyone serves a different
00:36:05
purpose which is great so there's no
00:36:07
duplicates right we weren't like
00:36:09
repeating ourselves right but I would go
00:36:11
to his house and he would I mean if you
00:36:14
went to his house it was always a
00:36:16
minimum and this was for everybody I
00:36:17
think it was like a minimum four hour
00:36:19
visit like serious and you didn't really
00:36:21
want to leave yeah because you walk in
00:36:23
the door and you're surrounded by the
00:36:25
most amazing gear right guitars
00:36:27
amplifiers like the best of the best
00:36:29
yeah and he would sit me down in his
00:36:32
living room and surrounded by amps and
00:36:34
he'd hand me I'd bring a guitar or he'd
00:36:36
hand me he had two guitars that he
00:36:39
frequently used to test the amps and
00:36:41
stuff and he plugged me in to these
00:36:43
different amplifiers in different
00:36:44
circuits and I would just play and he
00:36:46
would just sit there and listen to me
00:36:48
and basically what he was doing is he
00:36:51
was listening to the way I play my
00:36:54
attack my feel and what it is that I'm
00:36:57
trying to get the amplifier to do right
00:37:00
then he would see which circuits are
00:37:02
responding well to my touch and then he
00:37:05
would go okay this is this is the path
00:37:07
we need to go down and I know what
00:37:09
you're trying to get out of it so I'm
00:37:11
gonna go I'm going to take this as the
00:37:13
foundation and then I'm gonna go tune it
00:37:15
to your hands to make it do exactly what
00:37:18
you want it to do because I know what
00:37:20
you're trying to get out of it right
00:37:21
like he knew what I was trying to get
00:37:22
out of it and what was amazing is like
00:37:25
the first amp you handed over to me and
00:37:27
I played through it it was like a veil a
00:37:30
curtain had been lifted and because it
00:37:33
opened up this level of creativity in me
00:37:35
because before I was using so many
00:37:38
tricks to try and just get some certain
00:37:42
things out of the amplifier in the
00:37:44
guitar right and so a lot of my focus
00:37:46
would be on that in that moment it's
00:37:48
like what combination of things you have
00:37:50
to do just to hope that I can get the
00:37:52
sound out of here in this moment and
00:37:54
instead it would just happen
00:37:55
effortlessly and that freed up so much
00:37:59
creativity oh yeah because then I'm not
00:38:01
focused on that I'm focused more on just
00:38:03
the music just playing the music and
00:38:05
that's really like you know I think that
00:38:07
was his goal was to give people the
00:38:09
tools to enable them to like to to reach
00:38:13
higher elevation you know of playing and
00:38:15
and ability and it really did that for
00:38:17
me for sure wow wow yeah it's amazing
00:38:20
nobody will get that that experience
00:38:22
again because he would make those amps
00:38:25
specifically for the players right and
00:38:27
now if somebody somebody can still buy
00:38:28
Dumbo it's not made for them yeah I
00:38:31
think that's you know part of and I
00:38:32
can't speak for him personally but I
00:38:34
mean I talked to him about a lot of this
00:38:35
stuff and I think that's one of the
00:38:37
things that you know that was
00:38:39
frustrating for him was that that he
00:38:41
would build and amplify it's like a
00:38:42
tailor-made suit right like you know you
00:38:44
could go and have a suit tailored just
00:38:46
for you and then I can put it on it's
00:38:48
not going to fit me right you know
00:38:49
because we have different builds it was
00:38:51
the same thing with his amplifiers and
00:38:52
that amp was built with that guy in mind
00:38:54
and that was supposed to be played by
00:38:56
that person and so and he put a lot of
00:38:59
effort into making it appropriate for
00:39:02
that player right and then all you know
00:39:04
then yeah that's what he would like flip
00:39:06
it yeah so so there you go you know and
00:39:09
and and then you know the the entire
00:39:12
industry that was launched right off of
00:39:15
his you know designs and things like
00:39:17
that because he was so exclusive and so
00:39:20
hard to track down and you know he
00:39:22
picked and chose what he did right and
00:39:25
so many people wanted what he what he
00:39:27
had to offer that other guy stepped in
00:39:29
to try and fill the void and you know
00:39:31
that was frustrating for him too but um
00:39:33
he was you must hate backline oh man oh
00:39:37
yeah well so I had him build me ahead
00:39:40
specifically that would weigh less than
00:39:43
50 pounds when in a road case yeah so
00:39:46
that was enough I'm like I'm like hey
00:39:48
man here's the thing we got my sound but
00:39:51
now I need to be able to take my sound
00:39:52
on an airplane right I need to check it
00:39:55
if possible yeah if I have to and so I
00:39:58
can have my sound with me but it's got
00:40:00
to be less than 50 pounds in the road
00:40:02
case you and Robin Ford he doesn't fly
00:40:04
with your doubles yeah so I try not to
00:40:07
do that so much anymore but especially
00:40:08
now because they're so Irreplaceable
00:40:10
that's great well hey man I know you've
00:40:13
got the show and sound check so but I
00:40:16
really appreciate you coming talking
00:40:17
yeah it's my pleasure finish this whole
00:40:19
wreck hey man congrats good to see you
00:40:21
until next time

Description:

Full Rig Details: https://www.premierguitar.com/videos/rig-rundowns/kenny-wayne-shepherd-2023 Subscribe to PG's Channel: https://www.youtube.com/user/premierguitar?sub_confirmation=1 Shop the Rig on Sweetwater: https://www.sweetwater.com/insync/shop-the-rig-kenny-wayne-shepherd-premier-guitar-rig-rundown/?irclickid=Q0FyZ2zaBxyKROWWvX2Mgx5IUkCxQnTQrVo7zU0&irgwc=1 It’s been 11 years since Kenny Wayne Shepherd filmed his previous Rig Rundown. PG’s John Bohlinger caught up with the blues-rocker before his recent sold-out show at Nashville’s historic Ryman Auditorium to hear some killer playing and see some untouchable—by anyone but Kenny and his tech—gear. The tour stop was supporting the December 2022 release of Trouble Is … 25, a re-recording of his 1997 breakthrough album, which had four top 10 hits when it was originally issued: “Slow Ride,” “Somehow, Somewhere, Someway,” “Everything is Broken,” and “Blue on Black.” There have been seven other studio recordings since then, and while he’s still mostly a Strat player, some other instruments have joined his armada, too. And Dumbles … he has lots of Dumbles. Full Rig Details: https://www.premierguitar.com/videos/rig-rundowns/kenny-wayne-shepherd-2023 Subscribe to PG's Channel: https://www.youtube.com/user/premierguitar?sub_confirmation=1 Win Guitar Gear: https://www.premierguitar.com/win-stuff/pg-giveaways/ Don't Miss a Rundown: https://www.premierguitar.com/signup Merch & Magazines: https://shop.premierguitar.com/ PG's Facebook: https://www.facebook.com/unsupportedbrowser PG's Instagram: https://www.facebook.com/unsupportedbrowser PG's Twitter: https://twitter.com/premierguitar PG's TikTok: https://www.tiktok.com/@premierguitar [Brought to you by D’Addario XS Strings: https://ddar.io/XSE.RR] 00:00 - D'Addario XS Strings 00:15 - Kenny Wayne Shepherd Intro 01:58 - 1961 Fender Stratocaster "Martha" 05:36 - Fender Custom Shop '61 Strat Replica "Martha Jr" 07:18 - 1960 Gibson Les Paul 11:51 - Fender Jimi Hendrix Monterey Strat 14:20 - Fender Kenny Wayne Shepherd Signature Stratocaster 18:50 - Fender Custom Shop Masterbuilt Stratocaster "Copperboy" 21:58 - Fender Custom Shop Masterbuilt Todd Krause "Crossroads" Strat 22:49 - Fender Reclaimed Old Growth Redwood Stratocaster 25:08 - Kenny Wayne Shepherd's Pedalboard 31:01 - Kenny Wayne Shepherd's 3 Dumble Amps *© Copyright Gearhead Communications LLC, 2023*

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