Schecter Ultra 3 – a.k.a. “Smurfette”

This Ultra III been my main guitar on stage and in studio since 2013. It looks amazing and plays perfectly, but has taken years of modifications to make it sound perfect as well. Upgrades include all new USA electronic components, Schuyler Dean Straight Six single coil pickups in the neck and middle positions, and a Seymour Duncan SH-14 “Custom 5” humbucker in the bridge. I also removed the Bigsby Vibrato and converted it to a hard-tail string through using a tailpiece from an Ibanez Jet King and through-body ferrules from a Fender Telecaster. Most recently, I swapped the Grover tuners for Hipshot Locking Tuners, simply for the speed of string changes.

Fender USA Jazzmaster Professional/Performer

I’ve been a huge fan of Fender offset guitars since the 90’s. I’ve owned dozens over the years but have never found them to be reliable touring guitars until this one: The Body is from a American Professional Jazzmaster, because I like the vintage tremolo but dislike the vintage-style wiring. Other than a recently added Mastery Bridge, it is completely stock. However, The neck is from an American Performer Jazzmaster, because I insist on Jumbo frets these days. It plays and sounds so good, I may move it to my #1 slot for a bit.

Gage Guitar Co. Custom

I had this Gage Custom built for me in 2016, and since taking possession of it, it has been through several major iterations. It currently plays like a dream and sounds amazing. The silver dot near the bridge is a vial of my friend Michael Capps’s ashes. I primarily play this guitar in the studio, though it does come out for live shows every so often. The neck pickup is a Schuyler Dean Straight Six and the Bridge is a Seymour Duncan SH-14. Tuners and bridge are by Wilkinson.

1964 Teisco Del Ray TG-64

I purchased this guitar for nostalgic reasons – I had one when I was 17. By all accounts these guitars sound great but play terribly due to poor build tolerances, tiny frets, awful tuners, and fixed bridges that won’t intonate.

My solution was to throw money at it. I upgraded the tuners to Hipshots, the bridge to a Mosrite-style roller, all of the electronics to brand new USA stuff, and I had Jumbo Stainless frets and a new bone installed. I believe this is maybe the best playing original TG-64 in existence now 😛


Tube Works TD-752 Combo

I don’t usually use amplifiers in the studio anymore, but I do require one for the type of venues I play. I stumbled upon the TD-752 sometime in 2013 when I needed a LOUD, dependable solid state amp that took pedals well and could fit in a small car with three people, a drum set, and a small bass rig. I’ve tried many other solutions for live amps, but I always come back to the TD-752. It has a really dependable warm and clean sound that delivers night after night.


  • Two Channel Foot-switchable Pre-amp. (I only use the clean channel)
  • Internal BK Butler Tube Driver circuit (I don’t use it live)
  • Three Band EQ
  • Foot-switchable reverb (I don’t use it)
  • 100w Solid State
  • Eminence speaker


Signal Chain

My set-up changes periodically as i search for new and interesting gadgets, but the heart and soul of my sound in the studio and on stage is represented below in the order they appear in my signal chain:

  1. Korg Pitch Black Mini Tuner
  2. Dunlop Crybaby Mini
  3. MXR Phase 95 (I mostly use the univibe setting)
  4. Boss LS-2 Line Selector
    • Loop 1: BB+ Preamp
    • Loop2: EHX Green Russian Bigmuff into an MXR 6 Band EQ
  5. Keeley 4 Knob Compressor (always on)
    • Attack at 100%
    • Level at 100%
    • Clipping at around 20%
    • Sustain at around 45%
  6. Artist Time Traveler Delay (Used only for rhythmic delay in “Part 6”)
  7. MXR Carbon Copy Deluxe Analog Delay
  8. Voodoo Labs Tremolo
  9.  Joyo American Sound Amp Simulator (used only for recording sessions)
  10. Rolls In-Ear Monitor Amp (Carries guitar and vocal signal)