Axe Murder

I run these on every rack case I have and in my studios. They are the beginning of every one of my systems.

I use this for distorted vocals on all my projects. Bullhorn sound is too easy to get. It's also impervious to damage having survived several tours and records.

When I created Dubstomp it had to be the heaviest hardest dubstep ever. Only QSC can roll as hard and loud and clean as I do at a rave. My mx 1500a powered subs make my bass a "Seismic Threat".

I got this in the 1980's when they still made them like they used to. The meanest standalone phaser ever.

This guitar was originally owned by Brad Whitford. He traded it for an ounce of coke to the dealer I acquired it from in 1978. I purchased it in 1987 and played her on several records and tours.

When I created the Dubstomp sub-genre of Dubstep and became the first guitarist to play dubstep I powered my guitar-synth rig with Eventide and nothing else. If Eventide can't meet your processing needs you need to give up now.

When I created the Dubstomp sub-genre of Dubstep and became the first guitarist to play dubstep I powered my guitar-synth rig with Eventide and nothing else. The H9 Max forms the second half of my core guitar-synth rig. If Eventide can't meet your processing needs you need to give up now.

As the creator of the sub-genre Dubstomp I require the highest gain, lowest noise, purest sound and best tone from my amps to compete with the super clean sounds EDM DJ's produce on computers. Only the new 4 channel amps from Marshall come close to what my TSL has been doing for 15 years. If you don't use Marshall, fuck off. I aquired a second one of these heads this year and as far as i know I'm running the only twin TSL stacks currently on tour in the world! now i just need a whole other set for stage left.

I use my Heil Talkbox to create any and all vocoder style sounds plus the most whacked out EDM sounds ever heard. As the first guitarist to play dubstep and the creator of the sub-genre Dubstomp I rely on my talkbox for many of the sounds in my guitar-synth arsenal. i make it talk and it speaks volumes.

I use my Original Cry Baby Wah to make the heaviest, hardest, meanest dubstep EDM sounds. Along with my Eventides and talkbox it forms the core of my guitar-synth rig and helped me create the sub-genre of Dubstomp.

I tried virtually every noise reduction and gate system ever made back in the 1980's and nothing worked at all. If a pedal actually gated noise it left my gain reduced to Fender levels and killed my sustain and feedback. Only Rocktron stopped the noise and left my super high gain intact and allowed me to control my feedback from anywhere on stage.

When I created Dubstomp it had to be the heaviest hardest dubstep ever. Only QSC can roll as hard and loud and clean as I do at a rave.

It was made in the 1970’s and still it has more features than any other newer digital metronome. It does all of the time signature accent patterns, no accent, half speed and double speed. It has a pleasant click, no annoying chirp or beeping. At full speed the clicks are still distinguishable unlike an app on a phone. It has a volume control, ac or dc power. The only issue is that it has only traditional metronome values, so no 75 bpm or anything goofy, however so many artists do insist on using unnecessary values that I use it primarily for my Classical work.