Charles Michael Parks, Jr.

His other stringed instrument is actually a 1966 Rickenbacker 450/12. When he got the guitar it was just a pickguard and body. Along with acquiring an 8-string neck, Parks routed out the pickup slots a little wider so he could put in a set of TV Jones Duo-Trons. This guitar is a package deal with Ben’s Gretsch, so it sees action on “Call Me a Star” and “Talisman.

For bass amplifying needs, he employs this 1980s Sovtek Mig 100 H. Because it’s a bass amp, Parks cranks the treble to help the bass come out louder and clearer

I use a Sovtek Mig 100h into an 8x10 cab, and that’s really my sound.

When I play guitar, I switch off to a ’72 Fender Bassman 10.

Parks’ board starts with a Korg DT-10 tuner that he got cheaper than a case of beer at a used bookstore.

Parks’ board starts with a Korg DT-10 tuner that he got cheaper than a case of beer at a used bookstore. The next one up is an Xotic SP Compressor that he uses to help the bass cut through a little more.

Then he has a Tomkat Bender Fuzz and a ZVEX Sonar—this will be its first time it sees the stage as it’s been a pedal that he just bought and has only fooled around with it at home.

Then he has a Tomkat Bender Fuzz and a ZVEX Sonar—this will be its first time it sees the stage as it’s been a pedal that he just bought and has only fooled around with it at home.

His favorite gizmo right now is the Red Panda Raster Delay because he loves its reverse delay setting.

The MXR Phase 100 is a bass-only pedal and it gets used on “Death of Coyote Woman.” The T-Rex ToneBug Reverb, an Electro-Harmonix Bass MicroSynth—used on “Blood and Sand”— a Nobel AB-1 Active A/B Selector, and Voodoo Lab Pedal Power 2 Plus close out his pedalboard.

The T-Rex ToneBug Reverb, an Electro-Harmonix Bass MicroSynth—used on “Blood and Sand”— a Nobel AB-1 Active A/B Selector, and Voodoo Lab Pedal Power 2 Plus close out his pedalboard.

The T-Rex ToneBug Reverb, an Electro-Harmonix Bass MicroSynth—used on “Blood and Sand”— a Nobel AB-1 Active A/B Selector, and Voodoo Lab Pedal Power 2 Plus close out his pedalboard.

The T-Rex ToneBug Reverb, an Electro-Harmonix Bass MicroSynth—used on “Blood and Sand”— a Nobel AB-1 Active A/B Selector, and Voodoo Lab Pedal Power 2 Plus close out his pedalboard.

The T-Rex ToneBug Reverb, an Electro-Harmonix Bass MicroSynth—used on “Blood and Sand”— a Nobel AB-1 Active A/B Selector, and Voodoo Lab Pedal Power 2 Plus close out his pedalboard.

I was using a Pro Co RAT for a long time for my overdrive tones, but I just got a Tone Bender clone from a company called Tomkat, and that’s been awesome.

I’m using an Xotic SP Compressor and an Akai Headrush, which I use for its looping.

"I used a Blackout Effectors Mantra for all my bass distortion on the first two records."

Bassist Charles Michael Parks, Jr. uses an amputated 1972 Rickenbacker 4001 for most of the night. The guy he bought it from was left-handed and so he had chopped off the upper bout, slashed off some of the headstock, and flipped it around to play lefty. So Parks got the bass super cheap, had set it up to play right handed, reworked the electronics, shaved the bridge and moved it back, and then outfitted it for the proper stereo jack. It usually has D’Addario Half Round (.050–.105) strings on it

Dunlop Ultex .73 mm

D’Addario ENR72 Half Rounds (.050–.105, bass)

My bass sound has a lot do with the half-round strings I use on my Rickenbacker...

Ernie Ball Skinny Top Heavy Bottom 8-String (.009–.080)