Joe Don Rooney

As mentioned on this website. Rooney's Les Paul had his wife's lips painted on it.

As mentioned on this website, Rooney owned 2 SGs, one red and one white.

As mentioned on this website.

As mentioned on this website.

As mentioned on this website.

As mentioned on this website.

As mentioned on this website.

As mentioned on this website.

As mentioned on this website.

As mentioned on this website.

Joe Don Rooney’s guitar tech, David Graef, describes the guitarist’s rig as “a fun one. It’s a dry/wet/dry rig with a center 4x12 cabinet, with just the dry amp and two Mathers 1x12 cabinets for the effect left and right signals. We start with two dual Shure UR4D wireless units that go into a line selector made by RJM Technology. From the selector, the signal goes to my pedal board, where I do the majority of his patch changes, and then returns to an amp selector that feeds signal to one of two Bogner Ecstasy 101B heads [miked with three Shure SM57s and a Royer ribbon, pictured], a Blackstar Series One 200 head and a Diamond Decada head, and then out to the 4x12 dry cabinet. I take a line-level signal and feed the outboard effects [TC Electronic D-Two, Fireworx and Reverb 4000]. They return to and are blended through a Midas Venice 160 console and sent to a VHT 292 amp that powers the two Mathers 1x12 cabinets onstage for the wet signal.

Joe Don Rooney’s guitar tech, David Graef, describes the guitarist’s rig as “a fun one. It’s a dry/wet/dry rig with a center 4x12 cabinet, with just the dry amp and two Mathers 1x12 cabinets for the effect left and right signals. We start with two dual Shure UR4D wireless units that go into a line selector made by RJM Technology. From the selector, the signal goes to my pedal board, where I do the majority of his patch changes, and then returns to an amp selector that feeds signal to one of two Bogner Ecstasy 101B heads [miked with three Shure SM57s and a Royer ribbon, pictured], a Blackstar Series One 200 head and a Diamond Decada head, and then out to the 4x12 dry cabinet. I take a line-level signal and feed the outboard effects [TC Electronic D-Two, Fireworx and Reverb 4000]. They return to and are blended through a Midas Venice 160 console and sent to a VHT 292 amp that powers the two Mathers 1x12 cabinets onstage for the wet signal.

Joe Don Rooney’s guitar tech, David Graef, describes the guitarist’s rig as “a fun one. It’s a dry/wet/dry rig with a center 4x12 cabinet, with just the dry amp and two Mathers 1x12 cabinets for the effect left and right signals. We start with two dual Shure UR4D wireless units that go into a line selector made by RJM Technology. From the selector, the signal goes to my pedal board, where I do the majority of his patch changes, and then returns to an amp selector that feeds signal to one of two Bogner Ecstasy 101B heads [miked with three Shure SM57s and a Royer ribbon, pictured], a Blackstar Series One 200 head and a Diamond Decada head, and then out to the 4x12 dry cabinet. I take a line-level signal and feed the outboard effects [TC Electronic D-Two, Fireworx and Reverb 4000]. They return to and are blended through a Midas Venice 160 console and sent to a VHT 292 amp that powers the two Mathers 1x12 cabinets onstage for the wet signal.

Joe Don Rooney’s guitar tech, David Graef, describes the guitarist’s rig as “a fun one. It’s a dry/wet/dry rig with a center 4x12 cabinet, with just the dry amp and two Mathers 1x12 cabinets for the effect left and right signals. We start with two dual Shure UR4D wireless units that go into a line selector made by RJM Technology. From the selector, the signal goes to my pedal board, where I do the majority of his patch changes, and then returns to an amp selector that feeds signal to one of two Bogner Ecstasy 101B heads [miked with three Shure SM57s and a Royer ribbon, pictured], a Blackstar Series One 200 head and a Diamond Decada head, and then out to the 4x12 dry cabinet. I take a line-level signal and feed the outboard effects [TC Electronic D-Two, Fireworx and Reverb 4000]. They return to and are blended through a Midas Venice 160 console and sent to a VHT 292 amp that powers the two Mathers 1x12 cabinets onstage for the wet signal.

As mentioned on this website.

The current rig – three Bogner Ecstasy 101 B Heads, one Hiwatt DG103 head, TC Electronics D-Two, Fireworx, Reverb 4000, Fractal Audio Axe-FX II, RJM IS-8 Amp Gizmo and Rack Gizmo, DLS RotoSIM and Versa Vibe, Exotic EP Boost, Dunlop Rack Wah, Earnie Ball Volume Pedals, Shure UR4D wireless, Fryette power amps, Midas Venus 160 mixing console. Bogner 4×12 an 1×12 speakers, and VooDoo Lab Ground Control Pro controllers.

The current rig – three Bogner Ecstasy 101 B Heads, one Hiwatt DG103 head, TC Electronics D-Two, Fireworx, Reverb 4000, Fractal Audio Axe-FX II, RJM IS-8 Amp Gizmo and Rack Gizmo, DLS RotoSIM and Versa Vibe, Exotic EP Boost, Dunlop Rack Wah, Earnie Ball Volume Pedals, Shure UR4D wireless, Fryette power amps, Midas Venus 160 mixing console. Bogner 4×12 an 1×12 speakers, and VooDoo Lab Ground Control Pro controllers.

There are two pedalboards, one of which Graef uses to control the rig through most of the show. On his board are the Ground Control Pro for all MIDI program switching, an RJM Technology Amp Gizmo for amp channel changes (via MIDI), a Micro POG, Diamond Tremolo, Xotic EP Booster, Boss AW-1 and an Ernie Ball VP Jr. Rooney’s pedal board onstage sees another Ground Control Pro, a tuner, Earnie Ball VP Jr. and a Dunlop Wah controller—all connected to the Dunlop Rack Wah for onstage control of volume and wah.

There are two pedalboards, one of which Graef uses to control the rig through most of the show. On his board are the Ground Control Pro for all MIDI program switching, an RJM Technology Amp Gizmo for amp channel changes (via MIDI), a Micro POG, Diamond Tremolo, Xotic EP Booster, Boss AW-1 and an Ernie Ball VP Jr. Rooney’s pedal board onstage sees another Ground Control Pro, a tuner, Earnie Ball VP Jr. and a Dunlop Wah controller—all connected to the Dunlop Rack Wah for onstage control of volume and wah.

There are two pedalboards, one of which Graef uses to control the rig through most of the show. On his board are the Ground Control Pro for all MIDI program switching, an RJM Technology Amp Gizmo for amp channel changes (via MIDI), a Micro POG, Diamond Tremolo, Xotic EP Booster, Boss AW-1 and an Ernie Ball VP Jr. Rooney’s pedal board onstage sees another Ground Control Pro, a tuner, Earnie Ball VP Jr. and a Dunlop Wah controller—all connected to the Dunlop Rack Wah for onstage control of volume and wah.

There are two pedalboards, one of which Graef uses to control the rig through most of the show. On his board are the Ground Control Pro for all MIDI program switching, an RJM Technology Amp Gizmo for amp channel changes (via MIDI), a Micro POG, Diamond Tremolo, Xotic EP Booster, Boss AW-1 and an Ernie Ball VP Jr. Rooney’s pedal board onstage sees another Ground Control Pro, a tuner, Earnie Ball VP Jr. and a Dunlop Wah controller—all connected to the Dunlop Rack Wah for onstage control of volume and wah.

The current rig – three Bogner Ecstasy 101 B Heads, one Hiwatt DG103 head, TC Electronics D-Two, Fireworx, Reverb 4000, Fractal Audio Axe-FX II, RJM IS-8 Amp Gizmo and Rack Gizmo, DLS RotoSIM and Versa Vibe, Exotic EP Boost, Dunlop Rack Wah, Earnie Ball Volume Pedals, Shure UR4D wireless, Fryette power amps, Midas Venus 160 mixing console. Bogner 4×12 an 1×12 speakers, and VooDoo Lab Ground Control Pro controllers.

The current rig – three Bogner Ecstasy 101 B Heads, one Hiwatt DG103 head, TC Electronics D-Two, Fireworx, Reverb 4000, Fractal Audio Axe-FX II, RJM IS-8 Amp Gizmo and Rack Gizmo, DLS RotoSIM and Versa Vibe, Exotic EP Boost, Dunlop Rack Wah, Earnie Ball Volume Pedals, Shure UR4D wireless, Fryette power amps, Midas Venus 160 mixing console. Bogner 4×12 an 1×12 speakers, and VooDoo Lab Ground Control Pro controllers.

The current rig – three Bogner Ecstasy 101 B Heads, one Hiwatt DG103 head, TC Electronics D-Two, Fireworx, Reverb 4000, Fractal Audio Axe-FX II, RJM IS-8 Amp Gizmo and Rack Gizmo, DLS RotoSIM and Versa Vibe, Exotic EP Boost, Dunlop Rack Wah, Earnie Ball Volume Pedals, Shure UR4D wireless, Fryette power amps, Midas Venus 160 mixing console. Bogner 4×12 an 1×12 speakers, and VooDoo Lab Ground Control Pro controllers.

The current rig – three Bogner Ecstasy 101 B Heads, one Hiwatt DG103 head, TC Electronics D-Two, Fireworx, Reverb 4000, Fractal Audio Axe-FX II, RJM IS-8 Amp Gizmo and Rack Gizmo, DLS RotoSIM and Versa Vibe, Exotic EP Boost, Dunlop Rack Wah, Earnie Ball Volume Pedals, Shure UR4D wireless, Fryette power amps, Midas Venus 160 mixing console. Bogner 4×12 an 1×12 speakers, and VooDoo Lab Ground Control Pro controllers.

UHF-R systems on the tour use UR4D receivers for both lead vocalist Gary LeVox's UR2/SM58 handheld transmitter and Joe Don Rooney and Jay DeMarcus' wireless guitars. With Rooney and DeMarcus both noting that "The new UR4D has given back what we've been missing in our tone," monitor engineer Stuart Delk unabashedly admits that "UR4D wireless technology excels above all others. The self-scan and sync features, combined with higher output levels and audio quality, can only be matched by using a cable. These qualities alone say a lot about why Shure is in this show." "The sound going into the beltpacks is exactly what we get back out," FOH engineer Jon Garber says, getting his own two cents worth in on the guitar wireless systems. "It's like the same energy we get out of the guitar cabinets."

Joe Don Rooney’s guitar tech, David Graef, describes the guitarist’s rig as “a fun one. It’s a dry/wet/dry rig with a center 4x12 cabinet, with just the dry amp and two Mathers 1x12 cabinets for the effect left and right signals. We start with two dual Shure UR4D wireless units that go into a line selector made by RJM Technology. From the selector, the signal goes to my pedal board, where I do the majority of his patch changes, and then returns to an amp selector that feeds signal to one of two Bogner Ecstasy 101B heads [miked with three Shure SM57s and a Royer ribbon, pictured], a Blackstar Series One 200 head and a Diamond Decada head, and then out to the 4x12 dry cabinet. I take a line-level signal and feed the outboard effects [TC Electronic D-Two, Fireworx and Reverb 4000]. They return to and are blended through a Midas Venice 160 console and sent to a VHT 292 amp that powers the two Mathers 1x12 cabinets onstage for the wet signal.