Glance how these guitar-playing producers save pit-provoking, scandalous sounds by combining a Swollen Rep 22 situation, 5150s, and wayward pitch-appealing.
There’s heavy tune … and then there’s Damage. Formed in 2017, the band is vocalist Brendan Murphy (Counterparts), guitarist Will Putney (Match for an Put up-mortem), guitarist Gregory Thomas (previously of Shai Hulud and Effort Signals), bassist Jay Pepito (Reign Supreme), and drummer Billy Rymer (the Dillinger Net away Thought). The supergroup changed into as soon as created to push the extremes of hardcore tune. And, as you’ll soon uncover on this Rig Rundown, mission performed.
From day one, guitarists (and producers) Putney and Thomas strived to save plenty of a signature calling card. They obligatory a horrible, monolithic tone that bulldozed listeners. “It’s comely aggressive [laughs],” concedes Putney. “After we started the band, Greg and I talked about finding an identifiable tone that changed into as soon as us and sticking with it.”
And the roots of their sledgehammering sound? “We’re very influenced by the Nordic steel of Entombed, and then, later, Immoral Sound, and American delineations Entice Them,” says Thomas. “Rather plenty of these bands count on the Boss HM-2 or clones to procure their grinding distortion. We truly landed on the Design Broad Swollen Rep 22 situation fuzz on myth of it’s extra whisper for our galloping deciding on and affords extra handle watch over.”
Whereas the band does proceed to convey their repeatedly crushing sound, the Rep 22 situation repeatedly satisfies. “At any time as soon as we myth something, we’ll are attempting other pedals rather then the Swollen Rep 22 situation, nonetheless we repeatedly return to it,” admits Putney. “It’s change into the one. It’s us.”
Hours sooner than Damage’s sold-out advise at Nashville’s the Damage (appropriate coincidence), PG’s Perry Bean popped onstage to explore the (nearly) mirrored, merciless setups of guitarists-grew to change into-producers Putney and Thomas. Thomas details how three octave pedals and two noise gates coexist in his setup. Putney pulls assist the curtain on the form of his signature STL Tones Tonality kit. And both advise that a bottom-heavy fuzz paired with prominent pitch-stepping genuine into a 5150 is the system to share seas and elicit moshing insanity.
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A Point out Marauder
The connection between Gregory Thomas and the Gibson Marauder is also pinpointed to when he first saw Quicksand’s video for “A Thorn in My Facet.” It featured frontman Walter Schreifels riffing on the now not noted singlecut. It changed into as soon as most efficient in production for five years (1974-1979), turning out beautiful over 7,000 guitars. The Maurader changed into as soon as aimed as a crawl-on-neck, single-coil rival to the popular Fender items. Thomas has nonetheless four of these ’70s oddballs, and whereas all of them share the identical ingredients (modified with humbuckers), he claims each has its possess distinctive snap and state.
Currently, this Marauder has a Seymour Duncan Nazgul (bridge) and Sentient (neck). The neck pickup is disconnected, making the pickup selector a killswitch. For Damage, both Thomas and Putney dwell and die on the bridge pickup. His backup Marauder has a custom-trouble space of Dusky Triangle humbuckers. They exist in descend C tuning (with the low E tuned to C rather then D, to save plenty of extra dissonance) and spend totally different string brands gauged .010–.052.
Are You Incorrect?
The extraordinary Marauder continues to baffle because it is paired with a headstock on the entire reserved for Gibson’s Flying V guitars.
Earlier to starting Damage, Thomas performed rhythm guitar for the metalcore act Effort Signals. After wrapping a tour, he and lead guitarist/cofounder Ryan Morgan by chance swapped Peavey 5150 heads. They later acknowledged the goof nonetheless saved the usage of 1 but any other’s amps. The above firebreather changed into as soon as used by Morgan on the band’s first albums Of Malice and the Magnum Heart and Mirrors. Since adopting this 5150, Thomas had its innards overhauled by “Stereo Joe,” who eradicated pointless resistors and installed bigger filter caps, giving the amp extra quantity and bite. It hits a sturdy Atlas 6×12 that’s constructed with dovetailed 13-ply (3/4″) Baltic birch and completed with a maple hardwood entrance frame. The speakers inner are four Celestion Classic 30s and two Celstion G12H-75 Creambacks.
Up, Down, Up
There’s typically three predominant capabilities or sections to Thomas’ pedal playland: fuzz, noise, and pitch-appealing. The Design Broad Swollen Rep 22 situation is Thomas and Putney’s substitution for the heralded Boss HM-2 buzzsaw—a hallmark of the Scandinavian-steel sound. The Rep 22 situation runs into the soiled channel of the 5150, growing a cascade of filth and furor. Subsequent is the noise (or lack thereof). Damage are givers of save, and to handle issues tight both guitarists flee two Fortin Zuul noise gates. Thomas puts a brand unusual Zuul+ on his board, controlling the Rep 22 situation, whereas an normal Zuul runs all thru the amp’s results loop to snare any closing buzz. Damage’s low-stop tidal wave of destruction is fortified with plenty of pitch-shifters adding in low octaves. To attain this chest-punching energy, Thomas employs an Electro-Harmonix Pitch Fork (dropping their tuning down to A#), CopperSound Pedals Triplegraph (co-designed by Jack White), and a Boss PS-3 Digital Pitch Shifter/Delay. (Inspiring observers will leer a MXR Carbon Copy that doesn’t necessarily match into these classes, nonetheless he does flee it with the mod circuit engaged, giving a miniature up-and-down pitch shift to the delayed signal. So, it technically would possibly possibly well match below the pitch-appealing umbrella.) And a Voodoo Lab Pedal Strength 2 Plus brings existence to his board, whereas a Boss TU-2 Chromatic Tuner keeps his guitars in take a look at.
A Cyclops and Bigfoot Inch Into a Bar…
Guitarist Will Putney first made his impress in heavy tune when he started deathcore sellers Match for an Put up-mortem in 2008. Rapidly after that, he added production to his musical credit when he opened Graphic Nature Audio, his Belleville, New Jersey, studio. He’s since keep his impress of stank on over 50 albums by totally different bands, including Every Time I Die, Counterparts, Admire Moths to Flames, Body Count, Four Year Right, and, clearly, his possess outfits. All this background records is pertinent to put that Putney doesn’t fracture time with subtleties.
When looking for out a Dunable Cyclops, he requested builder Sacha Dunable (also guitarist/singer of Intronaut) to give him “the loopy” pickup, so Dunable dropped in his Bigfoot. The ceramic, rail-model passive pickup affords about 20k of firepower. The swamp-ash body aspects an outsized single knob that controls quantity, and it comes with a 25.5″ scale dimension.
5150 Allotment Deux
Admire Thomas, Putney would now not shuffle away dwelling with out his Peavey 5150. He’s had this 5150 II mannequin since he changed into as soon as 18. He excursions with but any other Peavey 5150 and loves recording with the EVH 5150 III (EL34), nonetheless this is the one. (As a result of this truth, it is nestled genuine into a genuine road case for scramble.) It feeds genuine into a an analogous Atlas 6×12, to harmonize with Thomas’ aural avalanche.
Putney Pulverizes with Pedals
The first five pedals on Putney’s board are the identical as Thomas’ setup (TU-2, Zuul+, Pitch Fork, Swollen Rep 22 situation, and Triplegraph). His board kinds its possess form with the addition of the Awful Pedals Demon Lung (fuzz), EarthQuaker Gadgets Astral Destiny, and MWK Audio Make Lonely Ghost (delay/reverb/boost). He runs a dbx 266xs Compressor/Gate within the outcomes loop of the 5150 II.