Artists Blog

Evan’s Echolution Evolution

evan marien

It hasn’t happened yet—but if anyone were ever to ask me who I felt best represented a “modern bass player” in 2014, I’d pick Brooklyn-based Evan Marien. Evan is a great example for anyone who lives and works in this new world of the professional musician. In this place, the “music industry” is no longer relevant; musicians have grown up exposed to music from every era and style and geographic provenance; technical, theoretical and harmonic proficiency are prerequisites; and technology is a friendly ally in every musical endeavour. Personally, I’ve spent too much time over the last decade or so commiserating with fellow Gen X musicians—complaining, lamenting, struggling to readjust the unrealistic expectations we developed as aspiring teenagers in the heady 1980s. But the players coming up now, as it turns out, are holding several face cards. They aren’t distracted by knowledge of how the “industry” used to work. Technology, including the internet and social media, is like part of their anatomy; it’s instinctive. They have an innate understanding of social media, and use whatever online resources are available to them, especially YouTube. They learn how to produce their own records and make their own videos (in Evan’s case, along with multi-talented videographer/musician Simon Yu), and promote them. They are multitalented and independent in ways previously unimagined.

That pretty much describes Evan. He’s a Berklee-educated bassist with ferocious chops and smooth, even tone. His playing is melodic and inventive, somehow both familiar and fresh-sounding. He uses Ableton Live and other software to create full productions at home, and makes the most of Pigtronix effects—not just as an afterthought, but a powerful sonic ally. He’s done videos for us that beautifully showcase the Infinity Looper, all three bass pedals (Philosopher Bass Compressor, Bass Fat Drive and Bass Envelope Phaser), and now, the Echolution 2.

Enjoy this video first (“I Can’t Complain”), and then click on the Soundcloud file below to hear the bass (and Echolution 2) isolated. You’ll be amazed at how much the E2 is responsible for the overall sound of the track!
“The Echolution 2 played a big part in how I composed the bass around this tune,” says Evan. “What you hear in this video is the Pong and Halo function, along with the Tape and Sweep Filters. It’s such a unique and killer delay pedal.”
Learn more about this great young artist at

[soundcloud url=”″ params=”color=ff5500&auto_play=false&player_type=tiny” width=”100%” height=”18″ iframe=”false” /]

Multiple Mono debut release for UK’s Ricochet Records

New York’s live electronica duo Multiple Mono have brought Rob Paterson’s bizarre sonic experiments to life since 2005. Although active in the local dance scene, Rob and collaborator Colin Kasprowicz’s work is far from any insecure dance music conventions, the character of their independent musical universe strengthened by the fact Rob escaped the claustrophobia of NYC many years ago, now living and composing from a cabin deep in the woods of Long Island.

multiple mono 1

Following releases on Minus12 and Little Helpers, their first EP for London England’s Ricochet Records (just released) demonstrates the power of the duo’s productions and personality that spills from their live arrangements. A firm grasp of minimal dance drives opener False Prophet – leading by example that less is more, immense power carried by just a drum machine and bass synth in their hands. Things then get somewhat psychedelic, as Peregrine introduces us to what they describe as “33tech”, the result of experiments playing minimal techno 45s at 33rpm. Hovering around 100bpm, this avant-garde piece is a blissful reminder of why artists need the confidence and space to follow their own instinctive path – a compelling, phat and bizarre beast worth delving deep into. Vinegar Chicken brings us back uptempo, although the sparse groove, acid-disco synths and switching arrangement make this a DJ tool to keep the jockey firmly on their toes. Colin is very excited about the contribution of the Bass FAT Drive to this track!

multiple mono 2

On remix duties is Justin K Broadrick (Napalm Death / Godflesh / Jesu) reviving his electronic side project Pale Sketcher (Ghostly International) for a beautiful slice of heavy ambience. New signing Muni Manuka leaves a slice of classic Ricochet broken tech to round off this twenty-first outing for the label.

Preview and purchase here:

Big Sounds from Little Big Town

Chart-topping, award-winning country group Little Big Town is on a huge tour that’s taking them to arenas across North America until next February. Their hit single “Pontoon” (from their fifth album Tornado, released last year) won them the Best Country Duo/Group Performance Grammy, single of the year at the CMAs, and Music Video of the Year at the American Country Awards. Since their debut album in 2002, they’ve garnered a score of awards and nominations, as well as gold and platinum records.

The group’s sound features beautiful four-part harmonies—and in fact the group has lent their vocal talents out to other artists, including John Mellencamp and Collin Raye. But the players in the band really lay it down too, with incredible tone facilitated by Pigtronix!

Guitarist Johnny Duke uses the Envelope Phaser, Philosopher’s Rock and Quantum Time Modulator. “Love your pedals!” he says.

Bassist John Thomasson has been spending time with a whole host of Pigtronix effects, including Disnortion, Philosopher Bass Compressor, Bass Fat Drive, Envelope Phaser, Philosopher’s Tone, Keymaster and Quantum Time Modulator. “I’m loving the new pedals,” he says. “I’m running the Compressor and the Bass Fat Drive at the beginning of my chain and I’m just leaving them on the whole show with the drive on a lower gain setting. Our front of house guy is loving the dirty signal. It’s really gluey in the mix. The Disnortion has really become something that I couldn’t live without with this band.”
Check out John’s Blog site.

And check out this exclusive video shot at a soundcheck in Atlantic City… The band is jamming on Fleetwood Mac’s “The Chain”. Johnny Duke gives us a tasty sample of slide with the Philosopher’s Rock, and then we hear John Thomasson utilize the Pignortion, Philosopher Bass Compressor and Bass Fat Drive to great effect!

Check out Little Big Town soon in your little or big town!

Phasing Laswell’s Envelope

I’d heard his work and influence all around, but I’m trying to remember when producer/bassist Bill Laswell actually first showed up on my radar. I suspect it was in the early 90s when an engineer who was recording my band at the time hipped me to the album “Cyclotron” by Blind Idiot God. It was—and remains to this day—a real trip. A Laswell-produced trip. It was guitar power-trio space-age hardcore (?) with incredible guitar tone and riffs that cyclically slow down and speed up (a great musical concept I’ve been meaning to steal but still haven’t). And, due to the sheer intensity, just to cleanse the palate, every third track is spacy dub reggae. Laswell is a big and highly legit dub force, by the way, having worked extensively with Sly and Robbie, Yellowman, Lee Scratch Perry and even (posthumously) Bob Marley himself.

But the range of Laswell’s work (spanning from 1978 to present day) is astounding. Stuff you’d know… Herbie Hancock “Rock It”!, Mick Jagger, Brian Eno, PIL, Yoko Ono, Peter Gabriel, Blur, Bootsy Collins, Miles Davis (posthumous reconstructions), Fela Kuti, Motorhead, Iggy Pop, The Ramones, Stevie Salas, Bernie Worrell… and then a gazillion fascinating artists you probably don’t know, probably like the aforementioned Blind Idiot God. Much to explore for all of us.

As an eclectic and vastly experienced producer, you can be sure Laswell has explored the outer limits of sound. And he’s still found some new sounds by plugging into Pigtronix effects!

Check out this special creation by Laswell and longtime engineer/collaborator Bob Musso, made to explore the potential of the Envelope Phaser:

“The Pigtronix Envelope Phaser has been on my pedal board since I got it about three years ago. I’ve been using it mostly for low end. It’s very smooth and big…very different from other pedals I’ve used…feels right… On the Pigtronix demo track we used the envelope on electric bass and also processed other sounds (beats, rhythms) with the pedal… Ideal for experimental processing and creating different effects… Praise The Pig!”

Bill Laswell, September 27, 2013, Hell’s Kitchen, NYC

This Punch is Spiked

Back in July I visited Nashville for the first time, consuming bourbon, beer and burgers in Broadway bars and soaking up the hurting songs of Merle Haggard and George Jones played by a couple of fantastic, authentic country bands. Both bands repeatedly and pointedly lamented that they were among the few remaining local purveyors of “real” country music—unlike most of the bands on the strip, who were playing some kind of watered down country that consisted mostly of classic rock covers performed on Telecasters. I felt for them. And I preferred the music they were playing. As I looked up at a sign on the wall that read Hank You, I felt like I was appreciating and supporting a powerful and unique part of music history. It does seem that a lot gets lost along the way when it comes to musical tradition… those who pioneer the genres are rarely equalled by those who follow.

But from time to time, we see musicians who value and understand the traditions, but also dare to take them to another level. Punch Brothers, led by charismatic mandolin virtuoso/singer Chris Thile, are a perfect example of this. Several members of the group started performing professionally as children in bluegrass bands. They honed their chops (to a very high level) and, along the way, were influenced by a wide variety of other musical styles. In the documentary “How to Grow a Band”, which chronicles the early years of Punch Brothers, we see Chris on the phone with a British promoter, complaining that they’re being billed as a bluegrass band—and should not be. In another scene, John Paul Jones talks about the rare creative opportunity that the band saw and seized. Unlike the commercial bands on Broadway in Nashville, Punch Brothers are true artists, doing what great artists do: creating something new out of everything that went before. They play classical music, Radiohead covers, progressive indie pop and polyrhythms, and still evidence a profound respect for their roots. There’s no sacrilege here, just glorious creation.

One thing that creative freedom leads to is, you guessed it, effect pedals (you knew I was leading up to this somehow). Does this look like a traditional bluegrass band to you? I see a lot of hardware on that floor…

Punch Brothers on Letterman

Here’s Chris Thile checking out the Envelope Phaser at a rehearsal in Brooklyn:

Bassist Paul Kowert, who studied with Edgar Meyer, has been using the Disnortion pedal liberally both live and on the band’s latest album Who’s Feeling Young Now? “Disnortion is working every day and kicking ass,” says front-of house engineer David Sinko. “I brag on it everywhere.” Check out this live video for a taste:

I’m told that guitarist Chris Eldridge has taken possession of an Infinity Looper, so the Punch Brothers stage is likely to only get more cluttered…

If you want to hear some incredible musicianship in a truly fresh context, do yourself a favor and check out Punch Brothers!

Bakithi Kumalo, from Graceland to Guitar Center

Like most bass players I know who learned to play in the 1980s, when I heard the bass playing on Paul Simon’s Graceland album (released in 1986), my conception of bass opened up a whole lot wider. Here was a guy, at the time unknown, playing horn-like melodies with this really cool, fluid bass sound and slapping on fretless, bringing us a bass style we had truly not heard before. And then, to top it off, there was that breathtaking reverse-and-forward slap fill in “Call Me Al”: something so unique, so technically impressive, but also so musically rich that it helped define the song instead of simply showing off the bass player. Well, that guy was South Africa’s Bakithi Kumalo. Although he’s most celebrated for his work with Paul Simon, he’s also supported Gloria Estefan, Herbie Hancock, Chaka Khan, Harry Belafonte, Cyndi Lauper, Mickey Hart and others, and has released six of his own albums.

Here he is showing us some of the classic Graceland bass lines, with the help of the Bass Envelope Phaser. It’s enlightening to see how he plays the “Call Me Al” lick (having performed this song myself!), and it’s also interesting to hear how the BEP actually makes his fretted bass sound more fretless!

Bakhiti is bringing his sound, his stories, his wisdom and his Pigtronix bass pedals (Bass Envelope Phaser, Bass Fat Drive and Philosoper Bass Compressor) to three upcoming Guitar Center clinics in Pennsylvania and New York states, starting THIS THURSDAY. There will also be product discounts and giveaways, so if you’re near any of these stores, don’t miss it! All clinics start at 7pm, and admission is free.

Thursday, Sep 26
Guitar Center
250 Lehigh Valley Mall Space 720
Whitehall, PA
Phone: 610-231-0616

Thursday, Oct 3
Guitar Center
8 Garet Place
Commack, NY
Phone: 631-858-2388

Thursday, Oct 10
Guitar Center
2141 Palmer Ave.
Larchmont, NY
Phone: 914-833-9600

Steve Hunter’s Manhattan Blues

I’m guessing the majority of our blog post readers are guitarists. Right? That would make this an excellent place to gush about the new album by guitar legend Steve Hunter: The Manhattan Blues Project. To refresh your memory, Steve created rock guitar history on classic albums by Alice Cooper and Lou Reed, and has also recorded with Mitch Ryder, Crowbar, Jack Bruce, Aerosmith, Dr. John, Peter Gabriel, David Lee Roth, Julian Lennon and others. The new album is centered around Steve’s sweet, singing guitar tone, but also features contributions by Joe Satriani, Michael Lee Firkins, Marty Friedman, Joe Perry, Tommy Henriksen, Phil Aaberg and Johnny Depp (!). There’s also a lovely composition by Jason Becker.

There’s not much straight-up blues on the record, but everything Steve plays has a bluesy flavor to it. The bluesiest track here (“The Brooklyn shuffle”) includes a great solo by fellow Pigtronix user Joe Perry! Peter Gabriel’s first solo single, Solsbury Hill, featured a classic guitar figure performed by Steve. He recreates the tune here in instrumental form 36 years later. Incidentally, Pigtronix artist Tony Levin also played on both versions! Steve’s tone is unbelievable, and his playing is always tasty. Tuning his guitar down gives him extra slack to do beautiful bending licks with extra ease, adding yet more expressiveness to his playing. If you don’t know much of Steve’s playing and you’re a David Gilmour fan, this will be right up your alley.

Steve is a great Pigtronix supporter. “Pigtronix pedals are pretty much like no other on the market,” he says. “They always offer something unique, quirky and fun but at the same time very musical and usable. It’s always a blast plugging one in and twisting the knobs. It’s like opening Pandora’s box and all these groovy things come out. And I find myself waiting and anticipating the next new pedal. There will always be at least one Pigtronix pedal in my pedalboard!” Pigtronix pedals were used extensively for the recording of the Manhattan Blues Project, and Steve is a fan of the Disnortion, Echolution, Envelope Phaser, Philosopher King, Philosopher’s Rock, Polysaturator and Tremvelope.

Check out Steve working on the album in this video, and dig the Pigtronix pig in the center of the frame!

And hear him show off the Quantum, Polysaturator, Echolution, Aria, Philosopher King, Fat Drive and Philosopher’s Rock in these killing demos!

Check out “The Manhattan Blues Project” and more at:

Brandon Gilliard Bassist for Janelle Monae on Letterman!!! New Album “Electric Lady” Out Now!

Brandon Proudly rocks Pigtronix Philosopher’s Bass Compressor, Original Philosopher’s Tone, and Bass Envelope Phaser.

Electric Lady is available now on Itunes copy this link to Browser:

-1 BEAR, +2 PIGS

Like many musicians, I appreciate music in any genre that involves instrumental creativity—not necessarily chops, but good, bold, unusual ideas. I like thoughtful lyrics, but also like thoughtful parts. In the indie rock genre, this level of creative musicianship is sometimes hard to find, but there’s definitely a subgenre that some might call intelligent indie rock. Sometimes it’s almost like indie prog—like prog without pomp. I’m not talking about intelligent pop (aka power pop), which is more polished-sounding and lyrically clever, less raw, less moody. I’m thinking stuff like Pele, Shudder to Think, Explosions in the Sky, and Canada’s Wooden Stars, whose last album I had the privilege of producing.

I first heard Minus the Bear last year, and was a little late to the party. The band formed in Seattle in 2001 and have released five albums and four EPs since then. Their sound is largely shaped by the innovative guitar approach of Jake Snider and Dave Knudson, who each use several looping pedals to sample and trigger hooky little guitar bits, which are sometimes played back double-speed. The effect is kind of futuristic, and adds a more produced-sounding layer to their otherwise very indie sound (sidenote: they’re both checking out the Infinity Looper, hopefully more news on that coming soon!).  But the other notable thing is the fantastic and inventive rhythm section, made up of Erin Tate on drums and Cory Murchy on bass.

Minus the Bear's Cory Murchy

Cory has discovered the Bass Philosopher Compressor and Bass Fat Drive. “All these years without a compression on my pedal board and I’m stoked to finally have one! It’s exactly what I needed,” he says. “Both the Philosopher and the Fat Drive will be used on the upcoming tour and foreseeable future for that matter. I don’t know if you’ve seen my set up, but I’ve been pretty much a minimalist when it comes to this band but I’m excited to incorporate Pigtronix into the fold.”

Minus the Bear is heading out on a big North American tour this month until November, don’t miss them when they pass through where you are: Minus the Bear Fall Tour 2013


If you spend as much time reading artist bios as I do, you may have noticed that one of the things most artists boast is originality. “Cutting edge”, “innovative”, “unique”, “a sound all their own”—but these phrases have now lost their meaning. For Brooklyn’s Snarky Puppy, however, it’s a badge well-deserved. The closest term that fits them might be—very broadly speaking—“fusion”. But it’s not fusion you’ve heard before. It’s a fusion of music styles from both since and before the early 70s, when the real pioneers of the genre changed music history by combining jazz, rock and funk. In the 80s, fusion became a dirty word, because for the most part it became distilled and homogenized; the inventiveness and daring disappeared. But for their fearless “fusion”, Snarky Puppy draws on hip hop, modern R&B, electronica, alternative rock, world music and other genres to create an exciting new style that is as danceable and vibey as it is virtuosic. They’re building a rabid international following by touring incessantly, releasing great new music like crazy (three projects this year), and connecting with their fans in myriad ways (their CDs are in fact released with DVDs that show the recording performance, in front of a small studio audience).

Bob Lanzetti and Michael League with Snarky Puppy

Michael League, the band’s leader, bassist and main composer, has been enjoying the Bass Fat Drive, Bass Philosopher Compressor, and Bass Envelope Filter. “These pedals RULE!!!” he says. “Been using the shit outta them.”

Guitarist Bob Lanzetti has been rocking the Fat Drive as well as Infinity Looper. “The Pigtronix Infinity Looper is an extremely versatile pedal,” he says. “It has looping capabilities for every need. Using sync multi series loops you can easily loop guitar parts for verse/chorus type song structure and switch between the two by just stepping on one button. You can also layer loops out of time to create interesting arhythmic sound masses while reversing certain loops and not others and adjusting the volume of the loops individually.”

This week, Mike and Bob shot a new video for us featuring most of these pedals… Stay tuned for the finished product next week! In the meantime, check out Snarky Puppy online (, experience the band on tour in North America right now… and dig this spacey video that Bob did with the Infinity Looper!

Ill Nino Fall Tour

Pigtronix Artist Ill Nino will be on tour this fall in support of thier latest album “Epidemia”. I really love the new album. It is some of the heaviest material to date!!!

Ill Nino’s Powerful signature Latin style of percussion, melody and groove all come together nicely on “Epidemia”.

Guitarist Diego Verduzco Rocks the Pigtronix Echolution, Philosopher’s Tone and now the new Quantum Time Modulator.

In addition to playing in Ill Nino, Diego also owns Artifact Tattoo:

20655 Soledad Canyon Rd
Ste 15
Canyon Country, CA 91351

(661) 298-8206

Fates Warning Exclusive – Streaming New Song “Firefly” & 2013 Fall Tour

If you are a Prog Fan like me, then you are fimilar with Fates Warning. The long awaited new album entitled “Darkness In A Different Light” will be released Sept 30 in Europe & Oct 1 in North America. I cannot wait.

You can listen to the new track “‘Firefly” here:

FATES WARNING North American Tour 2013:
FR 15.11.2013 Joliet, IL - Mojoe's
SA 16.11.2013 Detroit, MI - Harpos
SU 17.11.2013 Louisville, KY - Diamond Pub & Billiards
MO 18.11.2013 Cleveland, OH - Peabody's
WE 20.11.2013 Toronto, ONT - Mod Club
TH 21.11.2013 Poughkeepsie, NY - The Chance
FR 22.11.2013 Hartford, CT - Webster Theater
SA 23.11.2013 New York, NY - The Studio @ Webster Hall
SU 24.11.2013 Clifton, NJ - Dingbatz
TU 26.11.2013 Amityville, NY - Revolution
WE 27.11.2013 Reading, PA - Reverb
FR 29.11.2013 Springfield, VA - Empire
SA 30.11.2013 Spartanburg, SC - Ground Zero
SU 01.12.2013 Atlanta, GA - Masquerade
TU 03.12.2013 Houston, TX - Scout Bar
WE 04.12.2013 San Antonio, TX - Backstage Live
TH 05.12.2013 Dallas, TX - Trees
SA 07.12.2013 Phoenix, AZ - Rocky Point Cantina
SU 08.12.2013 San Diego, CA - Brick By Brick
TU 10.12.2013 Los Angeles, CA - The Whisky
WE 11.12.2013 San Francisco, CA - DNA Lounge
FR 13.12.2013 Portland, OR - Hawthorne Theater
SA 14.12.2013 Seattle, WA - Studio Seven
More details about “Darkness In A Different Light” will follow in the coming weeks…
FATES WARNING Line-Up: Ray Alder – Vocals Jim Matheos – Guitars Joey Vera – Bass Bobby Jarzombek – Drums Frank Aresti – Guitars
Joey Vera and Jim Matheos are Pigtronix Artists!!!

Phillip Anselmo & The Illegals New Album & Tour

Pigtronix Artists Marzi Montazeri and Stephen Taylor have hit the road in support of the new album ‘Walk Through Exits Only”.

Shredder Marzi is currently rocking the Pigtronix Infinity Looper while Bassist Stephen is rocking the Disnortion.

Being a long time fan of Phillip Anselmo, the new album is pretty damn heavy. It is one extreme & savage riff after the next. Marzi has one hell of a right hand, and he also opens it up with some tasty solos.

Anselmo, who is up for Best Vocalist at this year’s Revolver Golden Gods awards hasn’t compromised his anger, or toned down any over the years…

The album artwork is also pretty intense.



I suggest you check out the tour dates page and get out there son!

Stephen Taylor Interview From Phillip Anselmo & The Illegals


Queensryche Releases Self-Titled New Album 6.25.2013

I’ve been a fan of Queensryche for so long, I don’t remember not being a fan. One of the first concerts I saw was Queensryche on the Operation Mindcrime tour opening for Metallica supporting “And Justice For All”.  It was a pretty big deal.

In 1991 Queensryche headlined the “Empire” tour and for those of you that were there, it was unforgettable. They played Operation Mindcrime in its entirety, with a monster stage, and in front of two screens. It was a big production, and one of the greatest shows I have ever witnessed.The Promised Land tour was a close second…

It is an honor to work with Guitarist Michael Wilton. The new album lives up to its lineage, with new front man Todd La Torre.

Back to basics for Queensryche, great solo’s, bottom end and most of all, synergy.  This is a must have for anyone.

Michael Wilton said “Thank you!!!. When you get the CD every solo was done with the FAT Drive pedal or the Class A Boost. The crazy noise at the end of Redemption is your Echolution pedal.”

Polkadot Cadaver “Last Call In Jonestown” New Album Out Now!

If you haven’t heard of the band Polkadot Cadaver, it’s time that you did.

A few years ago I was driving home in the  pouring rain on Long Island. I scrubbed through my XM channels to Liquid Metal and was introduced to PC for the first time. The track that I heard was a song called “Sea Grave” off the first album “Sex Offender”.

This song and the band intrigued me.. Great riffs, hooks, guitar and vox. The rain came down, and I could hardly see out the windshield. It was obviously divine intervention right? I met with the guys in NYC on the first leg of the tour, and showed them the Piggy ways. Guitarist Jasan Stepp and Vocalist Todd Smith are (in my opinion) the most under rated duo in metal today.

Jasan has so many riffs, and adds in great textures that you need to listen in the phones to really appreciate. Todd can lay down some heavy screams, but can really sing as well. The dude has pipes.

If PC isn’t enough for you, they also play in other projects. Knives Out! which was one of my favorite heavy albums of 2012 and El Creepo.

Last Call In Jonestown picks up where the first album left off. The opening & title track is a beast..

Jasan said “You’ll be pleased with this record…. pigtronix all over it:)”

Backstage with Polkadot Cadaver

High On Fire Spitting Fire Live, Vol 1 & 2

High on Fire has just released the bands first ever live albums. These shows were recorded live in NYC and in Brooklyn on Dec 1, 2012.

I had received a phone call from bassist Jeff Matz the day of the Williamsburg Brooklyn show asking if I knew of a local repair shop. Apparently Matt Pikes main amp had suffered road rage and needed some love. I suggested they borrow my own personal Bogner Uberschall for the recording.

Matt Was pleased with his tone that evening, and I was honored that my amp “Mr. Uberschall”  made it to the live album. I was bummed there was no credits on the albums, but hey I don’t do this stuff for the money, power, glory or fame yo.

This blistering two cd set is a must have for any High On Fire fan, or anyone looking for a hearty, healthy kick in the teeth.

Highlight for me is Fertile Green, it’s my favorite track. I mean I wish I could have written the riffs post solo. It’s pretty savage. Snakes of the Divine is also crushing.

Available on Itunes, Vinyl and everywhere else.

In the Studio with Fates Warning Bassist Joey Vera

Fates Warning is one of my all-time favorite Prog Rock Bands. I’ve been a fan since 1991’s Parallels album. They really laid down the blueprint for complex prog metal in the late 80’s and early 90’s. They took a lot of risks, and it is an honor to work with Guitarist Jim Matheos and Bassist Joey Vera.
If you are unfamiliar with Fates Warning, I suggest you pick up:
1997’s “A Pleasant Shade Of Grey” & 2000 “Disconnected”…
Both of which are a Masterpiece.

In this video Joey Vera walks through his Bass gear, using The Pigtronix Philosopher Bass Compressor.

Ghost B.C. & Pigtronix on Tour

I met up with the hottest metal band in the world Ghost B.C. this Saturday at NYC’s Webster Hall.

The Nameless Ghoul on Keyboards rocks a Pigtronix Echolution for all his delay and texture needs, while a Pigtronix Disnortion sits in the shelf for the Nameless Ghoul on Bass.

I suggest you catch Ghost B.C. on this world 2013 tour.







Song Premiere- Pigtronix Artist Marzi Montazeri – Phil Anselmo & The Illegals


Lead Guitarist Marzi Montazeri slays this track with legendary frontman Phil Anselmo.