I've gone through so many types of effects over the years, starting off with pedals then turning over to rack effects then back to pedals. Pedals have the warmth needed and when used correctly, the greatest tones will definitely come from pedals.  

My pedal board is fairly conventional, all true bypass and is designed for my tonal needs for both recording and live use. It starts with housing everything in this Pedaltrain Terra 42. It's powered with two Voodoo Lab Power Plus 2"s. From right to left here we go. Guitar to input to the MXR Smartgate then into the Fulltone True-Path ABY, this pedal is the cleanest and purist way to send your signal to two separate amps. Then the signal goes into TC Electronics Polytune tuner. From there it goes into the EarthQuaker Tone Job EQ pedal. Then to the Cry Baby 535Q Wah. Then it goes into the Mesa Grid Slammer, this distortion pedal gives just enough break up for juicy bluesy deliciousness. I use a lot of different distortions and even though I prefer amp distortion at full distortion levels, I do need and love slight breakup and this pedal is the bomb! Next it goes into the Mesa Throttle Box for another level of pure distortion. Next into the EarthQuaker The Depths vibe pedal. Then the signal goes into amp input to run through the amps preamp section because as stated amp distortion rules. Then the signal in sent out of effects loop of amp and back to pedalboard into the mesa Five Band eq, this shapes the Royal Atlantic's distortion sound to perfection. From there it goes into the EarthQuaker Pitch Bay. Then into the Eventide PitchFactor, yes I love all types of pitch shifting and harmony. Then it goes into the MXR Anolog Chorus out into the TC Electronics Flashback x4 into the TC Electronics Hall of Fame Reverb and finally into JHS Mini Bomb booster. From there the signal goes back to the effects return of amp.  Also on the pedal board far right corner is the Royal Atlantic's channel footswitch.

Now Playing: 
'Caffeine Blast' - from Deal With It
After years of owning different guitars, I am back to the basics with Gibson Les Paul Customs as my primary electric guitars.  I have owned everything from custom guitars (made exclusively for me by Renaldo guitars), and pretty much all major brands; Gibson, Fender, Yamaha, Jackson, Heritage, etc.  Les Pauls suit my needs the best, they really give me all the tone I need along with my amp rigs. Four of my Les Paul Customs, the re-issue 1968 Triburst, re-issue 1968 Natural, White and Maple with maple neck are stock and no modifications have been made.  The other four are custom Lucien models which are each designed with different specifications.

I use specific Les Paul Customs for the different styles of music that I play, write, record, etc. With each of their own features (pickups, wood types, hardware, and appearance, etc.) they give me the tones, playability and style for each genre. 

The Fender '72 Thinline Tele is my main guitar for live and for recording. The thin maple neck and the hollow body make it the perfect fit for me and my playing needs. 

It has a very vintage sound, which is great for  crunchy rhythm. It also has a warm clean tone, because of the hollow body and the pickups.  

Of course, the Shell Pink vintage finish and mother of pearl pick guard just throws it way over the top for my taste!
My Gretsch hollow body I use specifically for clean rhythms, and on more creative opportunity where I can use the Bigsby.  It also offers a great selection of tones due to the many pickup configurations.  

Of course, it's fun to play with it's orange glow, and who isn't a sucker for a Bigsby?

My Fender Malibu Acoustic is my main acoustic. This guitar was built for me, it's a nice small size, has a great thin neck and offers a sweet natural electric acoustic sound. The block in lays are a really nice detail on this guitar and make it that much more stylish.
Oh, how I love my purple Marshall!  This is a limited edition MG100 Series head and cab.  It has really nice built in effects which cover pretty much everything I need live.  The two channels allow me to get my clean sounds as well as a nice dirty distortion as I need them.  Even though I don't use a lot of effects, if I need a little tone change here and there it's available to quickly dial in.  

The Marshall covers all my needs, and then some for me as a rhythm guitarist. 
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My Guild X150 Savoy is my main Jazz Box. It fulfills all my Jazz needs for recording and also performing live. It's usually strung with gauge 11-50 D'Addario Chromes. 

​My two Ovations Limited Edition Adirondack guitars are my Fusion / Latin Jazz acoustics. I use these primarily for these genres. As always, Ovations are uniquely designed Electric Acoustics that cut through mixes live and just have a great overall tone for these genres. Both are strung with DR Rare Acoustic Strings with one strung up a little heavier for more of a finger pick chordal acoustic Jazz application. These guitars are usually used with the specially designed acoustic  pedalboard  (seen in the pedalboard section) for my live Jazz and Jazz/Fusion performances.

My go to Rock Acoustic 6 string is a jumbo sunburst Guild F50R with the DTAR pick up system. This guitar was used on most of my acoustic recordings and is my main live Rock acoustic guitar.

I am not as fussy with Acoustics as I am with electrics for use in Rock.  I like big body Acoustics as opposed to the traditional dreadnought.  I have been playing the same three for years. 

​For a long time I used a Fatovich sunburst jumbo acoustic 6 string with a cut away which was handmade by a local guy in southern New Jersey named Fred Fatovich. I used this guitar for a lot of different applications from rock to Acoustic Jazz Fusion. This guitar I loved, it sounds like any Gibson or Guild out there. Ironically enough, Fred Fatovich worked for the Guild guitar company at some point in his life and the guitar is very "Guild". Which brings me to my 12 string...

yes... a Guild. A beautiful Jumbo model number JF30-12. I am a fanatic about having a 12 string somewhere in my music whether it be my rock, fusion and instrumental stuff. 
My main Rock amp rig that I am currently and have been using for years is two Marshall JCM2000 Triple Lead Series heads and two 1960 Vintage Marshall cabs for each head.  

Both head and cabinets are stock and no modifications have been made except for my custom tube setup. I have modified more amps that would span over an entire showroom at Guitar Center. I replaced the stock tubes with a perfect blend of JJ Electronics tubes which I purchased from a great comapny called EuroTubes. If you're in the market for tubes, definately check these guys out, they are great. 
I get all my Rock tones I need from this amp, my Les Pauls and pedal boards. 

This Marshall has three independent channels, one clean, one crunch (distortion) and one lead (ultra distortion).  My setup relies on these three in channels.
This Lucien Les Paul Custom model was my first that was totally my ultimate machine. This guitar is also known as the "Lucienator". It was my  dream instrument come to life. A three pickup black and chrome guitar designed for me. Black and chrome are my ultimate combination PEROID! So needless to say it is black and chrome to the max. It also has jumbo frets and a true 12" radious. Gibson tends to not go to true 12". The neck is planed ever so slightly to make a bit "flatter" feel. Pickups are Dimarzio D Activators in the neck and bridge. The center pickup is a lower output Dimarzio PAF (3 D Activators would of caused the guitar to self destruct). No tone circuitry. I simply don't need it in this guitar. So the spots where the tone controlls would be are now put to great use. One of the back tone knob spots is the master volume. The other tone spot is a push-pull knob that activates the middle pickup. The two volume spots are normal volume for both the front and back pickups. The Lucienator is strung with Gibson Brite-Wires 9-42.

This Pelham Lucien Model Les Paul Custom is one of my favorites. It has all the same features as the other Lucien models but has Dimarzio Super Distortion pickups. This guitar is my go to Jazz Fusion guitar. It is also strung up with Gibson Brite-wires 9-42.

This is the last of the Lucien model Les Paul customs. It also has all the "Lucien features as the others but also is the only LP Custom I own that has a Richlite neck instead  of Ebony. This guitar is one of my favorite guitars!  Strung up with Gibson Brite-Wires 9-42.

The re-issue 1968 Natural Flametop Custom Les Paul I use more for clean Jazz (Archtop sound). I use this guitar in a more traditional Jazz setting that cuts through very nicely over bass, drums and other various electric instruments. It has 57 Classic Humbucker pick ups, which gives it a smoother tone. It is strung up with Gibson Brite-Wires strings 10-46 gauge. 

The re-issue 1968 Tri-Burst is one of my Jazz Fusion guitars. Although it also has '57 classic humbucker pickups, they are wound a little hotter and for some reason are much brighter than the usual 57 classics. This guitar gets a great Fusion tone. This guitar is also strung with Gibson Brite-Wires strings 10-46 gauge.​

The Lucien model Silverburst Custom has more of a solid sound which works well for real heavy modern sounds, probably because of the heavier body weight. Being a Lucien model it has all chrome hardware to the max and also has jumbo frets and a true 12" radius. The pickups are Dimarzio D Activators and scream brightness to the limit. I am a neck pickup lover and these pickups are super clean and high output.  This guitar's tone circuitry has been disconnected because I simply don't need to ever use tone knobs with this guitar. Normal wiring to the tone pots do suck a little of the pure tone out.  This guitar is strung with Gibson Brite-wires 9-42.

The Alpine White Custom has more of a vintage rock sound especially that the stock pickups are awesome for rock. I also think the sound is different with this guitar because of it's lighter weight, even though they should all be the same weight, they definitely are not. Because these are handmade, each has a different weight. ​ This guitar is string up with Gibson Brite- Wires 9-42.

The all Maple Les Paul Custom is so freaking unique because of the Maple neck, pickups and density of wood - this guitar ends up to be a great rhythym machine. I use it for a lot of funky, jangly rhythym stuff for both Rock and Jazz recordings primarily. It's more of a recording guitar out of my arsenal. Also strung up with Gibson Brite-Wires 9-42.

Gibson Les Paul Custom 
"The Lucienator"
Gibson Les Paul Custom 
"Silverburst Lucien Custom"
Gibson Les Paul Custom 
"Pelham Lucien Custom"
Gibson Les Paul Custom 
"Ebony Lucien Custom"
Gibson Les Paul Custom 
"Alpine White"
Gibson Les Paul Custom 
Gibson Les Paul Custom 
"Reissue '68 Natural"
Gibson Les Paul Custom 
"Reissue '68 TriBurst"
"X150 Savoy"
Ovation Limited Edition
1617ALE-1 Aridondack
"#44 of 50          &         #41 of 50"
Guild F50R Acoustic 

Guild JF30-12 Jumbo 12 String 

My main Jazz/Fusion amp rig is two Mesa Royal Atlantic Heads and I use a few different Mesa cabs. The 4x12 is a standard size Rectifier Cab. I also use the smaller 2x12 version on smaller venues. The Royal Atlantic has the option of using 6L6 or EL34 tubes. I have one with 6L6 tubes that is usually paired up with the 4x12 cab. The other has the EL34 tubes and is paired up with 2x12 cab. The Royal Atlantic is the most versatile amps period! Used with my specially designed pedalboard (seen below in the pedalboard section) I get a whole smorgasbord of tones.   
This pedalboard is designed solely for my acoustic Jazz,
Jazz/Fusion set up. I took all my left over Boss pedals that I have and made a really cool board. My concern for true bypass isn't as severef as my electric set up. Here, my Ovations sound really great through this rig so it's a keeper. 

Acoustic Pedalboard