CARBON LEAF

· Monitors and 2 -track live recordings are mixed through a Mackie TT24 Digital Live Console, feeding a combination of recorders, in ear monitors, wedges and a Tactile Sound butt shaker. The band uses Shure PSM 600 In Ear Monitors with Shure E5 and Ultimate Ear UE-10 ear buds.

· All of Carbon Leaf cases are made by Pete Katz at Katz Audio.

AMPLIFIERS

· Tube Ranch "Gravitator"
· 1964 Fender Bassman (rebuilt by Joe Sheets at the Tube Ranch)
· Matchless DC-30
· Fender Deluxe Reissue

ELECTRIC GUITARS

· 1965 Fender Telecaster
· Fender 50th Anniversary Stratocaster
· Fender SRV Stratocaster
· Fender Stratocaster with Hipshot Bridge
· Gibson '58 Leas Paul Reissue
· Gretsch 6120 '59 Reissue
· Paul Reed Smith Arch Top
· Ron Oates Custom Koa 5 String Octave Mandolin

ACOUSTIC GUITARS

· Bourgeois Country Boy
· Bourgeois LC5
· Bourgeois Slope D
· Bourgeois OMC

ACOUSTIC PICKUPS
· LR Baggs iBeam Active
· LR Baggs M1 Soundhole Pickup
· LR Baggs Standard Mandolin Bridge Pickup
· Schertler DTN-M and Pre-AII Preamp

MANDOLINS

· Michael Heiden Custom F5
· Gibson F5L

INTERFACE

· Avalon U5 Direct Boxes

EFFECTS

· 2 Analog Man Tube Screamers
· Fulltone Full-Drive 2
· Carl Martin Delayla
· Carl Martin Compressor
· Fulltone Fat Boost
· Line 6 Delay
· Hughs & Ketner Rotosphere
· Hughs & Ketner Replay
· Boss DD-5 Delay
· Z Vex Ooh Wah
· Z Vex Lofi Looper
· Boomerang
· Moog Phaser
· Digitech Space Station
· Digitech Whammy Pedal
· Electro Harmonix Memory Man
· Sovtek - Small Stone
· Dunlop Rotovibe

ELECTRIC GUITARS

· Gibson Les Paul Deluxe - 1975 (this guitar has been butchered and now has Seymour Duncan humbuckers instead of the original minis)

· Gibson ES-335 - I had had the original trapeze tail-piece replaced a stop to help with the intonation

ACOUSTIC GUITARS

· Gibson J-45 w/ Fishman Matrix pick-up

· Takamine EAN-10C - This is my main acoustic and I had to put a pick-guard on it because I was quickly wearing through the soft cedar top.

AMPLIFIERS

· Marshall JCM 2555SL Slash Signature Model. This is a re-issue of the classic 2555 Silver Jubilee head. Slash (that's right, Slash from Guns n Roses!) liked the originals so much that he had Marshall re-issue them with in his name. It has two channels and sounds huge.

· Marshall 1960AX Cabinet. This is a reissue and houses four Marshall/Celestion designed re-issue 25 Watt 'Greenback' speakers and are finished with the early '70s style 'LC' fret cloth which, combined with several years of road abuse, makes it look really old and groovy.

· Tube Ranch "Dude Boy". This amp was hand made by my friend Joe Sheets and is a replica of a 1958 Fender "Tweed" Deluxe. It has 3 knobs and sounds like a million dollars (at least). This amp stays safely at home and is used for recording only.

· Fender Bandmaster Head and 2 x 12 Cabinet. This is a great amp that Carter and I sometimes use for practice. The cabinet is huge and sounds terrible - I plan on turning it into a coffee table some day!

· Peavey Classic 50 Head w/ 4 x 10 and 1 x 15 cabinets. This was the first "real" amp that I bought and I still use it in rehearsal.

PEDALS

· Kendrick ABC Switch (signal splitter)
· Fulltone Full-Drive 2 (overdrive)
· Danelectro - Daddy O (overdrive)
· Line 6 MM4 Modulation Modeler (multi effects)
· Boss TU-2 Tuner
· SansAmp AcousticDI
· Voodoo Lab Pedal Power 2
· Cables: Planet Waves

PEDAL BOARD NOTES

My guitar plugs into the Kendrick ABC switch (my secret weapon) where the signal is routed 3 places: 1) through my electric effects and Marshall, 2) my acoustic DI (the SansAmp), 3) the tuner. The Kendrick ABC switch has an on/off button for each output, so I can send to any or all of the outputs at once and mute myself when switching instruments. This allows for the tuner to be on all the time and gives me the option to, not only to switch back and forth between electric and acoustic but also, send my guitar through both the DI and the amp at the same time. I primarily do this with my acoustic and use the Daddy O pedal to reduce the gain (turn it down) before it hits the amp (because of it's active electronics, the Takamine is actually louder then the Les Paul).

BASSES

· Benedict Basses
· Lakland 55-02 5-String
· Eminence Removeable Neck Portable 5-String Upright Bass
· 1998 Wilhelm Klier German Upright

UPRIGHT PICKUPS AND PREAMPS

· K and K Sound Golden Trinity Microphone and Dual Channel Preamp
· Biesele Magnetic Pickup

EFFECTS

· Ernie Ball Volume Pedal
· Boss Tuner
· Tech 21 BassCompactor
· EBS Octabass - Octave Effect
· Tech 21 Sansamp - Overdrive
· Ibanez Phat-Hed - Overdrive/Distortion
· Radial Engineering J48 DI
· Cables: Planet Waves
· Strings: D'Addario
· Bottle Opener: Newcastle

DRUMS

· DW Drums and Hardware:
· 22" kick (w/clear EQ3 head)
· 14" Slingerland snare drum (w/coated G1 head)
· 10" rack (w/clear G2 head)
· 15" floor (w/clear G2 head)
· 10" Mapex Black Panther popcorn (side) snare (w/coated Ambassador head)

CYMBALS

· 14" Sabian AA medium thin hats
· 21" Sabian AA Dry ride
· 17" Zildjian A Custom crash
· 18" Zildjian A Custom crash
· 6" Zildjian A Custom splash
· 10" Zildjian A Custom splash
· 18" Zildjian A Custom China
· 22" Zildjian ride w/rivets

MISCELLANEOUS
· LP Bongos, Chimes & Percussion
· Vic Firth Sticks (Extreme 5B model, wood tip)
· DW5000 double pedal
· Assorted percussion, mallets, etc.
· BOSS SP505 drum machine/sampler

RANDOM NOTES
· I just recently switched (back) to the Evans G2 heads on my toms; the past several months I'd been using coated Remo Powerstroke 3 heads. The G2's are a bit more difficult to get in tune, but once they're dialed in, they sound massive. And it just doesn't get much better than the Evans EQ3 (on the kick) - it sounds amazing. My snare drum is a 60's (or 70's, not sure) model Slingerland snare drum. I got it from a friend back home; he played drums a bit growing up, and when he called it quits, he gave me this snare drum. No complaints here! I had Jay Armentrout (drum guru here in Richmond) do an overhaul on the drum (new lugs, new snares, etc), and I think it sounds great, especially for rimshots. As for my Mapex snare, it's my favorite drum.

· It's loud as hell but sounds SO good. It's a great contrast to the Slingerland. When I first started playing I used nothing but Sabian cymbals, but over the past few years I've made a slow transition to Zildjian. My hats and ride are still Sabian, and I love the way they sound; I have no intention of switching them to Zildjian, at least not until they offer me lots of money to play their stuff exclusively. The hats I've had for years; for me, the best sounding hats are worn a bit (vs. brand new ones). My 2 rides I got from Jay Armentrout. I had told him what I was looking for, and he just happened to have these 2 rides he didn't use anymore. And I LOVE the A Customs Zildjian offers - they're bright and musical with a mellow decay. My absolute favorite cymbal is my China - it's the loudest and most obnoxious (just ask the guys), but sounds SO good. The idea for the bongos came from my favorite all time drummer Billy Martin (from MMW). I think they add a different color and timbre to an otherwise standard kit, especially because I play them with sticks (and not my hands). The chimes are all Carter Beauford. The 5B Extreme sticks are just a little heavier and a bit longer than the regular 5B's, which seems to work well for me. I used to use the Vic Firth Generals, but had to move to a lighter stick because their weight gave me mild tendonitis. The double pedal is fun to use; I think it's most effective when used sparingly (as opposed to, say, Slayer or Metallica style double pedal playing), and I think DW makes great stuff (especially their hardware). I use all kinds of shakers, H.H. tambourines, dowel rods, mallets, etc. for different textures; for me, the colors are just as important as the end result. And I use the SP505 for a click track. I don't use it on every song, but will be using it more and more as we make the transition to the new record.