Every piece serves the tone. No flexing. Just purpose.
The voices. Strats for Texas bite, a Les Paul for singing sustain, a Flying V for raw Korina tone.
Gerbman’s 60s Aztec Gold Stratocaster gives him that classic vintage snap, with a bell like top end and a tight, clear low end.
The neck pickup delivers a warm, vocal blues tone for slow bends and singing lines.
Positions two and four bring the unmistakable Strat quack for punchy rhythm parts that cut through a power trio.
Pushed into a tube amp with his drive pedals, it turns into a gritty, biting lead sound that stays articulate and dynamic.
It is a touch sensitive guitar that sparkles when he plays soft and roars when he digs in.
Fender tubes cranked. Clean headroom that breaks up sweet when you push it.
My main amp is a Fender 59 Bassman Reissue from 1990, a tweed style 4x10 combo with huge dynamics and warm, punchy cleans.
When you push it, it turns into thick, gritty breakup that sits perfectly in a blues mix.
This is the same model Stevie Ray Vaughan switched to for his 1990 tour.
It is loud, touch sensitive, and takes pedals beautifully.
The board is built around stacking, buffering, and noise control. Groove first, always.
It adds the signature midrange punch and smooth sustain that makes a Strat sing through a Fender amp. Inspired by the sound of Stevie Ray Vaughan, it helps his solos cut through with power, clarity and character.