Gibson Custom today proudly unveils the new Gary Clark Jr. ES‑355™, a striking signature model created in close collaboration with the four‑time GRAMMY® Award–winning guitarist, singer, and songwriter. Austin-born and globally celebrated for his electrifying live performances, Gary Clark Jr. has long blended blues, rock, soul, and hip hop into a sound entirely his own. His previous Gibson and Epiphone signature instruments—the SG™ and Casino™—each captured facets of his musical identity, but the ES‑355 represents a deeper personal connection. Inspired by the first time he saw B.B. King command the stage with one, the ES‑355 has become Clark’s new number‑one guitar, now reimagined with the craftsmanship and detail of the Gibson Custom Shop. The Gary Clark Jr. Custom ES‑355 is available worldwide at Gibson Garage locations in Nashville and London, via authorized Gibson Custom dealers, and on Gibson.com.
The Gary Clark Jr. Custom ES‑355 is built with a three‑ply maple/poplar/maple body with a figured maple outer layer, paired with a mahogany neck carved to a comfortable 50s Rounded Medium C profile. A bound ebony fretboard with 22 Historic medium jumbo frets and mother‑of‑pearl block inlays delivers a classic playing feel, while multi‑ply binding on the body and headstock elevates the guitar’s vintage‑inspired aesthetic. The headstock features the iconic Custom split diamond inlay and Grover® Rotomatic® tuners with kidney buttons, underscoring the instrument’s premium heritage.
Under the hood, the ES‑355 is equipped with a pair of unpotted Custombuckers featuring Alnico 3 magnets, chosen for their warm, articulate response and dynamic range. The pickups are wired with CTS® audio taper pots, paper‑in‑oil capacitors, a Switchcraft® three‑way toggle, and a mono Varitone circuit topped with a black chicken‑head knob, offering players a wide spectrum of tonal colors. True Historic gold Top Hat knobs with dial pointers complete the control layout, reinforcing the guitar’s vintage authenticity.
Every detail of the instrument reflects Gibson Custom’s commitment to precision and artistry. The hardware is finished in VOS nickel, including the ABR‑1 Historic no‑wire bridge and a Bigsby® B7 vibrato for expressive pitch control. The guitar is offered in a stunning VOS Cobra Burst finish, adding a dramatic visual flair that complements its sonic versatility. Each model ships in a Gibson Custom hardshell case adorned with Gary Clark Jr. graphics, featuring a brown exterior and black plush interior.
This special run is limited to just 100 guitars, handcrafted by the expert luthiers of the Gibson Custom Shop in Nashville, Tennessee. With demand expected to be high among collectors, players, and fans alike, the Gary Clark Jr. ES‑355 stands as an extraordinary opportunity to own the artist’s new go‑to instrument—an inspired blend of heritage, innovation, and unmistakable style.
In 2026, Gary Clark Jr. continues to push his creative boundaries while bringing the bold sonic world of his 2024 album JPEG RAW to audiences across North America. The project marks a defining leap in his artistry—melding blues, rock, hip-hop, jazz, and global influences into a unified, future-leaning sound that has earned widespread critical acclaim. Onstage, Clark channels this new era with a renewed sense of urgency and experimentation, weaving immersive grooves, pointed lyricism, and explosive guitar work into performances that reaffirm his status as one of modern music’s most electrifying live artists.
Listen to Gary Clark Jr. HERE, and for the latest tour dates, go HERE.
Beyond the studio and the stage, Clark’s artistic reach has expanded into film, cultural programming, and high-profile collaborations, underscoring his evolution as a multifaceted creative force. His portrayal of Arthur “Big Boy” Crudup in Baz Luhrmann’s Elvis, his role as Music Director for Jon Stewart’s Mark Twain Prize ceremony, and his continued work with icons across genres reflect an artist operating at the height of his influence. With JPEG RAW ushering in a bold new chapter and a major tour underway, Clark stands firmly at the forefront of contemporary music—restless, visionary, and shaping the sound of what comes next. Rooted in the blues yet unbound by genre, he’s pushing the tradition forward with purpose and originality, cementing his place as one of his generation’s defining guitarists and storytellers.
Shnobel Tone has introduced the latest addition to its line of premium guitar effects. The new Dumbbell Driver combines the company’s acclaimed Daily Driver Overdrive with the recently launched Dumbbell Boost into a single, super flexible pedal.
The Dumbbell Boost and Daily Driver circuits are identical to the standalone versions of these pedals. Both the overdrive and boost circuits are completely independent and can be used together or separately, activated by their own dedicated true-bypass footswitches. A two-position toggle switch allows you to assign the order of the effects when both circuits are in use: Boost>>Overdrive or Overdrive>>Boost are available, providing a huge range of sonic options. Setting the toggle to the right places the Dumbbell Boost in front of the Daily Driver.
The pedal offers an intuitive 6-knob control set. The four knobs on the left side of the pedal control the Daily Driver circuit with Volume, Gain, High frequency and Low frequency EQ. The Daily Driver controls on the left side also include a three-position toggle switch for added EQ flexibility: the switch offers two different high-cut settings, along with a flat setting in the center position, so you can dial in the perfect overdrive sound with any amp.
The two knobs on the right side of the pedal control the Dumbbell Boost circuit. The Input knob adjusts the input impedance and acts as a supplemental tone control: when turned all the way to the left it gives you a brighter, less bassy sound; turned all the way to the right it delivers a full range sound with rich harmonics reminiscent of a Dumble-style circuit. The Level knob controls the Dumbbell Boost’s output level.
Sporting gloriously retro-flavored chrome-skirted knobs and available in either Black or White, Shnobel Tone’s Dumbbell Driver includes these features:
Six control knobs: Four knobs on the left side for adjusting the Daily Driver overdrive; and two knobs on the right side for adjusting the Dumbbell boost.
Three-position “Hi Cut” toggle switch affects just the Daily Drive portion of the circuit (not the Dumbbell boost).
Two-position toggle selects the order of effects when both circuits are engaged
Two true bypass foot switches for activating each circuit
Pedalboard-friendly top mounted power and in / out jacks
Hand-built with top quality through-hole components
Standard 9v center negative power – no battery compartment
Shnobel Tone’s Dumbbell Driver carries a street price of $329 and can be purchased at shnobeltone.com.
Ahead of Spiritbox’s recent show at Nashville’s Pinnacle, PG’s Chris Kies spent some time with the Canadian alt-metal giants’ guitarist Mike Stringer and bassist Josh Gilbert to get the story on their down-tuned mayhem. See about the highlights below, and watch the full Rig Rundown for more.
Stringer’s signature Aristides STX guitars, like this 7-string, are the first axes he reaches for. Inspired by Kurt Cobain’s Jag-Stang, the STX comes in 6-, 7-, and 8-string configurations, as well as multi-scale options. In lieu of traditional guitar woods, Aristides’ proprietary Arium material works perfectly for Stringer’s needs—it can hit any “stupid-low” tuning with ease and clarity. The guitar is loaded with Stringer’s signature Bare Knuckle Halcyon pickups and an EverTune bridge. The 7-string STXs are in F-sharp tuning, with Ernie Ball Custom Paradigm strings (.010–.074).
Ocho Loco
Stringer calls this 8-string Aristides the “prototype,” since it was the first one produced. It’s employed on “Fata Morgana.”
PVH vs. EVH
Stringer uses a Fractal Axe-Fx III, favoring a PVH 6160 model based on the EVH 5150 Stealth. It shares rack space with an ART Pro Audio SP4X4 power distribution system, Shure AD4Q, and Radial JX-44.
Mike Stringer’s Pedalboard
<p>Stringer’s buddy at Omilion Audio built out his onstage boards. Along with a Fractal FC-12 Foot Controller, RJM Mastermind PBC/6X, and a Radial SGI-44, Stringer’s board carries a Peterson StroboStomp tuner, <a href="https://www.premierguitar.com/tag/boss?utm_source=website&utm_medium=link&utm_campaign=Smartlinks">Boss</a> DD-6, Electro-Harmonix Freeze, a pair of DigiTech Whammy Ricochets, Line 6 DL4 MkII, Chase Bliss Mood and Generation Loss, EarthQuaker Devices Sunn O))) Life, a pair of EarthQuaker Rainbow Machines, and a Hologram Electronics Microcosm.</p>
Charvel Shredder
Modeled on Charvel’s San Dimas bass, this multi-scale (34-37") 5-string is tuned to F-sharp, and has Nordstrand pickups and a Darkglass B2M2 Tone Capsule onboard preamp. The custom-gauge strings come from Kalium Music.
Four-String Friend
This Fender Precision bass is also on hand, tuned to B-A-D-G. It takes Ernie Ball strings.
Axe and Block
<p>Along with his Quilter Bass Block 800, Gilbert, too, uses a Fractal Axe-Fx III, nestled in his backstage rack alongside a Shure AD4D and a Radial JX 42. Like Stringer, he uses a 6160 model for his dirty tones; a Darkglass B7K model is also in the mix. Gilbert’s tonal “scene changes” are handled in Ableton.</p>
Beloved and influential Los Angeles trio Failure – Ken Andrews, Greg Edwards, and Kelli Scott – announce Location Lost, their seventh studio album and fourth since reuniting in 2014 after a 17-year-hiatus, along with a spring North American tour. The LP features nine new tracks that showcase a focused, modern and ever-evolving vision of Failure’s utterly unique sound, led by first single "The Air’s on Fire."Location Lost will arrive April 24th as the first release under Failure Records/Arduous Records/Virgin Music Group.
Recorded after the completion of the recent Hulu/Disney+ documentary Every Time You Lose Your Mind, Location Lost doesn’t arrive as a victory lap or a nostalgia exercise. Instead, it sounds like a band actively negotiating where — and who — they are now. “It’s very different,” Edwards says plainly of the follow-up to 2021’s Wild Type Droid. “There are sounds and parts that really don’t have any precedence within the Failure world.”
“The Air’s on Fire” embodies this sense of disorienting unfamiliarity. Almost immediately after finishing editing the documentary, Andrews suffered a serious back injury that required surgery. The operation was technically successful; the recovery was not. The single is the album’s most literal confrontation with Andrews’ medical trauma, its oppressive atmospherics and crushing bottom end mirroring his struggle to breathe on his own. “That song is directly about my surgery and waking up,” he explains. “I basically coded. Everything was spinning. I kept saying, ‘Turn the air on. I’m fine—just take me home.’ I was definitely not fine.”
Listen to “The Air’s On Fire” HERE and watch the video for the track, directed by Sean Stout, HERE.
WATCH & SHARE “THE AIR’S ON FIRE” OFFICIAL VIDEO
At the opposite emotional pole is the largely acoustic, straight-up breakup song “The Rising Skyline” featuring Paramore frontwoman Hayley Williams, an artist whose longtime public admiration for Failure has unquestionably helped introduce the band to an entirely new generation of listeners. The album also delivers dose after dose of Andrews, Edwards and Scott’s signature creative and instrumental interplay, from the warning bell-like guitar chimes on propulsive opener “Crash Test Delayed,” to the elastic, bass-driven groove of “Halo and Grain” and the grinding, methodical wall of sound on “Solid State,” which wouldn’t have sounded out of place on 1996’s all-time-classic Fantastic Planet. Other songs such as the slow-burning, dream-inspired closer “Moonlight Understands” and the stuttering “Someday Soon” emerged from singular, unrepeatable moments.
Failure will premiere material from Location Lost on their spring headline North American tour, kicking off with an album release show on April 21 at Zebulon in Los Angeles and wrapping in Toronto on May 20th. All Under Heaven is supporting all headline dates starting May 3. Their run of shows also includes festival appearances at Las Vegas’ Sick New World, Chicago’s SPACE ECHO @ Radius and Daytona Beach’s Welcome to Rockville. Tickets go on sale to the public this Friday, February 20th at 10am local time. For tickets links and more information, visithttps://www.failureband.com.
Failure’s musical communion has intrigued critics, fans, and peers for more than three decades. Following Comfort and Magnified, the trio created what is largely considered one of the ‘90s most influential and innovative albums, 1996’s Fantastic Planet. The 17-track collection earned rave reviews and onboarded a trove of new fans and also led the band to headline Lollapalooza’s second stage and craft one of the era’s most recognizable videos, “Stuck on You.” After a 17-year hiatus, Failure returned with The Heart Is a Monster in 2015, followed by 2018’s In the Future Your Body Will Be the Furthest Thing from Your Mind and 2021’s Wild Type Droid.
‘LOCATION LOST’ TRACK LISTING
01 - Crash Test Delayed
02 - The Rising Skyline ft. Hayley Williams
03 - Solid State
04 - The Air's on Fire
05 - Halo and Grain
06 - Someday Soon
07 - Location Lost
08 - A Way Down
09 - Moonlight Understands
FAILURE TOUR DATES
Apr 21 Los Angeles, CA - Zebulon (Album Release Show)
Apr 25 Las Vegas - Sick New World Festival
May 02 Chicago, IL - SPACE ECHO @ Radius
May 03 Cleveland, OH - Grog Shop
May 05 Nashville, TN - Basement East
May 06 Atlanta, GA Masquerade - Hell
May 08 Daytona Beach, FL - Welcome To Rockville Festival
May 09 Asheville, NC - Eulogy
May 10 Carrboro, NC - Cat’s Cradle
May 12 New York, NY - Le Poisson Rouge
May 13 Cambridge, MA - Sinclair
May 14 Hamden, CT - Space
May 15 Washington, DC - Union Stage
May 16 Harrisburg, PA - Arrow at Archer Music Hall
One of the great paradoxes of guitar sonics is that reverb, an effect invented to give electronic and recorded sound more natural ambience, can also make the instrument feel otherworldly. It’s reverb that transforms guitar and amp into waves crashing off the Malibu cliffs, and reverb that makes the Stones’ “Gimme Shelter” sound like the darkest of moonless city nights.
That midnight tone is among those that lives in Keeley Electronics’ Andy Timmons signature Nocturne, a versatile stereo pedal perfectly at home exploring reverb’s dual potential to recreate natural atmosphere or sounds that seem beyond physical dimensions.
Exploring the Atmosphere
Inspired by the Keeley Andy Timmons Halo delay/reverb, the Nocturne focuses on reverb exclusively, offering three flavors: nocturne, spring, and plate. While the latter two are the most conventional, they can be dialed in to break free from the constraints of their mechanical counterparts. All three modes give you control over tone, reverb level, decay, and modulation. But the pedal also has alternate functions that enable the tone and decay knobs to control a high-pass filter (which tailors the low end) and pre-delay (a powerful and often overlooked parameter that shifts the space between transient notes and the onset of the reverb).
Spring and plate do the most basic versions of their job well, but they happily go beyond the norm. In spring mode, the modulation control governs the mechanical “boing” overtones in the reflections, which range from realistic to totally over the top. Though I preferred the more subtle settings, which enabled me to capture the essence of gentle slap heard in my old Fenders and Ampegs, it was also easy to move between big and clangy or smaller and subtly ambient.
“It made me slow down, allow the notes to hang, and listen—and even led to new music for a documentary soundtrack I’d been struggling with.”
For most conventional guitar-tone tasks, the plate mode would be my go-to. It’s especially effective for high-gain sounds, where you can dial in the sense of a big amp in the studio. I used the Nocturne both in front of a solid-state amp and in the effects loop of a modified Bassman 10, which has Fender-style and pentode preamp channels and EL34 power tubes. The pentode channel can be set to preserve more low end than a typical guitar preamp, so the high-pass filter was especially useful there. More important, though, was the Nocturne’s high headroom, which meant it could live in the effects loop, on the receiving end of preamp and other drive sources, without complaint—even when powered by a basic 9-volt supply (18-volt is optional).
Dark Reflections
While both spring and plate are effective day-to-day tools, it’s the eponymous nocturne mode that opens up the pedal’s creative potential, delivering lush, modulated sounds with distinct echoes blended into long decays. I often got lost in the swirl of shimmering sustain while playing simple thirds and drones. It made me slow down, allow the notes to hang, and listen—and even led to new music for a documentary soundtrack I’d been struggling with. Things got more interesting when I grabbed an EBow, where the sustain and feedback-like harmonics let me create a sonic bed with far more texture than many synths, and far more expression than a sample.
As these experiences suggest, I often found myself playing to the effect in Nocturne, letting it serve as a guide, and treating it as an extension of my guitar and amp. Using the assignable expression input to change parameters while playing only enhances the sense of interactivity here. It’s that responsiveness to player input—and the fact that so many big sounds don’t completely obscure dynamics—that make the nocturne mode so effective as a creative tool.
The Verdict
While there are plenty of creative and powerful spatial effects on the market, the Nocturne is one of the few I know that works like it was designed for the guitarist without dumbing things down. It’s easy to get started and the basic sounds are satisfying, but it also invites you to go deeper. Preset capability (you can create up to 72 with MIDI) means that in a performance setting you can switch easily between completely space-altering effects and more earthly ambiance. The high fidelity and headroom make it a powerful studio tool.
Though it takes time to master some functions (it took a few tries to get the expression pedal assignments right) the layout remains super intuitive. That essential simplicity makes Nocturne equally suited to pedalboard minimalists and MIDI-based rigs. But whichever camp you’re in, you might want to leave a note for family and friends when you plug in, because you’re likely to get lost in space.