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1966 Fender Jaguar
This 1966 Fender Jaguar features a rare candy apple red finish with matching headstock, gold hardware, and a maple fretboard with pearl block inlays and black binding. Sweet. From
This 1966 Fender Jaguar features a rare candy apple red finish with matching headstock, gold hardware, and a maple fretboard with pearl block inlays and black binding. Sweet.
From our friends at Blue Chip Guitars
Concord, New Hampshire
Double dip in the modulation whip with Keeley's new twin phaser.
Most effects modify the amplitude of the signal like a distortion or compressor pedal. Others modify the timing of signals like delay and reverb. Guitar phasing is achieved by blending your original signal with a frequency domain altered version of the signal. The frequency modified component can be thought of like an EQ pedal that is rhythmically adjusted. As a result, when the two signals are combined you get the instantly recognizable sound of a... phaser.
There's no better way to make your guitar sound spacey, psychedelic, or "liquid". Phasers and vibes have that instantly recognizable dreamy and other-worldly tone. The Oaxa Phaser gives you double the fun with two independent phasers. Two phasers with slightly different LFO speeds can lead to dramatic and inspiring multidimensional layers and textures. The Oaxa Phaser offers you ten stage, four stage, and uni-vibe phasing all with just three large vintage-style knobs. Alt features offer you a one-knob compressor and an additional low-end depth control. The dual phasers in Oaxa can be run in series or parallel. With true stereo processing and built on our award winning Core series platform, it's perfect for creative stereo effects loops. The Oaxa Phaser sounds so good you'll swear it's analog. It's ideal for creating swirling leads, atmospheric textures, or groovy and funky rhythms.
Versatile Phasing Options: Switch between lush 10-stage, crisp 4-stage, or vintage uni-vibe modes with just three intuitive knobs for effortless control.
True Stereo Power: Run dual phasers in series or parallel, perfect for pairing with stereo reverb and delay in your effects loop, creating expansive, studio-quality soundscapes.
Enhanced Alt Features: A one-knob compressor and low-end depth control add warmth and punch, making every note sing.
Analog Soul, Digital Precision: Built on our award-winning Core series platform, Oaxa delivers the rich, organic warmth of an analog phaser with modern reliability.
Keeley Electronics has launched the Oaxa Phaser, an advanced-yet-user-friendly pedal featuring two independent phasers, each controlled by a dedicated footswitch.
The Oaxa Phaser offers a three-position toggle for selecting 10-stage, 4-stage, anduni-vibe phasing, controlled with three easy-to-grab knobs. The dual phasers in Oaxa can be run in series or parallel, with true stereo processing. Built upon Keeley’s acclaimed Core series platform featuring large vintage-style knobs and pilot light, it’s perfect for creating swirling leads, atmospheric textures, or groovy and funky rhythms.
The Oaxa pedal’s Alt features offer even more sonic flexibility: in Alt mode you can access a one-knob compressor and an additional low-end depth control, and its Alt setting for the three-way toggle switch allows you to select 6-stage, 4-stage or 2-stage phasing.
Oaxa features include:
Two independent phase circuits, each with its own footswitch
Versatile Phasing Options: A three-position toggle switch allows you to select between lush 10-stage, crisp 4-stage, or vintage uni-vibe modes
Alt setting for the three-way toggle allows you to select 6-stage, 4-stage or 2-stage phasing
Simple and intuitive three-knob operation with Rate (controls the speed of the effect), Depth (controls the width of the phaser sweep) and Feedback (The amount of output added back to the input of the phaser, often referred to as “color”)
True Stereo Power: Stereo inputs and outputs – you can run dual phasers in series or parallel, perfect for pairing with stereo reverb and delay in your effects loop
Enhanced Alt Features: A one-knob compressor and low-end depth control add warmth and punch
Selectable true bypass or buffered bypass modes
Uses external power 9-18V - 130mA with standard center negative jack
Built in the USA
Keeley’s Oaxa Phaser carries a street price of $199. For more information visit rkfx.com.
Building upon a legacy of sonic innovation, Mr. Black proudly unveils the Tri-Chorale – a lush, three-voice chorus inspired by the legendary Southern California designs of the mid-1980s.
At its core, the Tri-Chorale features three independent delay lines modulating in perfect harmony to create a rich, organic shimmer that feels alive under your fingers. Sharing a common LFO but offset in time and phase, these delay triplets breathe unprecedented depth and dimension into the classic chorus sound—elevating it to new, breathtaking territory. Sometimes, the sum is greater than its parts, and the Tri-Chorale proves it.
Key features:
Three independent modulated delay lines
Full, lossless wet/dry mix control
Wide range of LFO speeds
Pedalboard friendly footprint
True-Bypass
Powered by “Industry Standard” 9VDC
The Tri-Chorale carries a MAP of $199.95 and is handmade, one-at-a-time in Portland, Oregon U.S.A.
Henri and Bill Cash, the brotherly guitar duo behind Los Angeles glam-rock band Starcrawler, linked with PG’s John Bohlinger before their gig at the Pinnacle in Nashville to show off some rose-colored rock tools. Check out highlights of their dazzling setups below, and tune into our full Rig Rundown to scope the full details.
This China-made Gretsch Electromatic Double Jet has just a single TV Jones Power’Tron Plus pickup, but beneath the hood, it’s also got a Rangemaster-style treble-boost circuit (as does another 3-string Electromatic that Henri plays). Henri traced out and applied sparkle-pink paper to give the guitar its memorable finish.
This pink powerhouse is tuned to open G.
Flying Bigsby
Daniel Slusser of Slusser Guitars in San Luis Obispo, California, built this custom V-style according to Henri’s requests, borrowing from a design by Japanese builder Saraso Ju. It’s made from pine from Home Depot, bound with leather, and outfitted with a Bigsby and a Filter’Tron pickup for Gretsch groove.
Triple Threat
Cash runs his dry signal to either this Satellite Amplifiers Neutron head or Vox AC15 combo, and his effects go to the Magnatone Twilighter Stereo on the right.
Henri Cash’s Pedalboard
After a pair of Boss TU-3s and a Boss ES-8 switcher, Henri’s board has a pair of DigiTech Drops, TC Electronic Shaker, R2R Electric Preamp, Boss GE-7, MXR Carbon Copy, Way Huge Red Llama, custom “Lamb’s Head” fuzz designed by Henri and Desi Scaglione, EarthQuaker Devices Tentacle, EQD Bit Commander, and Strymon Flint. A Lehle P-Split sends his signal to either the Neutron/AC15 and the Magnatone.
Tweaked Tele
Bill’s main axe is this heavily modified Fender Noventa Tele, with a Curtis Novak P-90 and a Glaser B-bender system.
Slide Away
For slide parts, Bill uses this GFI Expo pedal steel.
Souped-Up Super
Bill plays through this modded Fender Super Reverb Reissue. The tweaks included inserting a 5E3-tweed-Deluxe-Style circuit in first channel that switches to a handwired Super Reverb-style circuit in the second channel so he can use the tweed channel on guitar and clean black-panel tone on pedal steel. It was inspired by a mod he saw Colleen Fazio did to a friend's Bassman where she changed the first and second channel to be channel switching as well.
Bill Cash’s Pedalboard
On his sprayed-painted pedalboard, Bill runs a Boss TU-3, custom “Lamb’s Head” fuzz by Henri and Desi Scaglione, Way Huge Red Llama, Way Huge Conquistador, MXR Micro Amp, DigiTech Drop, Catalinbread Belle Epoch, MXR Reverb, MXR Tremolo, EarthQuaker Devices Levitation, Electro-Harmonix C9, and a Nocturne Brain Mystery Brain.
In his 2017 book The Order of Time, Italian theoretical physicist Carlo Rovelli looks to Saint Augustine to demystify the question of how it’s possible to experience music if we are physically rooted to the present—while music, of course, happens over seconds, minutes, hours. “It is possible, Augustine observes, because our consciousness is based on memory and anticipation,” Rovelli writes. “A hymn, a song, is in some way present in our minds in a unified form, held together by something—that which we take time to be. And hence this is what time is: It is entirely in the present, in our minds, as memory and anticipation.”
The idea of this middle place haunts Brooklyn indie-rock band Big Thief's latest record, Double Infinity. In a press release, the band noted that the album title refers to the idea of the “purgatory created by the human brain, always looking to the past or future, between the things we’ve lost and the things we want, between desire and regret.” There are few lyricists in recent memory writing as movingly about this experience—that of looking back, of time passing, moving, receding and stretching out in front of us—as Adrianne Lenker.
“Without this idea of time there’d be no grandmothers and grandfathers, or children,” Lenker says over the phone from Mexico City with bandmate Buck Meek. “There’d be no difference between any stages of life. It’s so wrapped up in reality as we know it, or at least this perceived reality or dream. I feel like it’s such an interesting idea, because it’s a thing that we live with, and the parade leads to the same place for everybody. It’s all wrapped up in death and birth and all of the things we experience along the way, like longing and loss and grief and joy. While you’re falling in love with someone, you’re also perceiving the end of that thing because of time—because of the inevitability of its passing.”
“While you’re falling in love with someone, you’re also perceiving the end of that thing because of time—because of the inevitability of its passing.”—Adrianne Lenker
On one hand, the nature of music makes it a simple task to create compositions concerned with time, as all music occurs over a duration of time. But what does it actually sound like to fully realize that? As a group, and this time with a cohort of studio collaborators, Big Thief’s sonic treatment of these themes captures a specific duality of being: its miraculousness and mundanity. Double Infinity’s production is low-key and handhewn, with rhythms and repetition building feelings that oscillate between grounded and hypnotic, and flourishes of the transcendental—be it blasts of guitar sorcery (“Words”) or ambient icon Laraaji’s wordless vocal flights (“Grandmother”). The result is Big Thief’s most fluid, breathing, flowing record to date—and, for Lenker, an evolution of what the term “rock ’n’ roll” can mean.
Meek and Lenker duet on their Collings at a show in 2023.
Debi Del Grande
“It just immediately makes me think about the bedrock of the earth, and the rolling of the waters and the winds and ethers,” Lenker says. “I think about that dance between what is rooted and solid-feeling and what is fluid and liquid. [Rock ’n’ roll] really needs both.”
Creating music that captures that dance is made easier by a few special tools. Both Lenker and Meek gush over their friends and luthiers Aaron Huff (at Collings Guitars) and Flip Scipio. Huff—“a true Jedi of good in the guitar world,” Lenker says—spent four years building Lenker’s acoustic guitar in his free time, and gifted it to her on the day of a solar eclipse, the same day she met Laraaji. “It’s basically meant for the way I play—open tunings and fingerpicking—and it sounds like a grand piano. It’s so special,” Lenker says.
Meek says two of Huff’s creations at Collings—the 71 and the Ladybird—are in heavy rotation in his quiver. He uses the latter for jazzier songs. Meek and Lenker both also have their own Flipperkasters, custom models made by Scipio. “I’ve never connected with an electric guitar so deeply until he put that in my hand,” Lenker says.
“The guitars we really love are the ones that have been mediums for friendship, or conversations with people in our lives that have really influenced us,” Meek says. “The instrument is kind of just a vessel for that.”
On Double Infinity the guitar, along with the rest of the instrumentation, acts as a conduit for connection. With 10 people improvising arrangements in the studio, the aforementioned fluidity builds from individual players’ intuitive responses to the aggregate. For Meek, that led to a lot of simplifying and repeating lines, offering room to other instruments, and creating an environment where rhythm feels like the element around which everything orbits.
“The guitars we really love are the ones that have been mediums for friendship.”—Buck Meek
“Playing in this band has definitely encouraged me to tap into my intuition more, just through watching Adrianne play and write songs so intuitively,” Meek says about his experience unlearning more academic modes of improvising. “It’s a process of letting go of all of that music theory and just trusting that the language is in there somewhere, and reconnecting with a more somatic approach to improvisation.”
This all requires a concentration on being where you are. Settling into the groove, let’s say. The purgatory between Big Thief’s double infinities is, itself, an endlessness. We comprehend its power and depth when we’re jolted into truly feeling it; in moments of profound loss or acute pain or consuming love, past and future briefly cease to exist. If one listens close enough and thoughtfully enough, the effect of Double Infinity, its rolling rhythms and loose drip, is one of tapping into the moment—freedom from the dissolving before and the unknowable after.
“The thing that pushes me to keep making and playing music is that I run into my own limitations all the time, and I just want to get a little bit more free with each album we make.”—Adrianne Lenker
“I feel like the thing that pushes me to keep making and playing music is that I run into my own limitations all the time, and I just want to get a little bit more free with each album we make,” Lenker says. “And I feel like people could be like, ‘What are you doing? It sounds so loosey goosey and wide open,’ and it's like—”
“That’s the very thing I’m proud of,” Meek adds.
“Yeah, that’s great,” Lenker continues. “To be honest, I think I had more fun in that session than I ever have before, because there was this big, open feeling of music and we were listening to all these other people playing with us. It wasn’t about shaping our wants and desires perfectly into the shape we think it should be with our minds. It was about just being there for that experience.”