Hordes of great guitars, basses, amps, stompboxes, and accessories came through our doors this year, but these specimens caught our eyes, ears, and wallets with their exceptional performance, tone, and value.
Andrews Spectraverb (January)
When it comes to endless tone possibilities, itās hard to top Fenderās blackface designs. And as Senior Editor Joe Gore discovered the Andrews Spectraverb is one of the most interesting refinements of the blackface template out there. At 40 watts, the Spectraverb occupies a sweet spot where headroom and natural drive and compression meet. Joe Gore put it more colorfully when he called the Spectraverb āspectacularly dynamic,ā and noted that āItās easy to find a sweet spot where you can pilot the gain by touch, or go from china shop to lava pit via guitar volume knob adjustments.ā
$1,895 street, andrewsamps.com
Blackstar LT Drive and LT Metal (January)
Blackstarās LT pedals were built to be accessibly priced. But itās their combination of value and sonic potency that made the LT Drive and LT Metal pedals award winners. Reviewer Joe Charupakorn said of the LT Drive, āthereās not much it canāt do short of extreme metal. Itās a great all-purpose dirt pedal that can rise to many occasions.ā And of the LT Metal he said, āit can cover everything on the gain spectrum from classic rock to fusion to ā80s metal to djent.ā
LT Drive $79 street, LT Metal $99 street, blackstaramps.com
Matchless Thunderman (January)
Few manufacturers did more to usher in the boutique amp than Matchless. They quickly became the stuff of legend, but they also managed a bass amp masterpieceāthe Thunderman. This award-winning re-imagining of the original Thunderman is no less formidable. At 45 watts, the EL34-powered head isnāt the most powerful bass amp in the world, but itās round, responsive, loud, proud, and adaptable.
$2,200 street, matchlessamplifiers.com
Reverend Pete Anderson PA-1 RT (January)
Youād expect a guitar with Pete Andersonās name on it to be as versatile as olā Pete himself. And on that count, this archtop semi-hollow did not disappoint. The bracing enables use of a Tune-o-matic bridge, which enhances tuning stability and sustain. And the two pickups and bass contour knob make it equally adept at toasty, smoky jazz tones and blistering rockabilly lines. And speaking of lines, this Reverend has some of the handsomest curves among this yearās award winners.
$1,499 street, reverendguitars.com
Skreddy Little Miss Sunshine (January)
They arenāt everyoneās basket of biscuits, but few things recast a riff quite like a rich, musical phaser. Skreddyās Little Miss Sunshine is about as rich and musical a specimen as youāll findāat least if you gravitate toward Phase 90-like shades of swirl. What separates the Skreddy from lesser phasers is a beautiful clarity, pick responsiveness, soft contours, and amazing depth. It may not change the minds of phaser haters, but itās a heaping feast of creamy swirl for players who savor the effect.
$229 street, skreddypedals.com
LarrivƩe D-40R (February)
Luthier Jean LarrivĆ©e has always been willing to twist tradition to unique ends, as evidenced by the new D-40R. From twenty paces, it looks like any one of a gazillion square-shoulder dreads. But LarrivĆ©eās Scalloped Parabolic Hybrid bracing helps make it an especially sensitive and harmonically complex dread that excels at both fingerstyle and flatpickingāwhich makes this beautiful guitar a standout in the crowded $1,000ā$1,500 dreadnought marketplace.
$1,425 street, larrivee.com
Lindy Fralin P-92 Set and P-90 in a Humbucker Cover Set (February)
No longtime PG reader will be surprised to see Lindy Fralin among this yearās award winners. Fralins have been among the Cadillacs of aftermarket pickups since the ā90s. In the form of these humbucker-sized neck and bridge pickups, though, Joe Gore heard an extraordinarily dynamic and harmonically rich P-90 tone that excelled even by Fralin standards. The Fralin P-92 also earned a Premier Gear award, largely for a rich, larger-than-life tone with super-strong fundamentals that gave Gore the sensation he was playing a long-scale Les Paul.
P-90 in a Humbucker Cover $130 street (each), P-92 $140 street (each), fralinpickups.com
Lollar Single-Coil for Humbucker Set (February)
Even when it comes to pickups, pretty counts for a lotāand Lollarās subtly lovely humbucker-sized P-90 left us mighty impressed with Jason Lollarās design sense. But it was the soundsāsophisticated, warm, complex, smooth, and smokyāthat found Joe Gore mesmerized and ready to dish a Premier Gear award in our humbucker-sized P-90 roundup.
$135 street, lollarguitars.com
ToneVille Beale St. (February)
With a look that mates Danish furniture craft and retro-future whimsy, ToneVilleās 15-watt, 6V6-powered Beale St. 1x12 isnāt hung up on paying homage to the classics. Though the circuit and sound are in some measure indebted to Fender classics, the Beale St. excels, in its own special way, at being a great blank slate. Reviewer Joe Gore remarked, āno matter where I set the knobs, something inspiring leapt from the speaker.ā
$2,495 street, tonevilleamps.com
Fender ā68 Custom Princeton (March)
As a best friend to studio hounds and club and arena giggers alike, the Fender Princeton is one of the most easy-to-use, adaptable, and sweet-sounding amps ever. Thatās why we were so pleased that this newest take on the underappreciated silverface version was such a winner. Reviewer Teja Gerken found the dynamics superb and the reverb excellent. And at just under $850, itās not much to pay for so much vintage vibe, either.
$849 street, fender.com
G&L LB-100 (March)
This reissue of a relatively unheralded G&L classic left reviewer Steve Cook impressed with its solid construction and a varied personality that he estimated would suit almost any gig. Cook particularly enjoyed the wide EQ possibilities and comfortable playability, likening the instrumentās vibe to whisky from a master distiller. Intoxicating!
$1,313 street, glguitars.com
Taylor 814ce (March)
Though Bob Taylor and his company have been around long enough to properly be regarded as an acoustic guitar institution, the man loves to tinker. In the case of the 814ce, weāre talking tinkering with a twist: This revisiting of a signature Taylor Grand Auditorium design with bracing redesigned by master designer Andy Powers floored us with its balance and projection. Reviewer Scott Nygaard was impressed enough with its versatility to remark, āyouāll rarely wish you had another guitar instead.ā
$3,199 street, taylorguitars.com
Fender Kingman Pro (April)
Itās interesting that Fenderās decision to reinvent its acoustic presence involved revisiting a past that some considered a blight on the companyās history. But in reinventing the Kingman, which debuted somewhat controversially in the mid ā60s, they retained the beauty and visual impact of the legendary Roger Rossmeiselās designs while adapting top-flight lutherie techniques. The result is an idiosyncratic dreadnought thatās resonant, complex, and downright gorgeous.
$2,600 street, fender.com
Lowden 32 SE (April)
It would be hard to find an acoustic connoisseur whoās been anything but knocked out by a Lowden. George Lowdenās subdued and immaculately crafted designs tend to lend a focus to the sound, which in the case of the 32 SE is a delightfully varied palette. The rosewood-and-spruce construction and near-OM dimensions make the guitar fantastically dynamic and surprisingly loud. And with its uncannily well-suited L.R. Baggs Anthem system, this Lowden is a positively exquisite stage acoustic.
$5,295 street, georgelowden.com
Eastwood Airline Map Baritone (April)
One thing we canāt quite figure out here at PG is why so few players (and manufacturers) have caught on to the fascinating sonic possibilities of baritone guitars. So we were ecstatic when Eastwood came along with the Airline Baritone Map. When reviewer Teja Gerken wasnāt just getting a kick out of gawking at this gloriously odd bird, he marveled at the broad spectrum of tones he could extract from the chambered body and humbuckers. He was also struck by the āpro vibeā of the instrumentāan especially remarkable quality given the accessible price.
$779 street, eastwoodguitars.com
SolidGoldFX Zeta Drive (April)
A lot of players like their overdrive to be civilized and reckless in equal measure. SolidGoldFXās Zeta Drive walks that line as deftly as any OD we can recall. Reviewer Matt Holliman discovered that the āZeta adds heat without loss of definition or detail,ā and is āgreat for creating tones that cut through, even at high-gain settings.ā Holliman also found that the Zeta integrates seamlessly with fuzz and other effects and added a cool responsiveness to his setup.
$165 street, solidgoldfx.com
MXR Micro Amp+ (April)
Few effects are as unassuming as an original MXR Micro Amp, but itās the simplicity of the circuit that makes it a staple for thousands of players. The small enhancements (essentially a bass and treble control) on the Micro Amp+ make this new version extraordinarily flexible. Whether adding zing and kick to a compressed Fender amp, adding body and taming treble on a Marshall, or thickening a vintage fuzz, the Micro Amp+ delivers big without much hassle.
$120 street, jimdunlop.com
Paul Reed Smith Archon (May)
Itās rare that an amp can level a small city with gain yet also deliver clear clean tones and touch-sensitive nuance. But thatās what PRS achieved with the Archon, an amp so varied and cooperative that reviewer Jordan Wagner couldnāt decide if playing Jerry Reed licks or Metallica thrash was more fun. Loud, bursting with low end, and fantastically responsive, Archon is a magic bullet for high-gain players who like it clean sometimes, too.
$1,899 street (head), prsguitars.com
Black Cat OD-Boost (May)
Though the old-school prescription for various shades of gain is creative use of the volume control on your guitar, there are also in-between colors that boosts and overdrives can coax out of your amp. Black Catās OD-Boost is a beautifully conceived, well-executed two-switch overdrive and boost with two very distinct voices that can expand your tone vocabulary exponentially. The boost has miles of headroom. The OD tends toward dirty and aggressive. Together, they give you almost endless shades of oomph.
$195 street, blackcatpedals.com
Electro-Harmonix Soul Food (June)
Whether itās a radical sound that inspires you when your muse has flown the coop, or a timeless sound you just canāt do without, EHX has a way of saving the day. In this case, theyāve delivered a damn-close-to-perfect approximation of the feel and sound of the impossibly out-of-reach Klon Centaurāall in a pedal that wonāt ding your wallet much worse than a set of sneakers.
$66 street, ehx.com
ZVEX Fuzzolo (July)
We have to tip our hats to ZVEX for managing to stuff so much, well, ZVEX-ness into this little guy. There may be just two controls, but one is a dedicated pulse-width knob that enables you to transform the Fuzzolo from a rich, muscular, desert-rock dream fuzz to a spitting, lo-fi monster. And at just 129 bucks, itās an easy-on-the-pocketbook way to introduce some ZVEX mayhem to your board.
$129 street, zvex.com
Mooer LoFi Machine (July)
Whether youāre trying to cover for the keyboard player you never could recruit or looking to enhance your guitar tone palette with more demented and synthy textures, the LoFi Machine delivers a whole lotāespecially for its size. Reviewer Shawn Hammond got a kick out of everything from simulating electric pianos to generating quasi-Nintendo video-game textures, and the wee size and price means it wonāt break the bank or crowd your pedalboard.
$98 street, mooeraudio.com
Hermida Audio Dover Drive (July)
The original Chandler Tube Driver shaped legendary tones from David Gilmour to Eric Johnson. Given that Hermidaās homage to that unit lacks an actual tube, the Dover Drive seemed to promise the impossible. But reviewer Joe Charupakorn found it to be superbly flexibleāāa touch-responsive, dynamic, and wide-ranging overdrive suitable for any player who loves transitioning from āsmoothā to āgrowl.āā
$199 street, lovepedal.com
Planet Waves NS Artist Capo (July)
Plainly said, using the Planet Waves NS Artist Capo is a joy. Itās smooth, and itās fast and easy to adjust. But as Rich Osweiler found, itās the capoās knack for even intonation and tension that makes it a real stage assetāand a Premier Gear winner.
$16 street, planetwaves.com
Born Guitars OG Carve (August)
We love Bornās commitment to building guitars using eco-friendly, sustainable materials. But the effort is doubly meaningful when guitars as good as the OG carve are the result. Our review guitar was crafted from reclaimed cedar and redwood, andāunsurprisinglyāthe guitar sounded like it had an old soul, singing in a voice Joe Charupakorn called ābalanced, smooth, and contoured.ā
$2,995 street, bornguitars.com
Gibson J-15 (August)
Gibsonās slope-shouldered dreadnought shape, which has been around since before the Second World War, is the foundation of a few legendary guitars. But the J-15 is certainly one of the most unique-sounding incarnations of this beautiful form. Alternately dry, husky, and airy, itās super rich in overtones and a breeze to record in the studioāespecially if youāve ever struggled with recording strummed parts. And this version is priced to make it a relatively affordable way to get a slice of Gibsonās ineffable slope-shoulder magic.
$1,500 street, gibson.com
Reverend Meshell Ndegeocello Fellowship (August)
Meshell Ndegeocelloās abilities as a bassist know few bounds, so itās no surprise that her signature Reverend Fellowship bass earned a Premier Gear award. Reviewer Jonathan Herrera called the response ābalanced and subtle,ā while praising the massive lows and airy top end. Articulate, powerful, and impressively built, the Fellowship is remarkably flexible for such a streamlined instrument.
$1,199 street, reverendguitars.com
Rivera Venus Deux (August)
The 25-watt, 6V6-driven Venus Deux will inevitably draw comparisons to the legendary Fender Deluxe. But as Shawn Hammond found out, itās packed with secret weapons like the focus function and notch control that can transform the amp profoundly. Hammond also discovered that the Venus Deux has a way of sounding larger than life, observing that with āpresence and focus cranked, the Venus can blaze so hard youāll have other guitarists rubbing their eyes in disbelief.ā
$1,499 street, rivera.com
Visual Sound V3 H2O (September)
While it would have been easy enough for Visual Sound to stick a delay and a chorus in a single box and ratchet up the price in the name of some imagined utility, the V3 H2O emerged as an award winner, in part, for how beautifully it integrated the two effects. Joe Charupakorn found the digital delay section warm and clear, and the chorus capable of thick Leslie sounds and gentle shimmers alike. Given that he also found the sum of the two greater than the individual parts, itās no surprise that V3 H20 got top marks for value, as well.
$179 street, visualsound.net
Bradford Sterling (September)
An amp that so seamlessly fuses the sounds of an AC30 and a Marshall plexi would be impressive if you made it out of burlap sacks and bubble gum wrappers, but stick that circuit in a head and cabinet with an heirloom-furniture vibe and youāre talking about magic. The 18-watt, EL84-powered Sterling is really two amps in one. But because you the can blend the Vox-like and Marshall-style channels, the Sterling becomes an amp of uncommon, even spectacular depth, complexity, and downright explosive potential.
$1,895 street (head), $600 street (1x12 cab with Weber Legacy or Silver Bell speaker), bradfordamps.net
Stomp Under Foot Hellephant (September)
Messing with the classic silicon Fuzz Face circuit is tricky business. Itās flawed, less than user-friendly, and demands a certain patient curiosityābut it yields spectacular results when used right. We gave Stomp Under Footās Hellephant a Premier Gear award for all the ways that it tames some of the silicon Fuzz Faceās most unruly characteristics while retaining the classicās touch and volume sensitivityāand for how it adds a cholesterol-rich dollop of extra gain. It may be a touch too contemporary for hardcore Fuzz Face purists, but more open-minded players will revel in its abundant fuzzy potential.
$155 street, stompunderfoot.com
Universal Audio Apollo Twin (September)
The Apollo Twin audio interface looks too dang simple to do all that it does. But whether youāre powering a Mac-driven stage rig or recording on the go, it has a way of rendering listeners flabbergasted with its wildly authentic-sounding analog modeling. The included plug-ins (UA 1176 and LA-2A compressor and 610-B tube preamp modelers among them) make this a formidable little desktop-studio assetāespecially with the Console virtual mixing board app. And this combination of power and portability make the Apollo Twin an easy Premier Gear winner.
$699 (single processor), $899 street (dual processor), uaudio.com
Greer Amps Lightspeed Organic Overdrive (October)
With the Lightspeed, Greer Amps has crafted a touch-sensitive stomp that covers everything from transparent boost to tough-and-gritty, cranked-amp tones with aplomb. With a super-sensitive and beautifully voiced freq control that adds a very natural presence, the Greer is a shining star in a crowded overdrive market.
$190 street, greeramps.com
Marshall 1958X (October)
Senior Editor Joe Gore reviewed the 1958X fresh off a project building two Marshall 18-watt clones. So to say Goreās assessment benefits from deeper insight is an understatement. He found the build impeccable. And though many players savor the grittiness of this model, Gore was also knocked out by the warm, pretty clean tones lurking within. Dynamic, alive, and uniquely adept at walking the line between clean and crunch, the 1958X was a runaway Premier Gear winner.
$2,699 street, marshallamps.com
MXR Bass Preamp (October)
In his review of this little low-end powerhouse, reviewer Dave Abdo apologetically used the Swiss Army-knife metaphor to describe its tone-shaping potential. But as over-used as that comparison can be, in this case it was apt: Whether employed as a DI, a boost, or an EQ solution for odd and unexpected bass-and-backline pairings, the Bass Preamp just seemed to make everything sound sweeter. And its incredibly reasonable price made it a shoo-in for a Premier Gear award.
$169 street, jimdunlop.com
Way Huge Havalina (October)
Jeorge Tripps has always had a knack for fine-tuning and reinventing classics, but the Havalinaāa germanium fuzz inspired by the Sola Sound Tonebenderāis one of his all-time coolest marriages of vintage liveliness and modern quality and stability. The Havalina does everything a great Tone Bender doesāsnappy, snarling, wild-and-wooly fuzz, sweet-to-biting dynamicsāin a sturdy, thoughtfully executed package that has more than a touch of vintage-idiosyncratic personality. With boutique-level quality, vintage vibes by the bucket load, and a price that will have cookie-cutter and boutique makers quaking in their boots, the Havalina locked up a Premier Gear award with greasy, nasty, fantastically fuzzy ease.
$119 street, wayhuge.com
DOD Phasor 201 (October)
The original DOD Phasor 201 may not have stirred up legions of acolytes like its ā70s contemporaries, the Small Stone and Phase 90, but its resurrection might at last elevate this little blue swirl machine out of the fog of cult obscurity. Reviewer Jordan Wagner praised the 201ās knack for sounding like an organic part of a signal chaināespecially when overdrive is in the mixāand was impressed with the pedalās honey-smooth voice in both slow, psychedelic tape-phase applications and fast rotary-speaker-type settings. Simple, swirlingly rich, and a relative steal, the Phasor 201 seems primed for a longer stay this time around.
$99 street, dod.com
Taylor T5z
The cult of the T5 may not be growing quite as fast as Bob Taylor hoped, but the modelās ranks of loyalists are bound to feel vindicated by the new T5z, which refines the instrument as an electric guitar without sacrificing an ounce of its switch-hitting, amplified-acoustic potential. Reviewer Adam Perlmutter loved its ability to deliver Telecaster- and Stratocaster-like tones colored with a unique, woody air. He also dug its versatile, feedback-resistant acoustic tones. But it was the flawless build and silky playability that put the T5z over the top.
$2,999 street, taylorguitars.com
EarthQuaker Devices Arrows (November)
Considering all the tone-mangling tools that emerge from EarthQuakerās lab, it was almost shocking to see them debut a box of such flawlessly simple functionality and utility. But the Arrows booster takes a Premier Gear award in no small part because of an elegant usability that translates effortlessly into livelier tones. Given EQDās knack for fantastic fuzz, it was no surprise how beautifully the Arrows enhanced fuzz tones, but what really struck us was how it made almost every amp, guitar, bass, and keyboard we tried it with jump with a little something extra. Whether itās a touch of clean boost, or a little extra presence you need, Arrows hits the mark.
$95 street, earthquakerdevices.com
Nordstrand NVT A3 Set (November)
As Shawn Hammond remarked in his review, āCorrect vintage tone can be debated endlessly,ā but even though the NVT A3s barked like a good set of vintage Tele pickups, Hammond was as astounded by the pickupsā lovely, almost lipstick-tube-like textures as he was by how they excelled in both ultra-clean and rowdy settings.
$97 street (each), nordstrandpickups.com
The Skylark, from North Carolina Builder Steve Carr, is a descendant of Fender's Harvard, an amp that gained fame from Steve Cropper's classic Stax recordings. Senior Editor Joe Gore found the Skylark an admirable extension of the Harvard's best qualitiesārichly chiming tones, superb dynamic response, and gratifying overdrive at modest volume. The dual-6V6 circuit transitions smoothly from clean to crunch and the tone controls are more flexible than its vintage Fender counterparts. Gore put it simply, āThe Skylark sings no matter how you set the knobs.ā
$2,390 street, carramps.com
Pettyjohn Electronics PreDrive (October)
Reviewer Joe Charupakorn called the Pettyjohn PreDrive āan adult effectā not because itās graphically lurid or obscene, but because it takes fine-tuning to a level typically reserved for post production at a mixing desk. But that sophistication and precision makes the PreDrive a potentially invaluable mate in studio as well as for unpredictable live backline situations.
$599 street (handwired version), $399 street (PCB version), pettyjohnelectronics.com
A yearās worth of gear at Premier Guitar adds up to a whole lot of wood, wire, silicon, germanium, aluminum, and steel. It also makes up a whole universe of musical possibilities, which is what strikes us as we look back on the Premier Gear Award winners for 2014. From luxurious acoustics to ridiculously buttery-sounding amps and furiously frantic vintage-style fuzzes, there are almost infinite sounds to be extracted from this roster of favorites.
As always, youāll see the full spectrum of manufacturers represented, tooāfrom garage circuit tweakers to industry giants. And apart from the beautiful sounds that youāre likely to extract from these instruments of expression, that diversity among builders might be the thing that makes this industry so fun and special. We all share the joy, ecstasy, emotion, and rush of creation that music brings. And from these 43 award-winning guitars, pedals, amps, audio interfaces, and accessories, we expect yāall will brew up more than a little magic in the years to come. Happy music making, and enjoy the ride.
Just like guitarists, audiophiles are chasing sound. It may be a never-ending quest.
āWhat you got back home, little sister, to play your fuzzy warbles on? I bet you got, say, pitiful, portable picnic players. Come with uncle and hear all proper. Hear angel trumpets and devil trombones.āāAlexander DeLarge (Malcolm McDowell) in the film A Clockwork Orange.
We listen to recorded music for enjoyment and inspiration, but few of us expect recordings to rival the experience of live music. Most guitarists know that the average home sound system, let alone Bluetooth boomboxes, cannot reproduce the weight and depth equal to standing in a room with a full-blown concert guitar rig. Also, classical music lovers recognize that a home system wonāt reproduce the visceral envelope of a live orchestra. Still, much like guitarists, audiophiles spend huge amounts of time and money chasing the ultimate ārealisticā audio experience. I wonder if sometimes thatās misguided.
My exposure to the audio hobby came early, from my fatherās influence. My dad grew up in the revolution of home electronics, and being an amateur musician, he wanted good reproduction of the recordings he cherished. This led him to stock our home with tube components and DIY electrostatic hybrid speakers that rivaled the size and output of vintage Fender 2x12s. I thought this was normal.
Later, I discovered a small shop in my hometown that specialized in āhigh endā audiophile gear. They had a policy: No sale is final until you are completely satisfied. I became an almost weekly visitor (and paying customer) and was allowed to take equipment home to audition, which was dangerous for a young man on a low budget. It was through this program I started to understand the ins and outs of building a cohesive system that met my taste. I began to pay much more attention to the nuances of audio reproduction. Some gear revealed a whole new level of accuracy when it came to acoustic or vocal performance, while lacking the kick-ass punch I desired of my rock albums. I was seeking reproduction that would gently caress the sounds on folk, classical, and jazz recordings, but could also slay when the going got heavy. This made me a bit of an odd bird to the guys at the audio shop, but they wanted to please. With their guidance I assembled some decent systems over time, but through the decades, I lost interest in the chase.
Recently, Iāve begun perusing online audiophile boards and they seem oddly familiar, with tube versus solid-state discussions that might feel at home to guitaristsāexcept the prices are now beyond what Iād imagined. For the most part, they mirror the exchanges we see on guitar boards minus the potty-mouth language. Enthusiasts exchange information and opinions (mostly) on what gear presents the widest soundstage or most detailed high-frequency delivery, all in flowery language usually reserved for fine wines.
Speaking of whining, youāll rethink your idea of expensive cables when you hear folks comparing 18", $1,700 interconnects for their DACs. Some of the systems Iāve seen are more costly than an entire guitar, amplifier, and studio gear collection by a serious margin. Mostly, the banter is cordial and avoids the humble-bragging that might go along with the purchase of a $10,000 set of PAF humbuckers. Still, I have a lack of insight into what exactly most are trying to accomplish.
If youāve ever worked in a big-time studio, you know that the soundscape blasting out of huge monitors is not what most of us have in our homes. My experience rewiring pro-studio patchbays is that less emphasis is placed on oxygen-free, silver-plated, directional cables than the room treatment. Iāve found myself wondering if the people on those audio boardsāwho have spent many tens or even hundreds of thousands of dollars on their home systemsāhave ever been in a studio control room listening to music as loud as a 28,000 horsepower traffic jam of NASCAR racers. That might be an eye-opener.
One of my takeaways is that even though music recording began as an attempt to reproduce what actually happens in a room, it hasnāt been just that for a long time. With all our effects and sonic wizardry on display, recording is like playing an instrument itself, and much more complex. This is not a new revelation to Beatles fans.
What amazes me is that both audiophiles and guitar fanatics pursue the sounds we hear on recordings for differing reasons and with subjective results. Itās a feedback-loop game, where we chase sounds mostly exclusive to the studio. So, how do we determine if our playback is accurate? Will we ever be satisfied enough to call the sale final?
Iām not convinced, but just the same, Iāll continue my own search for the holy grail of affordable, kick-ass sound that still loves a folk guitar
Mooer Prime Minimax M2 Intelligent Pedal boasts 194 effects models, 80 preset slots, MNRS and third-party sample file compatibility, an 80-minute looping module, internal drum machine, high-precision tuner, Bluetooth support, and a rechargeable lithium battery.
Over the last few years, Mooer has released several Prime multi-effects devices, including the Prime P1, P2, S1, and most recently in 2024, the Prime Minimax M1. Excitingly, the company is kicking off 2025 with a brand new addition to the Prime familyāthe Prime Minimax M2 Intelligent Pedal.
Within this small multi-effects device, a whole lot of functionality is packed in, including an impressive 194 effects models, including overdrive, preamp simulators, cabinet models, delays, reverbs, modulation effects, etc., and more. In typical Mooer style, though, the company took things a step further by offering limitless flexibility through the support of its in-house MNRS sample files, as well as third-party IR sample files. Essentially, this means that users can download additional tonal emulations and effects from the Mooer Cloud and third-party sources to the device, which they can then save across 80 preset slots.
As with some past models in the Prime series, the M2 sports a convenient touchscreen design, facilitating easy browsing through the devices banks of presets. However, guitarists are not limited to interfacing with the pedal in this way, as it also features two footswitches, both of which can be used to switch between presets in each bank. There is even a MIDI jack built into the device, enabling users to connect their MIDI controllers to extend the control functions, and the MOOER F4 wireless footswitch support is also supported. Essentially, these augmentation options facilitate additional footswitches to ensure switching preset tones is always as quick and seamless as possible within any workflow.
While the Prime M2 Intelligent Pedal is primarily designed for effects and tonal simulations, it also comes packed with an array of other useful features. For example, it contains a looping module with a hefty 80-minute capacity, in addition to 10 recording save slots to ensure that any looping creations can be kept for future use in performances. Similar to past looper modules in Mooer's products, users are also free to overdub their recordings and even undo or redo their overdubs, offering a lot of real-time flexibility for creating loop-based musical structures.
As if the addition of a looper wasnāt enough, this feature is also synchronizable with an internal drum machine and metronome, a combination that includes 56 drum grooves and 4 metronome varieties. Ultimately, itās a reminder that Mooer clearly recognizes and wishes to solve the struggles that musicians have when attempting to produce precise loops while staying in time. Upon commencing recording, the drum machine can produce four initial beats to serve as a count-in cue, and of course, this can be combined with the device's tap-tempo control for dynamic use. Best of all, this feature can also be applied to modulation and delay effects, ensuring that they work perfectly in time with any performance.
Extra features are included to complete this all-in-one pedal, including a high-precision tunerwith fully customizable frequency ranges. Guitarists can even leverage the M2ās built-inBluetooth input support, allowing them to practice, jam, and even produce looped musicalstructures over their favorite backing tracks, band prototypes, and musical pieces.
Perhaps unsurprisingly for existing Mooer product users, the Prime M2 also boasts an impressive variety of audio routing systems. As was previously mentioned, that includes Bluetooth input, as well as industry standards such as dual-channel stereo output, perfect for stereo delay and modulation effects. It also supports headphone output for those who wish to practice in silence, and even OTG recording, which means that guitarists can record their creations directly to their smartphone whilst on the go.
Speaking of on-the-go, Mooer is continuing its recent portable-play focus with the Prime M2Intelligent Pedal, as it is fitted with a built-in rechargeable lithium battery with a battery life of up to 6 hours. Ultimately, this means that even a lack of local power sources wonāt get in the way of rehearsals and live performances. Combined with the pedalās lightweight and small build, it truly is an ideal addition to the pedalboard of any traveling musician.
Overall, the Prime M2 Intelligent Pedal is set to be an impressive new addition to the Prime series. It features augmented functionality when compared to past models, yet still in a minimalist and easy-to-use package, keeping the size small and light yet still packing in footswitches, a touch screen, and other flexible control systems.
Features:
- 194 built-in effect models and tonal emulations
- 80 preset slots for storing downloaded MNRS and third-party sample files
- Compatibility with the MOOER Cloud tone-sharing platform
- Built-in 80-minute looping module
- Record, overdub, pause, delete, and playback functions for looping
- Internal drum machine module, stocked with 56 drum grooves
- 4 unique metronomes
- Synchronization between drum machine and looper
- Convenient count-in cue function support from the metronome
- High-precision and customizable tuner module
- 2 multi-function footswitches
- 1.28-inch touchscreen interface
- LED digital display
- LED charge indicator
- Portable USB/OTG recording
- Direct compatibility with the MOOER prime mobile APP and MOOER Studio desktop software for preset management
- Bluetooth 5.0 audio playback
- 3000mAh integrated lithium battery with up to 6 hours of use time
- DC 5V/2A power supply and charging
- 3 hours charging time
- Low weight of 228g
- Compact, at 74mm (L), 125mm (W), and 49mm (H)
- Sample rate of 44.1kHz
- Bit depth of 24bit
- Compatible with MOOER F4 wireless footswitch
- 3.5mm MIDI port
- Mono TS ¼ā input
- Stereo TS ¼ā output
- 3.5mm headphone output
- Power switch button
The Prime Minimax M2 Intelligent Pedal will be available from the official distributors or retailersworldwide.
For more information, please visit mooeraudio.com.
Hereās Chris Martin surrounded by a group of guitars created to commemorate his familyās 192-year history.
The home organ once ruled the world, only to go extinct. Is the acoustic guitar next?
When I was growing up, my Aunt Kate had a home organ in her living room. Back then, home organs were everywhere. They were sold at malls across America, and were a staple of post-WWII households. Brands like Lowrey, Magnus, and Hammond dominated the market. Lowrey, a division of Norlin (which eventually acquired Gibson), was especially massive. In fact, in a year where Gibson generated $19 million in revenue, Lowrey pulled in a staggering $100 million.
But like all booms, the home organās success was temporary. By the 1980s, it had gone bust. A huge contributing factor was the entrance of Casio: a more affordable, portable alternative that rendered the home organ obsolete.
Thankfully, the acoustic guitar has always had portability on its side. Iāve witnessed three major acoustic-guitar booms in my lifetime: the folk and folk-rock explosion of the late ā50s through the late ā70s, the MTV Unplugged resurgence, and most recently, the COVID-era surge.
The ā80s, however, were a tough time for acoustic guitar builders. That decade belonged to pointy electric guitars and hair metal. But the acoustic guitar came back. And unlike the home organ, it has not only endured, but thrived.
My great-grandfather capitalized on the demand for mandolins in the early part of the 20th century. We also tried to make and sell banjos. In addition to that, we made archtops, and although they werenāt as popular as some other brands, we did borrow the 14-fret neck.
While we were making 12-fret guitars with steel strings (the real benefit of that era was a dramatic improvement in the quality of steel strings), we discovered that many players wanted more access to the body and a slimmer profile. Starting with a 000-size guitar, we quickly converted many of our models to the new modern neck design, most notably our dreadnought model. The timing was right, as the dreadnought became the go-to guitar for country music. The steel-string flattop would lend itself to a fantastic melding of styles and types of music from around the world (and around the corner), becoming the driving voice of not just country, but also folk and many other genres.
Baby boomers (myself included) grew up with the sound of the acoustic guitar, and playing the music of our youth remains an essential part of any enthusiastās repertoire. Our generation is not only large but also living longer, thanks to modern medicine and healthier lifestyles. Many of us have accumulated wealth, and for those of us in the business of making and selling guitars, thatās good news.
I mean no disrespect when I say, āThank goodness I wasnāt born into the worldās most famous accordion-making family.ā Accordions had their day, just as the home organ once did. Interestingly, accordions still have a niche following, whereas the home organ is now a historical artifact. While home organs were, for a time, all the rage, I doubt that even at the peak of their popularity anyone owned more than one. Quite a different situation when it comes to guitars and guitar collecting.
I do wish I could share with my ancestors how popular the guitar continues to be.
Every so often, someone writes an article with a headline like, āIs the Guitar Dead?ā My answer is simple: no.
As long as we boomersāand everybody elseākeep playing.
The collection includes Cobalt strings with a Paradigm Core, Tim Henson Signature Classical Strings, and the Tim Henson Signature FretWrap by Gruv Gear.
Engineered for maximum output, clarity, and durability, these strings feature:
- Cobalt with a Paradigm Core (not RPS) for added durability
- Nano-treated for maximum lifespan and corrosion resistance
- Gauges 9.5, 12, 16, 26, 36, 46 (Turbo Slinky set)
- Available individually or as part of the Tim Henson Signature Bundle
Tim Henson Signature Classical Strings
Crafted for dynamic, percussive tonality, these strings pair fluorocarbon trebles with silver-plated copper basses to deliver exceptional response and clarity.
- Gauges: 24, 27, 33, 30, 36, 42
- Available individually or as part of the Tim Henson Signature Bundle
Tim Henson Signature FretWrap by Gruv Gear
An essential string-dampening tool, the Tim Henson Signature FretWrap is designed for cleaner playing by eliminating unwanted overtones and sympathetic vibrations.
- Features Tim Hensonās custom āCherub Logoā design
- Size Small, fits 4-string basses, 6-string electric/acoustic guitars, and ukuleles
- Ideal for live performance and studio recording
- Ernie Ball collaboration with Gruv Gear
- Available individually or as part of the Tim Henson Signature Bundle
The Ernie Ball Tim Henson Accessory Bundle Kit
For players who want the complete Tim Henson experience, the Ernie Ball Tim HensonSignature Bundle Kit includes:
- Tim Henson Signature Electric Strings (9.5-46)
- Tim Henson Signature Classical Strings (Medium Tension)
- Tim Henson Signature FretWrap by Gruv Gear (Small)
- Tim Henson Signature Cable (Exclusive 10ft white dual-conductor cable, only available in the bundle)
The Tim Henson Signature String & Accessory Collection is available starting today, March 19, 2025, at authorized Ernie Ball dealers worldwide.
For more information, please visit ernieball.com.