The Fat Peacock is a British-voiced high-gain pedal with an integral boost circuit.
Orange County, CA (September 6, 2017) -- AJ Peat has unveiled the companyās new delay design, the Batcave. The Batcave is a delay pedal specializing in a variety of vintage-inspired echo and delay effects.
Bat Cave Delay features:
- Wide palette of high-fidelity, vintage-inspired delay effects
- Delay length, feedback, and blend controls
- Fully analog with true bypass
- Standard 9V power supply only (no internal battery connection)
- Made in USA
$159 MAP/Retail, $159 Street price.
AJ Peat has unveiled the companyās newest original overdrive design, the Fat Peacock. The Fat Peacock is a British-voiced, high-gain pedal with an integral boost circuit to enable a playersā soloing to stand out.
Fat Peacock features include:
- Versatile British voicing
- Preset level boost footswitch with indicator LED
- Volume, treble, gain, bass, and boost controls
- Fully analog and true bypass
- 9V power supply only (no internal battery connection)
- Made in USA
$179 MAP/Retail, $179 Street price.
Watch the company's video demo:
For more information:
AJ Peat
Roger Waters is set to release a Super Deluxe Boxset of The Dark Side Of The Moon Redux on March 14, 2025. The Boxset includes a live album from his sold-out London Palladium shows, gold vinyl, CD, Blu-ray, and a track-by-track video interview.
The Super Deluxe Boxset includes:
- The Dark Side Of The Moon Redux on gold vinyl (2LP), CD, Blu-ray: Dolby Atmos Mix, 96/24 Audio.
- The Dark Side Of The Moon Redux Live on gold vinyl, CD, Blu-Ray, 96/24 Audio
- Roger Waters Track by Track video interview on Blu-ray
- Four 4 x 10-inch Vinyl from the original Redux album cut at 45 RPM for: Money, Time, Speak To Me/Breathe and Us & Them, each with an artwork etched B-side.
- A 40 page Commemorative Book of Photographs from The Making of the Album, Rehearsals, and Roger Waters Redux Live at The London Palladium.
- Initial Boxset orders from the official store include a signed print by Roger Waters
Waters Quote:
āAll that is gone, all thatās to come? Looking back or looking forward, Dark Side of the Moon offers you choice. The choice is yours. Darkness or the Lightā.
Track listing:
The Dark Side Of The Moon Redux studio album and Roger Waters Live album:
āSpeak to Meā
āBreatheā
āOn the Runā
āTimeā
āGreat Gig in the Skyā
āMoneyā
āUs and Themā
āAny Colour You Likeā
āBrain Damageā
āEclipseā
The Dark Side Of The Moon Super Deluxe box set Redux credits include: Roger Waters: Vocals / Gus Seyffert: Bass, Synth, Backing Vocals / Joey Waronker: Drums, Percussion / Jonathan Wilson: Guitars, Synth / Johnny Shepherd: Organ, Vocals / Via Mardot: Theremin, Vocals / Azniv Korkejian: Vocals, Percussion / Jon Carin: Keyboards, Lap Steel, Synths, Organ, Vocals / Robert Walter: Piano, Harpsichord, Synths / Strings: Gabe Noel: String Arrangements: Gabe Noel
Recorded live at The London Palladium // Produced by Gus Seyffert and Roger Waters // Mixed by Sean Sullivan, Darrell Thorpe, Roger Waters and Gus Seyffert // Mastered by Dave Cooley, Elysian Masters // Art Direction and Design: Sean Evans // Photography: Kate Izor.
For more information, please visit rogerwaters.tmstor.es.
Roger Waters - THE DARK SIDE OF THE MOON REDUX SUPER DELUXE BOXSET - YouTube
Guest Picker - Ariel Posen
The past year was full of new sounds and discoveries. Ariel Posen and Jeremy Jacobs join the PGteam to highlight what popped out to them over the last 12 months.
Q: What was your biggest guitar discovery of 2024?
Guest Picker - Ariel Posen
A: Twenty-twenty-four was a year of discovery and re-discovery for me. I tend to come back to records and artists that I haven't listened to in a long time and get back into them with a new-found excitement. In regards to guitar discovery, at the end of 2023 I got into Paramore for the first time, specifically their last album, This is Why. I don't really listen to guitar music these days, but I'm always infatuated by the extreme detail of finely crafted guitar parts that help serve the song, and that album is full of that stuff. In terms of rediscovery, I spent a lot of time digging back into early George Harrison, Christopher Cross, and some specific Steely Dan records. Seems to be a theme there. I love all that stuff but haven't really given it time in a while; that changed this past year.
Obsession: Doechii. Watch her Tiny Desk video. She's incredible and the band is too. I get goosebumps every time I watch it, and I watch it once a day.
Reader of the Month - Jeremy Jacobs
A: I was turned on to Mk.Gee after seeing his performance on SNL and immediately fell in love with the vibe. Iām always trying to keep an ear to the ground for new, innovative guitar sounds, and his unique approach to creating guitar tones was really refreshing and inspiring. I love the blend of retro ā80s synth sounds and modern digital guitar production.
Obsession: Jim Lillās video series on YouTube experimenting with guitar tone. Heās like the Mythbusters of the guitar community and itās really shaking things up! Heās taking a very scientific deep dive into commonly held beliefs about what makes certain equipment āsound goodā and has returned some truly shocking results. Iām thinking about guitar gear in a totally different way thanks to his work.
Managing Editor - Jason Shadrick
A: Big delays and reverbs finally got to me in 2024. Typically, I would favor a modest spring or room setting, but a few gigs this year pushed me into more ambient territory. Itās incredible how the sound of space affects your touch on the instrument. My playing has become more melodic and intentionalābut Iām still not digging the shimmer vibe.
Obsession: Noel Johnstonās YouTube videos from his Creative Fundamentals class have been warping my brain. Fair warning: They do require a bit of theoretical knowledge to get the most out of them. However, his triad workouts are a great way to start to visualize different shapes all over the neckāno matter what key.
Assistant Editor - Luke Ottenhof
A: Last year, I discovered germanium. This isnāt strictly true; Iāve used germ pedals in the past, but I never connected with the transistors until I picked up the Death by Audio Germanium Filter. Now, all I want is sweet, gnarly, splatty germanium grossness on whatever I play. The problem is it doesnāt really fit with my bandās sound. I predict many arguments in 2025.
Obsession: Figuring out ways to make, share, and celebrate music outside of the too-powerful platforms that have monopolized our arts and culture. Thankfully, there are loads of people way smarter than me working with each other to build new networks and meanings for music, including some that would be musician-owned. The future is brightāif we want it!
Oniās guitar duo cover 16 strings between them with a pair of Neural Quad Cortexes and some choice patches.
Jared Dines had been writing for Canadian metalcore outfit Oniāfronted by Jake Oniāfor a few years before Jake invited Dines to join him onstage. Dines had just two days to learn the entire set before rehearsals began. But Eric Palmer can one-up him. He was teching for the band when Jake conscripted himāwith just one day to pick up the set before a performance. Palmer rose to the occasion, and he and Dines have formed Oniās two-guitar tornado for the past year.
Ahead of their gig at Nashvilleās Brooklyn Bowl in December, Dines and Palmer walked PGās Chris Kies through their spartan, one-guitar rigsāno backups, no mercy.
Brought to you by DāAddario.8 is Great
Eric Palmer is used to playing 7-string axes, so this limited-run 8-string Jackson Concept Series MDK8 HT8 MS Modern Dinky didnāt take long to get used to. The Korea-made flamethrower has a basswood body, a 3-piece maple/wenge/mapleneck, and a compound radius ebony fretboard (12" to 16"). It also boasts a dual scale lengthā25.5" to 27.5"āand is loaded with Fishman Fluence Modern pickups, which feature two voicings selected by a push-pull switch. Palmer had this one upgraded to a 5-way switch to access split-coil sounds, and he got rid of the tone knob. āAll gas, no brakes,ā as PGās Perry Bean would say.
Petrucci Power
Jared Dines also needed an 8-string for Oni, so Ernie Ball sent him this Music Man Majesty 8, a John Petrucci signature model. Itās got Fishmanās Powerbridge piezo system, which sees action on the song āControl.ā Dines attached his own string clamp behind the nut to halt noise.
Double Quads
Dines and Palmer both rely on Neural DSP Quad Cortexes on this Oni tour. Their units are mounted on Temple Audio pedalboards, and both guitarists use the Architecture: Gojira X patch for their heavy sounds, and a Roland Jazz Chorus sound for cleans. Both Dines and Palmer employ a MIDI switching system that they pulled from Aaron Marshallās Rig Rundown, and run their signals from direct to front of house.
The author found this one-of-a-kind tremolo/vibrato/sound-altering modulation box at Quattro Music Company in Thomas, West Virginia.
Producer and roots-guitar veteran Michael Dinallo pens his unabashed love letter to tremolo, with fond recollections of vintage Fender and Gibson amps, Dunlopās TS-1, and a one-of-a-kind mystery modulator.
Tremolo is my favorite effect to modulate a guitarās sound (and I love vibrato, too). I love it so much that itās part of the moniker of the production team I had with the late Ducky Carlisleāthe Tremolo Twinsāas well as our Trem-Tone Records label. You might recognize Ducky from his many engineering credits, including Buddy Guy, or our work together on albums like Stax veteran Eddie Floydās heralded Eddie Loves You So, from 2008.
For me, the golden period of tremolo was the early 1960s. The brown-panel Fender amps of that period have astounding harmonic tremolo, as do the Gibson amps from that period. I have a 1963 Gibson GA-5T Skylark that has a tremendous tremolo circuit. I used that amp for all the guitar parts I cut on my new album, The Nightās Last Dance,as well as all the records Iāve worked on over the last four years, either as producer or player. My favorite, though, is the 1963 2x10 Fender Superāalso a brown-panel amp. It can be so soupy that, if multi-tracked, it can almost induce seasickness.
But there are so many choices and classic sounds. The Magnatone and Lonnie Mack jump to mind, or the use of a Leslie cabinet for guitar, which is another sound I love as both player and producer. Two of the most distinct and famous uses of tremolo, to my ears, are Link Wrayās āRumbleā and Reggie Youngās arpeggiating opening chord on āThe Dark End of the Streetā by James Carr. There is a shimmery quality to big chords drenched in a slow tremolo, especially if the part is doubled. From a production standpoint, it adds depth to a track, even if itās mixed way in the back.
Letās talk about doubling a tremolo part. Once in a while you can get lucky and have the amp cycle the wave at just the right time as you hit the record button. But most often not. Usually this is not a big deal and adds to the depth of the bed part being recorded. Sometimes, though, it has to be a tight double. Thatās when Iāve spent much time guessing at the cycling and trying to hit it just right. Itās a blast when you do.
One of my favorite experiments with tremolo was setting up two ampsāa brown-panel Fender Vibroverb and a brown-panel Fender Concertāin a V-shape. The amps were set to the same volume and approximately the same tone settings. Using a stereo mic in the middle of the V, we recorded it to one track. We had to keep tweaking the individual tremolo settings in an effort to not have them cancel each other out. But what a huge, lush sound!
āThere is a shimmery quality to big chords drenched in slow tremolo, especially if the part is doubled.ā
There are many tremolo pedals and recording plugins these days, and theyāre all good, but nothing quite captures the sound of an internal tremolo circuit. You can avoid chasing their cycles, too, if a pedal has a tap-tempo function. But what fun is that?
The one tremolo pedal, for me, that comes the closest to an in-amp circuit is the now-vintage Dunlop TS-1. Thirty years ago, I needed a tremolo pedal for my road ampāat the time, a 1994 Fender tweed Blues DeVille. I found Dunlopās big, honking purple metal box with ātremoloā written across the front in wavy yellow letters. You can get wide, sweeping tremolo or set it to a hard, choppy setting where the volume completely disappears. Iāve used both applications effectively. The hard trem is great for the last chord of a song, especially live, hitting like a boxer sparring with a weighted, hanging bagāespecially if youāre diving into a psychedelic ending. And, of course, mixing in other modulation effects, such as flanging or phasing, adds another twist.
I found the most unique tremolo/vibrato/sound-altering modulation box I have at Quattro Music Company in Thomas, West Virginia. Itās not a pedal per se; itās circuitry housed in a cigar box with so many knobs and switches and variations that I still have not exhausted all the possibilities. Itās a one-off. I was told it was the only tremolo box the inventor made. Combining it with a front-end boost and diming an amp produces otherworldly sounds. Iāve used it on a couple of recordings: āNever, No More (A Reckoning)ā by Keith Sykes and me, and āTime Machineā by the Dinallos (where we were joined by Nashvilleās famed singing siblings, the McCrary Sisters). With the latter, itās most obvious as a tremolo device, and on the former itās as a sound-altering gizmo that enhances the guitar leads.
Of all the toys in the arsenal that guitarists have, Iāve gotta say, long live tremolo!