
Bhattacharya invented the chaturangui in the mid ’90s to combine elements of the 6-string guitar with the Indian instruments the sarod and the sitar.
The Hindustani slide guitar master and instrument inventor pays tribute to the legendary Ali Akbar Khan on The Sound of the Soul.
Hindustani slide guitarist Debashish Bhattacharya first heard the music of legendary sarod player Ali Akbar Khan when he was just 2 years old. It was 1965, and Bhattacharya’s parents brought him to one of Khan’s concerts in Calcutta that ran almost all night. Thousands crammed into the pandal to hear him play, and tens of thousands more sat on the tram lines and stone roads outside, listening.
That experience of hearing Khan for the first time never left Bhattacharya’s memory, and he would hear the virtuoso’s sarod on the radio constantly while growing up. Bhattacharya calls it soul-stirring music, crediting Khan with creating a sort of “melodic kingdom. For me, my shelter, my bedroom of music, was Ustad [an honorific title meaning ‘master’] Ali Akbar Khan’s music,” says Bhattacharya.
“It’s about how this music develops and connects your life: how your muscles, your mind, your spirit, your blood, and your tensions all are connected to your music.”
In his 20s, seeking a closer relationship to Khan’s mastery, Bhattacharya sought out Brij Bhushan Kabra—pioneer of Indian slide guitar and one of Khan’s disciples—and asked to study under him. He spent 10 years living with Kabra, his guru, learning his theory and approach to playing music. It was during that time that Bhattacharya met Khan, who asked Kabra to send Bhattacharya to his Calcutta residence to perform for him. For the next decade, Bhattacharya would visit Khan each year and stay with him for a month, absorbing his teachings.
Today, like his gurus, Bhattacharya has become a musical legend, with a career that spans nearly 50 years. He’s shared stages with jazz-fusion guitarist John McLaughlin, Derek Trucks, and Jerry Douglas, earned two Grammy nominations, and released over a score of full-length recordings. And this January, Bhattacharya has built upon that legacy with the release of The Sound of the Soul, a four-song, 66-minute album dedicated to Khan.
A Conversation with Pdt Debashish Bhattacharya on Indian Slide Guitar
“In this performance, since it was fully improvised, it was like a dialogue, a dialogue between the melody and the rhythm.”
Bhattacharya describes the creation of The Sound of the Soul as a pure, elemental experience, reminiscent of what he calls a sacred and total relationship with his gurus. “It’s not learning note-for-note music,” he says. “It’s about how this music develops and connects your life: how your muscles, your mind, your spirit, your blood, and your tensions all are connected to your music. This cannot be passed on without a guru and disciple relationship.
“[This release] doesn’t have any clicks or pops to please any ear, whether it’s Eastern, Western, Southern, or Northern,” he continues. “I just closed my eyes and I lost myself in the studio. When I finished, I woke up like, ‘What happened? What am I doing?’ I thought this album would be the humbly best thing I can offer. My soul is connected to [Khan].”
In performance, Bhattacharya guides the music fluidly, focusing on the dialogue between melody and rhythm.
Unlike Khan, Bhattacharya doesn’t play sarod; his performance on The Sound of the Soul is entirely on the chaturangui, a hybrid slide guitar of his own design that mixes traditional Indian and Western guitar styles. The work is a celebration of his teacher, and also of cultural exchange, of borderless musical exploration.
On the album, Bhattacharya is accompanied only by percussionists Swapan Chaudhuri and Akhilesh Gundecha. The centerpiece of the release is the 39-minute saga “To His Lotus Feet.” Its title epitomizes Bhattacharya’s devotion to Khan. In the piece, the trio takes listeners on an odyssey as they glide through movements and moods, from serene, nighttime soundscapes to thrilling, up-tempo melodic sprints. Nothing was orchestrated ahead of time; the entire track is improvised. How does Bhattacharya know when the song is finished, when enough has been said?
“If you’re a story writer or script writer for a film, you know where to stop, and you know where to end it. It’s under your control,” he says. “You can end three minutes later or five minutes earlier. Unless you are satisfied, you won’t leave it. In this performance, since it was fully improvised, it was like a dialogue, a dialogue between the melody and the rhythm. I almost drowned in that raga. But when it ended, it ended.”
That approach and everything else about Bhattacharya’s musical foundation can be traced back to Calcutta, his hometown. The sprawling West Bengal capital is home to scores of different cultures and traditions—in particular an intense blend of European and Indian cultures, a result of British colonization.
The guitarist’s latest release is dedicated to Ali Akbar Khan, under whom Bhattacharya studied.
Late at night, after local radio programs had gone quiet, syndicated shows from the BBC and other stations would come in faintly to Calcutta’s radios. When Bhattacharya was as young as two or three, these airwaves exposed him to European classical music and Hawaiian slide guitar, and the sounds lodged themselves in his brain alongside classical Hindustani ragas played on sarods and sitars. He came to realize that they complemented one another: the Hawaiian slide style paired strikingly well with the Hindustani tradition’s melodies, which were characterized by seamless changes in pitch.
“I was almost dragged in this path. ‘I have to make this; I have to learn this.’”
When Bhattacharya was just 3 years old, his father bought him his first guitar. It was made of local plywood, with a small sound box and a 24" scale length—and Bhattacharya instinctively wanted to mix the Hawaiian and Hindustani musical traditions. From a young age, he learned not just Hindustani music and ragas, but also Western notation. His guitar teacher had learned how to play American slide guitar styles from a local European musician and passed this on to Bhattacharya. But the 6-string guitar, while useful for Hawaiian slide music, didn’t have the same range and power of traditional Indian instruments. The reverse was true of the sarod and sitar; they weren’t optimized for slide playing.
Still, Bhattacharya pursued a brave, brash mixing of the two sounds. His vision is revered now, but he says this wasn’t always so. “Western guitarists thought I played good slide guitar, but I played Indian classical music,” he says. “Indian classical music fraternity thought, ‘Okay, he’s a very nice classical musician, but why is he playing slide guitar?’” Bhattacharya calls these feelings his “triggers”: “I was almost dragged in this path. ‘I have to make this; I have to learn this.’”
Debashish Bhattacharya's Gear
When Bhattacharya was just a toddler, he listened to Hawaiian slide guitar and classical Hindustani ragas, both of which informed his musical vision.
Guitars
- Chaturangui
Mics
- Neumann KMR 81-i
Strings and Slides
- John Pearse strings
- John Pearse slide
- Diamond Bottlenecks crystal tone-bar
Through his 20s, he worked to develop what would become the chaturangui: an instrument which would capture the breadth of influence he carried within him. Early attempts included a jumbo body with a round soundhole, then an archtop-style with f-holes, but neither yielded the depth of sound Bhattacharya was chasing. During a trip to the U.S. in 1993, Mary Faith, the owner of John Pearse Strings, gifted him with a Weissenborn slide guitar, a rare hollow-neck model created by the luthier Hermann Weissenborn. Bhattacharya took it home, opened it up, and experimented with it, adding elements from the construction to his own guitar.
In 1994, after years of prototyping and trial-and-error, Bhattacharya completed his masterpiece. The chaturangui lap-steel guitar had a hollow neck and a normal 6-string configuration along with three extra sets of strings: two additional rhythm strings just past the high strings, two drone strings on the bass side of the neck, and 14 sympathetic strings—like those on a sitar—just past the drones. (For those counting, that brings the chaturangui’s total to 24 strings.)
“Art is not the same everywhere … but if you look at everything in nature, it’s connected. The same air you breathe, I breathe.”
Today, the chaturangui is but one of Bhattacharya’s primary instruments (standing alongside his later slide-instrument inventions, the anandi, gandharvi, and most recently, the pushpa veena). In concert, he and his accompanists operate in a similar way to how he approached the improvisation of “To His Lotus Feet.” He and his daughter Anandi Bhattacharya, a vocalist, and his brother, tabla player Subhasis Bhattacharya, performed music from The Sound of the Soul for audiences at La Folle Journée, a classical music festival in Nantes, France. He says in a performance, as in the studio, the story of the song starts from one point, then slowly develops, involving more characters and building energy before reaching a narrative peak. It gently decrescendos—the sound of “people going back home, leaving.”
Bhattacharya performing live on the pushpa veena, a 25-string slide instrument built from a single piece of teak, plus goat skin, and a deer-horn bridge.
Bhattacharya’s goal with his music is not to be “the best,” or to satisfy some notion of what his music should be. It is simply to communicate and share what he has learned from his teachers, from his whole world of influence and openness. He laments that with music, we’re raised in small pockets of influence, without much access to other musical traditions and appreciations.
Music streaming services have allowed distinct cultures to spread and mingle around the world, but Bhattacharya says we still have a way to go in bridging music traditions. “Art is not the same everywhere … but if you look at everything in nature, it’s connected,” he explains. “The same air you breathe, I breathe. The same water is flowing into the oceans, it’s the same sunlight we’re receiving. Our cultures are only different because we were ignorant about each other.”
But being raised in Calcutta taught Bhattacharya an important lesson: There is no such thing as bad music if it is created intentionally and caringly; all musical practices are connected. “Every music is divine,” he says. When we create music, we are interpreting and exploring the universe: mystery, beauty, fear, joy.
“We are the divine pieces of gods and goddesses,” Bhattacharya continues. “That is why we should accept everything as beautiful, accept it and let it come in our door. That is what I have learned in my 40 years of traveling all over the world. It’s such a beautiful life we can make through accepting other cultures and finding the way in between.”
Uttarpara Sangeet Chakra 2023 Father Son Duet | Raag Madhuvanti | Pdt Debashish Bhattacharya
With astounding virtuosity, Bhattacharya combines Indian classical music and Western slide guitar technique to create a singular, stirring sound.
David Gilmour, making sounds barely contained by the walls of Madison Square Garden.
The voice of the guitar can make the unfamiliar familiar, expand the mind, and fill the heart with inspiration. Don’t be afraid to reach for sounds that elevate. A host of great players, and listening experiences, are available to inspire you.
In late fall, I had the good fortune of hearing David Gilmour and Adrian Belew live, within the same week. Although it’s been nearly two months now, I’m still buzzing. Why? Because I’m hooked on tone, and Gilmour and Belew craft some of the finest, most exciting guitar tones I’ve ever heard.
They’re wildly different players. Gilmour, essentially, takes blues-based guitar “outside”; Belew takes “outside” playing inside pop- and rock-song structures. Both are brilliant at mating the familiar and unfamiliar, which also makes the unfamiliar more acceptable to mainstream ears—thereby expanding what might be considered the “acceptable” vocabulary of guitar.
Belew was performing as part of the BEAT Tour, conjuring up the music of the highly influential King Crimson albums of the ’80s, and was playing with another powerful tone creator, Steve Vai, who had the unenviable role of tackling the parts of Crimson founder Robert Fripp, who is a truly inimitable guitarist. But Vai did a wonderful job, and his tones were, of course, superb.
To me, great tone is alive, breathing, and so huge and powerful it becomes an inspiring language. Its scope can barely be contained by a venue or an analog or digital medium. At Madison Square Garden, as Gilmour sustained some of his most majestic tones—those where his guitar sound is clean, growling, foreign, and comforting all at once—it felt as if what was emanating from his instrument and amps was permeating every centimeter of the building, like an incredibly powerful and gargantuan, but gentle, beast.
“The guitar becomes a kind of tuning fork that resonates with the sound of being alive.”
It certainly filled me in a way that was akin to a spiritual experience. I felt elevated, joyful, relieved of burdens—then, and now, as I recall the effect of those sounds. That is the magic of great tone: It transports us, soothes us, and maybe even enlightens us to new possibilities. And that effect doesn’t just happen live. Listen to Sonny Sharrock’s recording of “Promises Kept,” or Anthony Pirog soloing on the Messthetics’ Anthropocosmic Nest, or Jimi Hendrix’s “Freedom.” (Or, for that matter, any of the Hendrix studio recordings remixed and remastered under the sensibilities of John McDermott.) Then, there’s Jeff Beck’s Blow by Blow, and so many other recordings where the guitar becomes a kind of tuning fork that resonates with the sound of being alive. The psychoacoustic effects of great tones are undeniable and strong, and if we really love music, and remain open to all of its possibilities, we can feel them as tangibly as we feel the earth or the rays of the sun.
Sure, that might all sound very new age, but great tones are built from wood and wires and science and all the stuff that goes into a guitar. And into a signal chain. As you’ve noticed, this is our annual “Pro Pedalboards” issue, and I urge you to consider—or better yet, listen to—all the sounds the 21 guitarists in our keystone story create as you examine the pedals they use to help make them. Pathways to your own new sounds may present themselves, or at least a better understanding of how a carefully curated pedalboard can help create great tones, make the unfamiliar familiar, and maybe even be mind-expanding.
After all these years, some players still complain that pedals have no role other than to ruin a guitar’s natural tone. They are wrong. The tones of guitarists like Gilmour, Belew, Vai, Hendrix, Pirog, and many more prove that. The real truth about great tones, and pedals and other gear used with forethought and virtuosity, is that they are not really about guitar at all. They are about accessing and freeing imagination, about crafting sounds not previously or rarely heard in service of making the world a bigger, better, more joyful place. As Timothy Leary never said, when it comes to pedalboards and other tools of musical creativity, it’s time to turn on, tune up, and stretch out!
With 350W RMS, AMP TONE control, and custom Celestion speaker, the TONEX is designed to deliver "unmatched realism."
"The next step in its relentless pursuit of tonal perfection for studio and stage. Born from the same innovative drive that introduced the world's most advanced AI-based amp modeling, TONEX Cab ensures that every nuance of modern rigs shines onstage. It sets the new standard for FRFR powered cabinets for authentic amp tones, delivering unmatched realism to TONEX Tone Models or any other professional amp modeler or capture system."
Setting a New Standard
- Professional full-range flat-response (FRFR) powered cab for guitar
- True 350 W RMS / 700 W Peak with audiophile-grade power amps and advanced DSP control
- The most compact 12" power cab on the market, only 28 lbs. (12.7 kg)
- Exclusive AMP TONE control for amp-in-the-room feel and response
- Custom Celestion 12'' guitar speaker and 1'' high-performance compression driver
- 132 dB Max SPL for exceptional punch and clarity on any stage
- Programmable 3-band EQ, custom IR loader with 8 onboard presets and software editor
- Inputs: XLR/1/4" combo jack Main and AUX inputs, MIDI I/O and USB
- Output: XLR output (Pre/Post processing) for FOH or cab linking, GND lift
- Durable wood construction with elegant design and finish
- Swappable grill cloths (sold separately) and integrated tilt-back legs
Finally, Amp-in-the-room Tone and Feel
Thanks to its unique DSP algorithms, TONEX Cab's exclusive AMP TONE control stands apart from any other FRFR in the market today, allowing players to dial in the perfect amount of real amp feel and response to any room or venue.
It achieves this through advanced algorithmic control over the custom high-wattage Celestion 12'' guitar speaker and 1'' high-performance compression driver. Together, they deliver the optimal resonance and sound dispersion players expect from a real cab. Combined with a wood cabinet, this creates a playing experience that feels alive and responsive, where every note blooms and sustains just like a traditional amp.
Ultra-portable and Powerful
TONEX Cab is the most compact 12'' powered cab in its class, leaving extra room in the car to pack two for stereo or to travel lighter. Despite its minimal size, the TONEX Cab delivers true 350 W RMS / 700 W Peak Class-D power. Its unique DSP control provides true-amp sound at any volume, reaching an astonishing 132 dB Max SPL for low-end punch and clarity at any volume. With larger venues, the XLR output can link multiple cabs for even more volume and sound dispersion.
Amplify Any Rig Anywhere
TONEX Cab is the perfect companion for amplifying the tonal richness, dynamics and feel of TONEX Tone Models and other digital amp sims. It adds muscle, articulation, and a rich multi-dimensional sound to make playing live an electrifying and immersive experience.
Its onboard IR loader lets players connect analog preamps directly to the cab or save DSP power by removing the modeler's IR block. Precision drivers also work perfectly with acoustic guitars and other audio instruments, ensuring that time-based effects shine with studio-quality clarity and detail.
Pro-level Features
TONEX Cab offers plug-and-play simplicity with additional pro features for more complex rigs. Features include a 3-band EQ for quickly dialing in your tone to a specific room without editing each preset. You can program the eight memory slots to store both EQ and AMP TONE settings, plus your cabinet IR selection using the onboard controls or the included TONEX Cab Control software. Seamlessly select between memory slots with the onboard PRESET selector or via the built-in MIDI I/O.
On Stage to FOH
TONEX Cab's balanced audio output makes it easy to customize the stage or house sound. It features pre- or post-EQ/IR for cab linking or sending sound to the front-of-house (FOH). The AUX IN allows users to monitor a band mix or play backing tracks. These flexible routing options are ideal for fine-tuning the setup at each gig, big or small.
Stereo and Stacking
With two or more TONEX Cabs, any rig becomes even more versatile. A dual TONEX pedal rig creates a lush, immersive tone with spacious, time-based effects. Players can also build a wet/dry or wet/dry/wet rig to precisely control the direct/FX mix, keeping the core tone intact while letting the wet effects add depth and space. Stack multiple cabs for a massive wall of sound and increased headroom to ensure the tone stays punchy and powerful, no matter the venue size.
Designed to Inspire
The TONEX Cab's Italian design and finish give it a timeless yet modern look under any spotlight. The integrated tilt-back legs let users angle the cab and direct the sound, which is optimal for hearing better in small or dense sound stages. Swappable optional grills (Gold/Silver) make it easy to customize each rig's appearance or keep track of different TONEX Cabs between bandmates or when running stereo rigs.
Bundled Software
TONEX Cab includes a dedicated TONEX Cab Control software application for managing and loading presets and IRs. As part of the TONEX ecosystem, it also includes TONEX SE, the most popular capture software program, with 200 Premium Tone Models, unlimited user downloads via ToneNET and AmpliTube SE for a complete tone-shaping experience.
Pricing and Availability
TONEX Cab is now available for pre-order from the IK online store and IK dealers worldwide at a special pre-order price of $/€699.99 (reg. MSRP $/€799.99*) with a black grill as the default. The optional gold and silver grill cloths are available at a special pre-order price of $/€39.99 (reg. MSRP $/€49.99*). Introductory pricing will end on March 18, with TONEX Cab shipping in April.
*Pricing excluding tax.
For more information, please visit ikmultimedia.com
IK Multimedia TONEX Cab 700-watt 1 x 12-inch Power Guitar Cabinet
TONEX Powered FRFR CabWith over 350 effects models, 120 sampling slots, and a Groove Station with a 480-second looper, this pedal offers unparalleled versatility for guitarists worldwide.
In 2025, MOOER has announced that it will be set to release its latest multi-effects pedal, the GS1000 Intelligent Amp Profiling Processor, an augmented intelligent amp profiling processor. Built on MOOER’s advanced third-generation digital platform, the GS1000 introduces groundbreaking MNRS 2.0 technology, allowing guitarists around the world to emulate their favorite gear with immense precision–specifically, for distortion pedals, preamps, amplifier heads, and cabinets.
With this innovation, guitarists can fully capture the essence of their favorite guitar gear without owning the physical hardware, enabling them to carry their favorite tones wherever they go. Users are even able to use third-party IRs for cabinets of their choice, further enhancing the flexibility of this feature.
It’s unforgettable how much MOOER’s multi-effects pedals have impressed audiences so far, primarily thanks to their robust tone libraries. However, even still, the GS1000 continues to build upon this with storage for up to 120 sampling profiles, along with continued integration with the MOOER Cloud app. Essentially, this cloud integration facilitates infinite upload and download possibilities, giving users access to a global community of shared tones, widely expanding the number of accessible tones. More still, the GS1000’s previously mentioned third-party IR cabinet simulations support up to 2048 sample points, guaranteeing studio-grade tonal accuracy across the board.
Even more impressive for the price is how the GS1000 inherits the dual-chain effects architecture that made previous MOOER gear so versatile, making it suitable for highly complex usage scenarios. With over 350 factory effects models and a Sub-Patch preset grouping mode, the GS1000 makes it far simpler for users to make seamless transitions between tones, all while maintaining effect tails to guarantee seamless transitions. Additionally, the reintroduction of the innovative AI-driven EQ Master builds upon MOOER devices’ previous capabilities, using intelligent adjustments in real-time to match the musical style of players to tones, while still allowing manual tweaks for precise control.
Impressively, the GS1000 also comes packed with a Groove Station module, consisting of a combination of drum machine and looper features–including 56 high-quality drum kits! It offers a 480-second phrase looper with infinite overdubs, automated detection, and synchronization capabilities, resulting in an intuitive platform for solo jamming, composition, and live loop-based performance. Overall, the Groove Station acts as an all-in-one suite for creating full arrangements, without having to depend on additional backing tracks or bandmates.
Visually and functionally, the GS1000 really stands out thanks to its sleek visual design and enhanced user experience. For example, it features a convenient 5-inch high-resolution touchscreen, which is also paired with ambient lighting to add a visually stunning element to the pedal. As a result, the GS1000 is not only designed for convenient touch-based control but also as a standout centerpiece in any guitar rig.
In addition to this touchscreen control system, the GS1000 also provides expanded connectivity options, improving upon the already impressive flexibility of past pedals. Most notably, it supports connectivity with the MOOER F4 wireless footswitch, as well as the ability to control presets via external MIDI devices.
As is expected from MOOER these days, the GS1000 also excels when it comes to routing opportunities, going above and beyond the typical stereo ¼” inputs and outputs that would be expected from other brands. Yes, it still includes such staples, but it also includes an XLRmicrophone input, alongside balanced TRS outputs for long-distance signal clarity. The configurable serial/parallel stereo effects loop enables seamless integration of external effects, and the addition of Bluetooth audio input and MIDI compatibility broadens its wide range of use cases for live and practice-based applications.
Furthermore, the pedal also serves as a professional audio solution thanks to its low-latency 2-in/2-out ASIO USB sound card. Supporting up to 192kHz sampling rates, the GS1000 makes recording and live streaming effortless, as it can easily be used with software DAWs, MOOER’s editing software, as well as the USB-based MIDI control.
The GS1000 will be available in two versions–the standard white edition, which is powered by mains power, and the GS1000 Li version, which introduces a 7.4V 4750mAh lithium battery, chargeable through its power port. With this upgrade, users can enjoy up to six hours of continuous power-free playtime, making it ideal for practicing, busking, and generally performing on the go.
Overall, for fans of MOOER’s previous amp simulation offerings, the GS1000 represents a natural evolution, building on everything that made its predecessors great while introducing cutting-edge features and expanded capabilities. Most importantly, MOOER has promised to continuously update its MOOER 4.0 tonal algorithms on the MOOER Cloud in line with therelease, keeping things fresh for the company’s dedicated user base.
- MNRS 2.0 sampling technology for emulating distortion pedals, preamps, amplifier heads, and cabinets
- Over 350 original factory effects models
- 120 sampling slots with upload/download support via the MOOER Cloud app
- Supports third-party cabinet IR files up to 2048 sample points
- Integrated Groove Station with a drum machine and 480-second looper, featuring infinite overdubs and synchronization capabilities
- 54 high-quality drum kits
- 4 metronome tones
- Tap-tempo control for timing effects
- Advanced AI-driven EQ Master for intelligent tone adjustment based on music styles, with manual customization options
- Built-in high-precision digital tuner
- Quick-access dual-chain effects architecture for seamless creative workflows
- 5-inch high-resolution touchscreen with ambient lighting for enhanced usability
- Four multi-purpose footswitches
- Configurable serial/parallel TRS stereo effects loop for external effects integration
- 6.35mm instrument input and XLR microphone input for expanded connectivity
- Balanced TRS stereo outputs for long-distance signal transmission without quality loss
- Bluetooth audio input functionality for accompaniment playback
- Low-latency ASIO 2-in/2-out USB sound card supporting up to 192kHz sampling rate
- MIDI controller compatibility for managing presets and features
- USB-C port for preset management, USB audio, and USB MIDI functionality
- Supports MOOER F4 wireless footswitch for extended control
- Also available as the GS1000 Li, which features a built-in 7.4V 4750mAh lithium battery, offering up to 6 hours of continuous playtime, chargeable through the power port
The GS1000 will be available from the official distributors and retailers worldwide on January 16th, 2025.
For more information, please visit mooeraudio.com.
Hand-crafted in Petaluma, California, this amp features upgrades while maintaining the original's legendary tone.
The Mesa/Boogie Dual Rectifier Solo Head’s arrival in 1992 was a watershed moment for alternative rock and metal that changed everything; heavy music would never sound the same again, and the Dual Rectifier’s crushing, harmonically rich tone became the most sought-after guitar sound of the era. With a feel as empowering as its sound, the Rectifiers provided an ease of playing that supported and elevated proficiency and was inspirational, rewarding, and addictive.
Its sound and impact on the generation that used it to define what rock music would become were as sweeping as they have been lasting. And it remains arguably the most modeled in today’s digital amp landscape. Now, the 90s Dual Rectifier is back with a vengeance, built in Petaluma, California, by the same artisans who made the originals the most desirable high-gain guitar amplifier of all time.
For more information, please visit mesaboogie.com.