The rising guitar star blends classic and psych-rock, Motown, and more influences with modern pop flourishes in songs replete with fat, fuzzy, fizzy tones from her new Epiphone Sheraton signature.
For so many artists, the return of live shows means the return of the thrill of performing, much-needed income, and, in a way, purpose. The third definitely goes for guitarist Emily Wolfe, who, when asked about her goals, immediately responds, "I just want to play arenas every night for the rest of my life. When I go up there, something could hit me at any point—an emotion that I felt 10 years ago could come out in a bend on the low E."
As she sharpens her sound, Wolfe is helping to keep the rock genre alive—not by mimicry or séance, but by taking the grit of the past and expanding it with a broader emotional vocabulary, confidently concise guitar work, and pop-inspired arrangements.
Wolfe, who's toured and performed with Gary Clark Jr., the Toadies, Heart, and the Pretenders, doesn't get why people can be so confounded by the third descriptor. "Some of my rock friends say, 'Pop isn't relevant,' and I'm like, 'What are you talking about—it's everywhere!' It's so sticky for people, and that's really fascinating to me. I want my music to have that quality … but also the realness of a raw guitar tone."
Epiphone Exclusive | “No Man” by Emily Wolfe
What's exciting about her latest full-length release, Outlier, is how she captures exactly what she's talking about. The songs bleed like a wounded gunslinger over a silvery backdrop of deftly layered synths, tight vocal harmonies, and blended acoustic and electronic drums. Over the course of the album, she sings, "I just can't get close enough to you," ("Vermillion Park"), "I'm addicted to the broken," ("Never Gonna Learn"), and "I'll chase you 'til my lungs give out," ("My Lungs Give Out"). It's through her adept genre fusion and aching romanticism that Wolfe offers her audience something to connect with that's not just clever, but also powerful.
"An emotion that I felt 10 years ago could come out in a bend on the low E."
Stone Age Methods
Outlier was produced by Michael Shuman, bassist of Queens of the Stone Age, who Wolfe describes as "like, the coolest guy that I've ever seen in my life." It started out as a long-distance project, as she's based in Austin and Shuman is in Los Angeles. They sent demos back and forth before Wolfe went into the studio in the fall of 2020. (She was later joined by bassist Evan Nicholson and drummer Clellan Hyatt.) With Shuman's encouragement, Wolfe set aside perfectionist leanings and took a more adventurous approach to the recording process than she had in the past.
Emily Wolfe's semi-hollow Epiphone signature model, the Sheraton Stealth, is a modern take on John Lee Hooker's longtime favorite, the Sheraton. It has a layered maple body with a mahogany neck, signature inlays, a Tune-o-matic bridge, CTS pots, two volume controls and one tone control, and Epiphone's Alnico Classic PRO pickups.
Photo by Barbara FG
On her 2019 self-titled first album, Wolfe exacted every tone before entering the studio, but this time around, she allowed more room for spontaneity, which made things far more relaxed. "It was easy to get into the flow and be really present," she says. "I think I'll probably do the next record like that because it was a lot more fun." One trick she made use of with engineer Michael Harris involved an MPC (music production center) controller and a few floppy discs of drum samples. Throughout the recording process, the samples were layered on top of the acoustic drums.
But that experimentalism came with some apprehension. "I said to [Shuman], 'How am I going to replicate this sound live?'" Wolfe says. "He was like, 'It doesn't matter, dude, just make the best record you can and figure out the live stuff later.'" Shuman's attitude toward recording contributed to the flexible atmosphere that enabled Wolfe to evolve, but not without some challenges. "There was one instance when, on 'Damage Control,' I didn't have anything prepared [for the solo]," she says, "and he was like, 'Go up to my living room and write something and come back down when you have it.'"
"If I get a new piece of gear, I have to figure out every single part of it before I can really use it."
The Persistence of Pop
On Outlier,Wolfe's ambition was to create a golden blend of classic eras, drawing upon '60s Motown, '70s glam, '80s synth-pop, and '90s grunge to produce something as enduring as those styles. "If you listen to Motown, in the first minute or so, the hook is there. I wanted to bring that in, too," she relates. "There's so much rawness [to classic rock]; the edges are not perfect, but there's a magic in that. There's also the side of modern stuff where the edges are really perfect and very computerized. I wanted to mix those together and see what would happen."
Wolfe believes that modern pop stars are not given enough credit for their work ethic, daring, and conceptual talent. If you doubt that, consider Carly Rae Jepsen, who wrote 200 songs in the course of producing her albums Emotion (2015) and Dedicated (2019). And there's the prolific Ed Sheeran, who in 2015 sold out the 90,000-capacity Wembley Stadium for three nights in a row as a solo act, and Swedish writer and producer Max Martin, who's written 25 No. 1 hits (split among 10 different artists), which is five more than the Beatles have as a band. "I have a theory that Max Martin is an alien. He's in the Illuminati, I swear to God," says Wolfe, laughing.
Emily Wolfe's Gear
Although she has just two albums, Wolfe‚ caught here onstage at Cambridge, Massachusetts' Middle East nightclub in November 2021, released three singles and an EP before her first full-length, Emily Wolfe, arrived in 2019. Her new Outlier shows remarkable album-to-album growth.
Photo by Brent Goldman
Guitars
- Epiphone Emily Wolfe Sheraton Stealth
- 2018 Gibson Firebird
Amps
- Fender Hot Rod DeVille 4x10
String and Picks
- Ernie Ball Slinky Cobalt (.010–.046)
- Dunlop Tortex Jazz III .88 mm picks
Effects
- RJM Mastermind PBC/10 switcher
- Origin Effects Cali76
- Dunlop Cry Baby Q Zone
- EarthQuaker Devices Tentacle
- EarthQuaker Devices Dirt Transmitter
- MXR Six Band EQ
- Fulltone OCD
- Klon KTR
- Walrus Audio Julia Analog Chorus
- MXR Carbon Copy
- Strymon Flint Tremolo and Reverb
- Vertex Boost
"The backbone of so much of our industry is pop," she continues, expressing her admiration for artists like Demi Lovato and Ariana Grande, and pop production as a whole. "I try to dive in and analyze: 'How did this producer make this song stick in my head immediately and live in my soul?' If it comes on in a restaurant and I know every word.… I want my music to have that."
An Ear for Overdrive
We mentioned earlier that Wolfe can be exacting when it comes to finding the right tone. She fuels those analytical tendencies with as much gear knowledge as she can imbibe, saying that she feels lost if she doesn't know something about a piece of gear in her palette. "If I get a new piece of gear, I have to figure out every single part of it before I can really use it," she says.
TIDBIT: Wolfe's latest album was produced by Michael Shuman, bassist of Queens of the Stone Age. The guitarist describes Shuman as "like, the coolest guy that I've ever seen in my life," and he encouraged her most adventurous work.
In her spare time, Wolfe explores every pedal she can get her hands on and entertains herself by searching for the perfect combination for her signature sound. She's put together a "desert island board" comprised of three pedals: the EarthQuaker Devices Tentacle analog octave-up pedal, running into a Fulltone OCD, and an MXR Six Band EQ. "That's the sound that belongs to me," she says. The sequence creates a "crazy fuzztone" from the overdrive. Then she uses the EQ to reduce some of the lows and boost the mids for a sound she says will get her guitar to cut through any mix.
She says she never really liked using chorus until she stumbled across the Walrus Audio Julia Analog Chorus/Vibrato pedal. "It's pretty inspiring. 'My Lungs Give Out' was pretty much because of that pedal," she shares. "It kind of wrote the intro for me." The song's gentle vocal and subtle use of the pedal in the intro, followed by her singing paralleled by quietly distorted guitar in the pre-chorus, calls St. Vincent to mind. That's a comparison Wolfe responds to favorably.
Rig Rundown - Emily Wolfe
On top of her signature pedal combination, Wolfe now has a signature guitar. In March, Epiphone debuted the Emily Wolfe Sheraton Stealth, a black, semi-hollowbody electric guitar with diamond-shaped soundholes and gold hardware, set up with two Alnico Classic PRO humbuckers. "The Stealth is my dream guitar and gift to the music community," says Wolfe. "Playing it is like putting on a perfectly worn-in pair of jeans. It just fits. The guitar is the perfect frequency range for my soul." And for her music—from her stinging blues-rock bedrock to the expressionist colors of her newest work. (It was first featured in our Rig Rundown above.)
Melodic Mindfulness
Wolfe was only 5 when she found herself intensely drawn to the guitar after seeing one hanging on the wall at a thrift shop. That instrument became her first. But it wasn't until she was in high school that she fell in love with it, which is also when Wolfe first got into songwriting. Her early creative process involved writing down lyrics by L.A. indie-rockers Rogue Wave, her favorite band at the time, on one side of a page, then writing her own lyrics on the other. "They obviously weren't great," she says, "but over time I sharpened that skill."
Wolfe has a reputation for high-energy shows that bring the bones of her songs and the classic rock and blues foundation of her guitar playing to the fore.
Photo by Brent Goldman
Today, she fosters a kind of spiritual connection with her music. "Whenever I get an idea, I try to nurture it and treat it like this thing that wants to be born, then listen to it and what it wants to be," she says. She remembers that someone once suggested she pray to the song she wants to write, to make sure it comes from her and no one else. This advice made a lasting impression. "I was like, 'Oh shit, okay,'" she laughs. "Sometimes I'm like, all of these artists that have passed away—where did their talent go? Where did their songs go? Maybe they're sending these songs down to other people."
In a more concrete sense, Outlier is a departure from Wolfe's first album, which was slightly more traditional and featured a guitar solo on almost every song. Switching her mental focus to hooks and arrangements breathed new life into her writing. While she still feels proud of her earlier work, Wolfe feels she's headed in the right direction. "I wanted to make something that would be classic 10, 20, 30 years from now," she says. "That was the goal, and I think we achieved it."
Emily Wolfe - Damage Control (live in the studio)
A few small organizational tricks can set your digital workspace up for success.
Hi, and welcome to another Dojo. This time, I’m going to give you ways to cut the clutter from your sessions and help make your recording process more efficient—in short, more kaizen. This compound Japanese word is usually translated as “good change” but has morphed over the years to mean something closer to “continual improvement.” The concept is applied in multiple industries from auto manufacturing to healthcare, and it can certainly be effectively applied on an individual level.
The idea is that multiple small improvements over time will produce big results. Legendary British cycling coach Dave Brailsford called this “the aggregation of marginal gains.” His strategy was simple: Focus on getting one percent better in every area related to riding a bike. Within 10 years, the British cycling team went on 178 World Championship races and won five Tour de France victories and over 60 Olympic gold medals. Kaizen, indeed! I’m still amazed when I get sessions from other engineers who have no color-coded recording session tracks, haphazard organization within the session itself, and haven’t saved multiple versions. These are three problems that are easily solved with a bit of kaizen. Tighten up your belts, the Dojo is now open.
Color differentiation reduces your cognitive load and allows for faster, more efficient recording, editing, mixing, and overall session management.
Diversify Your Color Palette
Color-coding recording session tracks is a powerful tool for visual organization. It’s an essential, non-technical practice that can significantly enhance workflow efficiency and track management. In a typical modern recording session, there can be between 30 and 100 tracks, each representing different instruments, vocals, effects, and other elements. Without a clear organizational strategy, navigating through these tracks can become overwhelming and time-consuming.
By assigning specific colors to different types of tracks, producers and engineers can quickly identify and locate the tracks they need to work on, so establish a consistent color scheme for types of instruments.
Here’s mine:
• Drums are always slate blue.
• Guitars are various shades of green because they’re made from trees (of course, almost everything else is, too, but both guitar and green share the same first letter).
• Bass instruments are always brown (because they’re powerful and can make you brown your trousers).
• Synths and keys are various hues of purple (I think of Prince and “Purple Rain”).
• Vocals are always yellow because when you get lost in the stifling dark caverns of your mix and can’t find your way out, focus on the vocals—they will lead you toward the light.
An example of our columnist’s strict session color coding in his DAW.
Regardless of your choices, color differentiation reduces your cognitive load and allows for faster, more efficient recording, editing, mixing, and overall session management. Moreover, color coding helps in identifying groups of tracks that need to be processed together, such as a drum bus or background vocals, thus making it easier to apply group processing and adjustments.
Your layout of a recording session is another critical factor for maintaining organized and productive workflows. A well-structured session layout ensures that all elements of the recording are easily accessible and logically arranged. My tracks have a consistent order: drums at the top, followed by bass, guitars, keyboards, vocals, and effects. There’s no right way to do this, but whatever you do, be consistent.
“I have an existential map. It has 'You are here' written all over it.” – Steven Wright
Consistency helps individual producers and engineers to work more efficiently, but also facilitates collaboration with others. When multiple people are involved in a project, establish a standardized layout that will allow everyone to quickly understand the session structure, find specific tracks, and contribute without confusion. Also, a clear layout helps minimize mistakes during recording, editing, and mixing, like possibly overlooking important tracks or processing the wrong ones.
Your layout of a recording session is another critical factor for maintaining organized and productive workflows. A well-structured session layout ensures that all elements of the recording are easily accessible and logically arranged. My tracks have a consistent order: drums at the top, followed by bass, guitars, keyboards, vocals, and effects. There’s no right way to do this, but whatever you do, be consistent.
Consistency helps individual producers and engineers to work more efficiently, but also facilitates collaboration with others. When multiple people are involved in a project, establish a standardized layout that will allow everyone to quickly understand the session structure, find specific tracks, and contribute without confusion. Also, a clear layout helps minimize mistakes during recording, editing, and mixing, like possibly overlooking important tracks or processing the wrong ones.
“Waste Not, Want Not”
One of the most important things to always remember is to immediately save a new version the very first time you open a project or session. That way, if something happens, and it will eventually (I’ve even had session data get corrupted on that specific sector of the hard drive), you’ve left the original session alone. Every time you work on the song, or project, save a new version. This practice safeguards the process and ensures project security.
This is also important during the creative phase when trying out different ideas and arrangements. If a new idea doesn't work out, it's easy to revert to a previous version without losing valuable progress. Furthermore, saving versions at critical milestones—such as after recording, editing, and mixing—provides fallback options in case of technical issues or unexpected problems. And lastly, saving versions creates a chronological historical record of the session's development, which is invaluable for reviewing the evolution of the track, project, or entire record!
On her first full-length record, the young 6-stringer continues to climb the ranks of blues musicians who are defining a new tradition in the tried-and-true genre.
Grace Bowers began playing the guitar at age 9, after she stumbled across the music video for Guns N’ Roses’ “Welcome to the Jungle” on YouTube and was immediately inspired by the top-hat-sporting, Les Paul-wielding Slash. Then, at 13, she heard B.B. King on her mom’s car radio, and suddenly knew that playing guitar was what she wanted to do with the rest of her life. But within that discovery lurked a deep sense of isolation.
While she appreciates the sentiment, Bowers doesn’t love being called a guitar prodigy, saying it dismisses the eight years she’s put into studying the instrument.
Photo by Cedric Jones
“I was living in California at the time, in a small town outside of San Francisco,” she reflects. “And there’s absolutely no live music there, whatsoever. I didn’t even know any people my age who played an instrument. So, I pretty much had no hope. And I would always dream that I’d be playing on a stage, or just anywhere, honestly. It always felt super unrealistic and like, ‘Oh, that would never happen.’”
When the pandemic hit, the now 18-year-old Bowers was finishing the seventh grade, and the abrupt separation from her peers didn’t exactly help to improve her sense of belonging. Pretty soon, however, things took a major, positive turn: “I started posting videos online, and it got some momentum,” she shares. Gibson took notice, and offered her an endorsement when she was just 14. Then,“We moved to Nashville, and I was playing onstage almost every night.”
The sudden wealth of opportunity that came with the move changed everything. “It was the biggest motivation ever,” she continues. “Made me want to do it more than I ever have [laughs].”
Grace Bower's Gear
One of Bowers’ main guitars is this 1961 Gibson SG Special. She also plays a Murphy Lab version of the model.
Effects
- Analog Man King of Tone
- Wah
- Boost
- Gain
Strings & Picks
- Ernie Ball .010s
- Dunlop 2.0 mm
By now, Bowers’ résumé has gathered more than just moss. Earlier this year, she was recruited by Dolly Parton to perform on Dolly Parton’s Pet Gala; she’s played with Devon Allman, Tyler Childers, Christone “Kingfish” Ingram, and Susan Tedeschi; and in August, shared a bill with her first guitar hero, Slash. And, on the tails of all this success, she’s just released her debut album, Wine on Venus.
Produced by John Osborne of the Brothers Osborne, the album is a collection of eight original tracks, written by Bowers in collaboration with her band the Hodge Podge, and one cover—Sly & the Family Stone’s “Dance to the Music.” Although she has been playing for nine years, the grasp Bowers has on her instrument at 18 is rare. She knows just what notes to play and when to play them, saying very much with very little. She also wields a tone that’s just fuzzy enough, just singing enough, and just wailing enough—when she feels like it. Wine on Venus is the perfect showcase of her wisdom on guitar, antecedent to her being even a quarter century of age. It was recorded live in the studio over the span of one week, and Bowers knew going in just which shots she was going to call.
The eight original songs on Wine on Venus were written by Bowers in collaboration with Esther Okai-Tetteh and the rest of her band, the Hodge Podge.
She shares that she’s highly averse to recording in an isolated booth, unable to see the rest of the band—something she’s done a lot as a session guitarist. “Before we went into the studio, I told John, if I’m wearing headphones, it’s over,” she says. “And when we’re playing live, eye contact is one of the most important things. So, the band was live in the room, and then I was outside looking through a window in the control room with John. We put my amp upstairs on this balcony—it’s like a house, the studio—and turned it to 10, and for the entire record, my guitar was recorded in the control room. It was very loud; I’ll tell you that.”
Carving out your own voice as an individual artist in improv-based genres can be a significant challenge, and Bowers kept that in mind. “I’d say [that difficulty comes from] oversaturation. There’s a lot of jam bands out there right now. And don’t get me wrong; I love that kind of music, but what a lot of them lack is songs. When we went into the studio, I wanted to make sure that we wrote songs and didn’t just jam. I was very intentional in the writing process with Esther [Okai-Tetteh, vocalist]—to write catchy hooks and make sure that the lyrics meant something.”
Okai-Tetteh, whose first name is pronounced “Acey,” was Bowers’ primary writing partner in the development of the album’s material. “A lot of it [came together] sitting on my bedroom floor, writing songs every night. She wrote a lot of the [vocal] melody, which is where I struggle. Whereas I wrote all of the music, and then we both collaborated on the lyrics.” The other members of the Hodge Podge, who include keyboardist Joshua Blaylock, drummer Brandon Combs, bassist Eric Fortaleza, and co-guitarist Prince Parker, each fleshed out the arrangements with their own contributions.
Bowers picked up guitar at age 9 after discovering Slash, and fully fell in love with it at 13, after hearing B.B. King for the first time.
Photo by David McClister
Blues guitarists are typically working with the starkest templates (three or four chords) and the most concise vocabulary (the minor pentatonic scale), which, in many albeit honest, dedicated hands, often sound commonplace. But in the best hands, the blues can be some of the most powerful music out there. As Bowers puts it, “The blues comes from your heart, and you’re not just playing it, if that makes sense. I’m not the best at expressing emotions.... It comes out better for me on guitar.”
“As long as I have a very clean-toned amp and my pedalboard, I’m pretty much good to go.”
Bowers owns three different SGs, and her two main choices are her ’61 model with P-90s—“That’s like my baby”—and a newer model with humbuckers. Her pedalboard is a “basic setup,” and she doesn’t know all the names of her pedals off the top of her head. But in classic funk fashion, she does like to employ her wah while playing rhythm parts. As for amps for live shows, she doesn’t yet have her own tour bus, so she’s been relying on backlines. “As long as I have a very clean-toned amp and my pedalboard, I’m pretty much good to go,” she says. Her greatest inspirations on guitar, aside from Slash, are Leslie West, Eddie Hazel, Carlos Santana, and Marc Bolan. “I have a huge Electric Warrior poster above my bed right now,” she tells me.
As for the future, Bowers says she doesn’t really have long-term goals, exactly. “I don’t like to set expectations for myself, because I just want to see where things are going to bring me naturally. I love doing what feels right in the moment.
“Before, I was super shy and didn’t have a lot of confidence,” she continues. “Guitar really helped me build that up, and now I’m doing things that I would have been horrified to do three years ago. It’s definitely helped me come out of my shell.”
YouTube It
In this brief live clip, Grace Bowers breaks down the blues and builds it back up with incredible tone, feel, and taste.
The rockin’ riff lords take Fender’s squeaky-clean sound palettes and blast them with dirt on their latest tour.
Hard rockers Baroness were busy writing during the early days of the pandemic, sharing ideas and bits of songs over weekly video calls until they had enough for a new record. Then, after scouting for potential recording locations, they rented an Airbnb in a tiny town in New York and got to work.
The band brought all their gear along with them: They literally loaded up a U-Haul truck and left no pedal behind—a bit unnecessary in retrospect. At the end of their stay, they’d all but finished their sixth studio album, Stone, which was released in September 2023. On their recent summer tour supporting the record, the quartet played Nashville’s Basement East, where PG’s Chris Kies met up with vocalist/guitarist John Baizley, guitarist Gina Gleason, and bassist Nick Jost to get an in-depth look at their current road rigs.
Franken-backer
Baizley received this custom-built Rickenbacker during the band’s sessions for Stone. It’s got the body and electronics of a Rick 620 but the neck of a 660 model. The Rick and Gleason’s Tele fill in the sonic gaps for each other.
I Think I Smell a Strat
Baizley’s other two primary guitars are these Fender Stratocasters. The first is an American Pro II with a tortoiseshell pickguard and HSS pickup configuration; the second is an original American Pro. The AmPro II lives in heavier tunings and takes a set of .012–.052s, but Baizley prefers both in the fourth position of the 5-way selector switch to build space around Gleason’s leads.
Tele Twins
Gleason rocks two Fender Telecasters, again from both the American Pro I and II series. She actually prefers the first iteration of the V-Mod pickups for their aggression and grit in live contexts, while the V-Mod IIs make for a smoother recording weapon. One stays in D-standard tuning while the other is in C standard with a dropped A#. Gleason strings them with .009–.046s and .010–.046s, respectively, and the whole band loves D’Addario NYXL sets.
So Bass-ic
Bassist Nick Jost is a Fender man, too, with a Precision Bass and American Professional Jazz Bass that both run through his mini-but-mighty rig: A diminutive Gallien-Krueger Legacy series head powers a classic Ampeg 8x10 cabinet. He usually plays with his fingers, but when he loses a game of dice on the road, he’ll sometimes be forced into playing with a pick.
Dual Stereo
Baizley and Gleason both run stereo amp setups. Baizley changes his amp backline often; he used to run twin Roland JC-120s but just recently switched in this Fender ’68 Custom Deluxe Reverb.
Gleason keeps the Fender train rolling with a ’59 Bassman reissue and a ’68 Custom Princeton Reverb.
John Baizley’s Pedalboard
Baizley’s board is packed with staged dirt boxes and tasteful mod stomps, all held in check with a GigRig G2, Peterson StroboStomp, and Ernie Ball Volume Pedal. The crown drive jewels are a heavily modded EHX Big Muff and Crowther Double Hot Cake, but a Beetronix FX Overhive and Pro Co RAT add some sizzle, too. A Boss DD-3, DM-2W, and TR-2, EarthQuaker Devices Dispatch Master and Tentacle, MXR Phase 90 and Dyna Comp, and EHX Deluxe Memory Man handle the rest, while a DigiTech Whammy lurks for its moment to blast off.
Gina Gleason’s Pedalboard
Gleason’s favorite drive these days is the EQD Zoar, their instant-classic 2023 release. Piling on top of that are a MXR Super Badass Distortion, MXR Timmy, modded EHX Big Muff, and a touchy Philly Fuzz Infidel prototype; an Xotic SP Compressor and UAFX 1176 Studio Compressor tighten things up when needed. Three time machines—the Strymon TimeLine, EQD Space Spiral, and Boss DD-3—handle delay, and a Walrus Slo dishes out reverb. The MXR EVH Phase 90 adds some color along with another DigiTech Whammy. The Ernie Ball Volume Pedal, Peterson StroboStomp, and GigRig G2 keep Gleason’s board in line, too.
Nick Jost’s Pedalboard
Jost’s bass board, powered by an MXR Iso-Brick, is a touch more simple, with an Ernie Ball Volume Pedal and Boss TU-3 for utility duties before an Xotic Bass BB Preamp, Boss ODB-3, DOD FX69B Grunge, MXR Stereo Chorus, and Tech 21 SansAmp Bass Driver DI.
Roland Jazz Chorus-120
Fender '68 Custom Deluxe Reverb
Fender Bassman
Fender '68 Custom Princeton Reverb
Fender American Professional Telecaster
Fender American Professional Stratocaster
Fender Precision Bass
Fender American Professional Jazz Bass
Gallien-Krueger Legacy 800 Bass Amp Head
Ampeg 8x10 Cab
Tech 21 SansAmp Bass Drive DI
MXR Iso-Brick
Boss TU-3
Xotic Effects Bass BB Preamp
Boss ODB-3
MXR Stereo Chorus
Modded EHX Big Muff
Boss DD-3
MXR Dyna Comp
Pro Co RAT
MXR Phase 90
Boss TR-2
EHX Deluxe Memory Man
EarthQuaker Devices Dispatch Master
DigiTech Whammy
Walrus Audio SLO
Boss DM-2w
EarthQuaker Devices Tentacle
Peterson StroboStomp
Beetronics Overhive
EarthQuaker Devices Zoar
MXR Timmy
MXR Super Badass Distortion
Xotic SP Compressor
MXR EVH Phase 90
UAFX 1176 Compressor
Ernie Ball Volume Pedal
D'Addario NYXL .110 Strings
Strymon TimeLine
Elevate your musical expression with rich, organic sustain and versatile controls. Create intricate soundscapes with up to three layers, triggered by footswitch or playing dynamics. Adjust mix, attack, decay, and more for endless customization.
The MXR Layers Pedal blooms with rich, organic sustain that imbues every strum and pluck with resonance and depth. With a versatile suite of controls, this pedal can be as simple or complex as you need. Whether you want to lengthen single notes or generate multi-layered soundscapes rich with ambience, the MXR Layers Pedal will extend the creative potential of your instrument. Pull off chord voicings you never thought possible, compose transcendent melodies, orchestrate harmonic ensembles, create lively stereo pads, and more—all from a standard MXR housing.
MXR Layers Pedal highlights:
- Versatile suite of controls opens new frontiers to plug-and-play maestros and tonal tinkerers alike
- Up to three layers of sustain, each with its own status LED
- Trigger layers with footswitch or playing dynamics
- The Mix knob adjusts the wet signal level; in other words, the volume of your layers
- Trig knob sets the sensitivity of auto-trigger function
- Attack knob adjusts the fade-in time of each layer, while Decay knob sets the fade-out time
- Sub Oct switch adds fat subterranean vibes
- Advanced features such as expression pedal and tap switch control or additional parameter tweaks offer even more intricate customization
- Build richly detailed soundscapes that elevate musical expression to new heights
The MXR Layers Pedal is available now at $219.99 street/$314.27 MSRP from your favorite retailer.
For more information, please visit jimdunlop.com