
Black-metal mensches: Misha Mansoor (left) and Mark Holcomb are the brain trust of Haunted Shores and two-thirds of Periphery’s guitar triumvirate.
The guitar daredevils—wielding their Jackson and PRS axes—bite into the seething darkness of black metal with their soul-searing new album, Void.
As two thirds of the triumvirate of guitarists that provides taste-making progressive metal juggernaut Periphery with its genre-shifting 6-, 7-, and 8-string assault, Misha Mansoor and Mark Holcomb are among the most influential players of their generation.
Mansoor—the band’s founder, a prolific designer of popular signature gear and software, and a busy producer (including working with the influential Animals as Leaders, who consider him a ghost member)—has been a powerful shaping force of the polyrhythm obsessed, post-Meshuggah djent sound that’s swept contemporary metal over the last decade. Mansoor and Holcomb, along with Periphery co-guitarist Jake Bowen, possess an uncanny athleticism and downright lethal picking that makes the churning riffs and fleet-fingered runs that characterize their music seem almost easy. But this article isn’t about Periphery.
While Periphery fans anxiously await the band’s seventh full-length studio record, which has spent over 15 months mired in pandemic complications, Mansoor and Holcomb have found the time to reboot Haunted Shores, the primarily instrumental, black-metal-infused-prog studio project that originally brought them together. Before Holcomb was drafted into Periphery’s guit-army, Haunted Shores was his primary focus. When Mansoor was hired to produce Haunted Shores’ debut, the pair quickly realized their writing chemistry was fertile ground for deeper collaboration. As a duo, they’ve written, played, and programmed nearly everything on Haunted Shores’ recordings. That band released a split EP in 2010 and a fan-favorite eponymous LP in 2011, but when Holcomb joined Periphery that same year, the project was effectively iced.
Between the difficulties of getting Periphery’s impending release made and the excess creative energy caused by pandemic downtime, Holcomb and Mansoor saw a revitalized Haunted Shores as a “much needed outlet,” as Holcomb puts it. With their new LP Void, the pair have not just breathed fresh life into their loser, hairier, scarier side project, but finally closed the circle on some of the earliest material they ever penned together.
Haunted Shores - Hellfire (Official Audio)
“Functionally, Haunted Shores works in every way that Periphery doesn’t, and we get things done super quickly,” Holcomb explains. “It’s a breeze to do, and a fun, easy outlet. Not that Periphery’s not fun, but there are many more checks and balances involved. Haunted Shores is this crazy free-for-all for Misha and I. There’s this band called Archspire, and they play ultra-fast but super tasty and ultra-technical death-metal. Whenever I hear that band, I start laughing because I’m like ‘Jesus Christ! How do they pull this off?!’ That’s the feeling you’re supposed to get when writing Haunted Shores’ music. So as long as it satisfies those criteria, we’ll keep an idea. That’s not to say we don’t consider the process precious, but it’s a nice release from the long game of Periphery, where things tend to take quite a while.”
From Mansoor’s perspective, Haunted Shores provides a space to “scratch all the itches that we can’t within the confines of Periphery’s sound.” And while he admits that “Periphery has quite a bit of breadth stylistically,” what he loves about working in Haunted Shores is that “there’s a sense that we have no responsibility to play any of this stuff live, which allows us to approach things from a purely compositional standpoint and go over-the-top and write things that can’t necessarily be played live.”
The songs on Void put Haunted Shores’ black metal influence front-and-center, though it’s still got a combat boot firmly in prog territory. The duo revels in blackened, trem-picked guitars and turbulent salvos of note-y leads, and album opener “Hellfire” is a blast-beat-driven prog-metal maelstrom that’s colored with frosty-sounding minor chord grips. Mansoor produced the record and programmed all of the drums, and while it’s easy to contextualize this band as just the side project of a mega-influential prog band, it would be a mistake to think of Void’s songs as discarded Periphery riffs with corpse paint on. This record has its own unique personality and compositions, and black metal played a major role in Holcomb’s musical upbringing.
“Haunted Shores is this crazy free-for-all for Misha and I.” —Mark Holcomb
“I sucked at the guitar,” he says, explaining his black metal roots. “It was ’97, and I picked up In the Nightside Eclipse by Emperor, and I didn’t even have to hear the music. All I had to do was see the pictures of them in the forest, and I thought it was the coolest thing! I was 16 years old, and I was like, ‘This is what I want to do! I want to be that, and I want to move to Norway. I want to get a club and put nails in it and pose for pictures with it in the woods.’ It still makes me giddy, and it never lost that for me.”
Beyond the striking visuals of the Norwegian bands that first turned Holcomb onto black metal, the accomplished shredder says he appreciated the punk-rock quality of the music as a fledgling player. “I always liked that you didn’t have to be textbook good at your instrument to play it. The barrier of entry for black metal is not very high, so it’s the same as when people fall in love with the Sex Pistols or the Ramones, in that sense. Black metal had this edge and danger to it that bands like Morbid Angel and Cannibal Corpse also had … but you had to be really fucking good at your instrument to play that stuff. My favorites in that realm are bands who have evolved—especially Satyricon and Emperor, and Ihsahn [Emperor’s lead guitarist/songwriter], who still have black metal aspects to their music but have grown into prolific prog juggernauts with a lot more to say. I wanted this record to be a love letter to that style of music.”
For Mansoor, black metal came into his life via his Haunted Shores counterpart. However, the same cartoonish visuals that enchanted a young Holcomb have always turned Mansoor off. “There’s a lot about more extreme metal and black metal aesthetically that I’m not a huge fan of,” he says, “so my interpretation is a cleaner, more polished version of it. I love a lot of the playing aesthetics—like trem-picked guitars and blast beats—but I’m trying to tame it in a way and put it in a context that my ears want to hear. So, it’s not pure in any sense, but Mark and I are very happy to meet in the middle because it ends up being its own thing there. Mark showing me Ihsahn and Emperor was what really perked my ears up. When I heard Emperor, I thought ‘Oh wow! This is progressive. This is a guy who’s clearly been raised in the black metal scene but has aspirations of progressive music and is trying to fuse those into something.’ I’m coming at it from the other end, where I’m from the progressive music world but want to infuse it with a blackened thing. Having Mark as a vessel of inspiration and someone that can set a benchmark of what’s appropriate for black metal is nice. It means that the riffs are always flowing when we’re working together.”
Mark Holcomb’s Gear
Mark Holcomb plays one of his PRS SE signature models onstage. Note the guitar’s simple but effective control set: a volume and a push/pull tone dial plus a 3-way blade switch, which bridles a set of Seymour Duncan Alpha and Omega pickups.
Photo by Randy Edwards
Guitars
- 2014 PRS Private Stock Custom 24
- PRS SE Mark Holcomb
Strings & Picks
- D’Addario NYXL (.011–.056)
- Horizon Devices strings (various gauges)
- Dunlop .88 mm
- Dunlop Jazz III (for lead tracking)
Amps
- Misha Mansoor Peavey Invective 120
- Omega Ampworks Granophyre
- Mesa/Boogie Dual Rectifier Revision F
- Mesa/Boogie Dual Rectifier Revision G
- Mesa/Boogie Badlander
- Peavey 6505 (modded Invective prototype)
- PRS Archon
- GetGood Drums Zilla cab sims
Effects (shared)
- T-Rex Replicator Tape Echo (on “Null”)
- Horizon Devices Precision Drive
The riffs have indeed flowed since the duo first connected. In fact, the incendiary Void songs “When In Oslo” and “Immaterial” are reimagined versions of demos of the first two songs Holcomb and Mansoor ever worked on as a team, but which, curiously, never made it to an official release. The guitarists directly credit this pair of tracks with forging their remarkable chemistry.
“Those are very important songs as far as establishing Misha and I’s creative relationship, and set the table for me joining Periphery,” says Holcomb. “The first time I ever sat down with Misha to write music was 2007, and we wrote ‘When In Oslo.’ The lead lines on that song were something Misha jammed out on-the-spot, over a chord progression that I’d brought him with these wider, darker-sounding minor chords that shifted around. I remember Misha was just dancing around the chords in a way that I thought was so clever, and not something I would’ve done. I didn’t really know Misha yet, but at that point it was like, ‘I think this guy is my musical sibling now.’ That song was this Tinder ‘swipe right’ moment.”
“There’s a sense that we have no responsibility to play any of this stuff live, which allows us to approach things from a purely compositional standpoint and go over-the-top and write things that can’t necessarily be played live.” —Misha Mansoor
“There’s just this electricity that happens between us, and I really look forward to it,” says Mansoor. “It’s one of my favorite things to experience when I’m writing—this flow state where the ideas are coming out and it just feels like everyone’s bouncing off each other and you get momentum going. It’s impossible to replicate unless you’re working with people you have good writing chemistry with.”
The melodic but vicious leads on “When In Oslo” recall some of Opeth’s heavier work—driven home by the decidedly Opeth-esque drum feel. That’s a band Holcomb says is “a big-time touchstone.” So much so that the song “Nocturnal Hours” is named after a lyric in the Opeth number “The Drapery Falls.” However, Mansoor was channeling a much more unexpected energy into the leads on “When In Oslo.”
Misha Mansoor and Mark Holcomb kept their eyes on their highly charged creative partnership during the creation of Haunted Shores’ new album, Void.
“Two words: Final Fantasy,” Mansoor says, name-checking the video game with music by Japanese composer Nobuo Uematsu. “People are always like, ‘You sound like you love Meshuggah,’ and I do. They’re like my favorite band, but the person I rip off the most—that I totally get away with—is Nobuo Uematsu. I’m always lifting his vibe because I adore it.”
Holcomb and Mansoor found the creative growth they’ve experienced during the pandemic has less to do with guitar-playing fundamentals (though Holcomb did “force” Snarky Puppy’s Mark Lettieri to give him a guitar lesson via Skype) and more to do with expanding their respective processes as songwriters.
“I want to move to Norway. I want to get a club and put nails in it and pose for pictures with it in the woods.” —Mark Holcomb
Holcomb focused his efforts on getting serious about fleshing out fully formed demos at home. “Composing with a computer in front of me is an approach I’d never done before,” he explains. “I’ve always been able to record myself in a very cursory way, but when I’d write, I’d sit in front of an amp and noodle until something comes out. A lot of my output in Periphery is wordy, with a lot of notes being played, and I think that has to do with it being written without anything else in mind except guitar. When I started to compose in front of the computer, I started to write in sections. It became a very slow, deliberate, methodical process done a few notes at a time. I got proficient at it and that’s how a lot of the crazier stuff on the Haunted Shores record was written. The crazy, run-on-sentence riffs on “Perpetual Windburn,” “OnlyFangs,” and “Hellfire” were written a bar at a time. I don’t think I could’ve done that before I dug in and opened myself up to that different way of writing.”
Misha Mansoor’s Gear
Playing live, or even playing guitar, isn’t as big a priority to Misha Mansoor as his songwriting, production, and search for a creative “flow state.” Here, he’s deploying one of his Jackson 7-string Juggernaut models, with a 26 1/2" scale neck and MM1 humbuckers.
Photo by Ekaterina Gorbacheva
Guitars
- Jackson Misha Mansoor Juggernaut HT6
- Jackson Pro Series Juggernaut (6-string with EverTune bridge)
- Jackson Juggernaut HT7 7-string
- Jackson MJ Series Misha Mansoor So-Cal 2PT
- Jackson Custom Shop SoCal
Strings & Picks
- Horizon Devices Progressive Tension (.010–.058)
- Dunlop .73 mm
- Misha Mansoor signature Custom Delrin Flow Pick
Amps & Effects
- (see Mark Holcomb’s Gear sidebar)
Mansoor, despite being considered a bona fide guitar hero by many, says he “feels less and less like a guitar player these days and more like a composer and producer.” He breaks his headspace down: “The guitar is just the instrument I’m very familiar with, so it’s easy to get ideas out of it. I don’t play guitar quite as much as I used to, and I almost see it as a means to an end and a tool these days … which I know isn’t the most romantic thing. I’m sure these things ebb and flow.”
However, Mansoor’s guitar work is kept fresh thanks in part to the demo obligations he has for his gear companies: Horizon Devices and GetGood Drums. In fact, Mansoor says he realized through the pandemic that recording demo clips of new products for social media is where some of his favorite recent musical ideas have been born: “I always have to write demo clips for new products, and generally these clips are written with some sort of spec in mind, like a minute long for Instagram or in a specific style to promo a specific product. I don’t put the same sort of weight on those things as I would a Periphery or Haunted Shores song, but those demo clips have generated some really cool ideas. It’s this interesting thought experiment where if I’m not feeling the stress of writing a song, it allows the creativity to flow in a cool way. What I’ve discovered by accident is that afterwards I’m usually like, ‘Hey! This idea is actually pretty cool!’ That’s been my pandemic experience, because I’ve had to do a lot of work for the companies, and that’s been a little bit of a treat, to be honest.
“The interesting thing and the beautiful irony of all of this is that some of these clip ideas have generated Periphery songs,” he continues. “I don’t even care about guitar that much at this point. It’s really about the ideas in your head getting out into the real world somehow, whatever that somehow is. As long as it sounds good and yields a good result. That’s where my head’s at. I’m not that good a guitarist. I’m not even the best guitarist in my band, but I really, really like to write and I’m pretty good at songwriting and I’m pretty good at producing and directing these things. And I really enjoy that work, and a lot of my friends who are very, very good at their instruments need someone like that, so we have this relationship that works very well. Now that I’m a little bit older and more established, I don’t feel like I need to prove myself or show everyone how great I am at guitar.”
“That song was this Tinder ‘swipe right’ moment.” —Mark Holcomb
Mansoor and Holcomb are some of the highest-profile extended-scale players in the metal world, and both have their own signature 7- and 8-string models (Mansoor with Jackson and Holcomb with PRS). However, even for the drop-tuned chug of songs like “Hellfire”—which uses a drop-G tuning Holcomb discovered when writing the 17-minute Periphery riff fest “Reptile”—the pair opted for 6-strings for the lion’s share of Void.
“My tuning of choice for a 6-string is the ‘Hellfire’ tuning,” says Holcomb, “where I take a guitar in C standard and drop the 6th string all the way down to a G, so you get an octave relationship between the 6th string and the 5th string. You can hang your thumb over the 6th and 5th strings to get this really heavy droning octave sound. ‘Hellfire’ was the first song written for the record and one of the things I was most proud of with that song is those chords in the beginning, where you have these wide, minor black metal chords with the thumb handling those octaves. The rest of the album was kind of based off the spirit captured in that song.”
Mansoor’s done more than his fair share to help popularize extended scale guitars, but he maintains that he’s always considered 6-, 7-, and 8-stringed guitars to be “almost completely different instruments. If you have a basic musical idea to start with, that same idea would probably yield completely different songs if you worked it out on a 6-string, verses a 7- or 8-string. Every idea is sort of a reaction, so it’s about finding a tuning that generates riffs for us, and that ‘Hellfire’ tuning seems to be one of them.”
Rig Rundown - Periphery [2017]
See how Misha and Mark's setups differ between Haunted Shores and their "day job" with Periphery.
Being that Void was tracked at Mansoor and Holcomb’s respective home studio spaces, the gear used was largely their signature stuff. For guitars, Holcomb relied heavily on the original PRS Private Stock Custom 24 that inspired his signature model, as well as an SE signature model with an EverTune bridge. When the duo tracked at Mansoor’s space, it was his signature Jacksons they reached for. Mansoor chiefly used a blue USA Juggernaut model he calls his workhorse, as well as a Pro Series Juggernaut that was modified with an EverTune bridge, which Mansoor says saves an incredible amount of time in the studio thanks to its precise intonation. Mansoor also used his most recent signature Jackson, an MJ Series So-Cal, on “a shocking amount of the album.” It’s a Strat-style guitar with a HSS arrangement of Bare Knuckle pickups, stainless steel frets, and a 20" radius. “It looks like a dad rock guitar,” he says, “but the thing shreds! And the versatility is there. You get the fourth position and second position Strat sounds very authentically. That guitar is the one that I instinctively reach for a lot because it’s the everything guitar and I love the fact that it looks the way that it does.”
The amps that handled the heavy lifting on Void were Mansoor’s signature Peavey Invective 120 and Omega Ampworks Granophyre head. Mansoor says that pairing sat in the mix inexplicably well and anything else they used was just for color and variety.
“It’s really about the ideas in your head getting out into the real world somehow, whatever that somehow is.” —Misha Mansoor
With a new Haunted Shores record under their belt and the final stretch on Periphery’s next release underway, Holcomb and Mansoor are excited to continue pushing the envelope. “At the end of the day, I would keep music a hobby if I started to feel like something was expected of me,” Holcomb says. “I don’t want to speak for the rest of the band, but I love artists like Ihsahn and Devin Townsend and Mike Patton and Opeth—who just do whatever the hell they want and hope their fanbase is along for the ride. Luckily, progressive rock or metal fans tend to be open. I hope that never goes away. They’re down to hear bands try something else out. I love that we have the ability in our careers to just try whatever we want. I want to be one of those guys at the end of it all who can look back and be like, “Yeah, that was a hell of a journey and we went to some wild places musically and weren’t afraid to go there.”
Mansoor finds himself in a similarly philosophical place and confesses he’s just chasing flow states in all of his creative pursuits: “Do you like to drive? Have you ever gotten into that flow state when it’s almost like watching yourself drive? It’s those moments that I chase and that’s how I feel when I’m in the zone writing and there’s good chemistry and it feels like ideas are flowing back-and-forth. I feel like I'm watching this song get assembled in front of me. It almost feels like I can enjoy watching the process as much as I’m directing it. It doesn’t feel conscious. That’s a really beautiful thing. That’s what I get out of making music. I’m at the point now where I’ll only really accept gigs that I would do for free anyways. I still have to charge and make sure my time is worth something, but it’s a philosophical thing, where if I wouldn’t be cool with doing it for free, I won’t do it anymore because what I’m trying to get out of it on some level is very selfish. I just want that experience of flow state creativity.”
Haunted Shores - OnlyFangs (Misha & Mark Guitar Playthrough)
Misha Mansoor and Mark Holcomb play through the finger-busting “OnlyFangs,” from Haunted Shores’ new album, Void. Shredding? Heavy rhythms? You got it!
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Lutefish, the real-time music collaboration device and platform, is excited to announce a suite of new features designed to simplify setup, streamline collaboration, and offer more flexible subscription options for Lutefish Stream users. These latest updates, Audio Presets, Automatic Session Recall, Improved Scheduling with Contact Visibility, and a new Yearly Subscription Plan, are all about making it easier than ever for musicians to jam together, no matter where they’re based.
Save Time and Stay in the Flow with Audio Presets & Session Recall
Musicians can now save and reuse their exact audio settings, reducing setup time and ensuring every session sounds exactly as they want.
- Automatic Session Recall: When users leave a session, their current audio levels are automatically saved and restored when they rejoin.
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“These tools are all about saving time and hassle,” said Patrick Finn, Business Manager at Lutefish. “Musicians want to make music, not spend time rebalancing levels every session. With presets and recall, we’re giving them time back and helping them sound their best, every time.”
Smarter Scheduling and Contact Visibility
The latest update to Lutefish also made it easier to find collaborators and book sessions. Users can now:- View all their contacts at a glance when scheduling a session.
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Go Yearly and Save 20%
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This option is now available within the Lutefish app and web platform, and current monthly users are eligible for a discount with an upgrade to a yearly subscription.
Lutefish’s mission has always been to empower musicians to connect and collaborate without boundaries. With these new updates, Lutefish Stream continues to break down barriers—whether you’re jamming with a friend across town or collaborating with a bandmate 500 miles away.
For more information and to start jamming today, visitlutefish.com.
The veteran Florida-born metalcore outfit proves that you don’t need humbuckers to pull off high gain.
Last August, metalcore giants Poison the Well gave the world a gift: They announced they were working on their first studio album in 15 years. They unleashed the first taste, single “Trembling Level,” back in January, and set off on a spring North American tour during which they played their debut record, The Opposite of December… A Season of Separation, in full every night.
PG’s Perry Bean caught up with guitarists Ryan Primack and Vadim Taver, and bassist Noah Harmon, ahead of the band’s show at Nashville’s Brooklyn Bowl for this new Rig Rundown.
Brought to you by D’Addario.Not-So-Quiet As a Mouse
Primack started his playing career on Telecasters, then switched to Les Pauls, but when his prized LPs were stolen, he jumped back to Teles, and now owns nine of them.
His No. 1 is this white one (left). Seymour Duncan made him a JB Model pickup in a single-coil size for the bridge position, while the neck is a Seymour Duncan Quarter Pound Staggered. He ripped out all the electronics, added a Gibson-style toggle switch, flipped the control plate orientation thanks to an obsession with Danny Gatton, and included just one steel knob to control tone. Primack also installed string trees with foam to control extra noise.
This one has Ernie Ball Papa Het’s Hardwired strings, .011–.050.
Here, Kitty, Kitty
Primack runs both a PRS Archon and a Bad Cat Lynx at the same time, covering both 6L6 and EL34 territories. The Lynx goes into a Friedman 4x12 cab that’s been rebadged in honor of its nickname, “Donkey,” while the Archon, which is like a “refined 5150,” runs through an Orange 4x12.
Ryan Primack’s Pedalboard
Primack’s board sports a Saturnworks True Bypass Multi Looper, plus two Saturnworks boost pedals. The rest includes a Boss TU-3w, DOD Bifet Boost 410, Caroline Electronics Hawaiian Pizza, Fortin ZUUL +, MXR Phase 100, JHS Series 3 Tremolo, Boss DM-2w, DOD Rubberneck, MXR Carbon Copy Deluxe, Walrus Slo, and SolidGoldFX Surf Rider III.
Taver’s Teles
Vadim Taver’s go-to is this cherryburst Fender Telecaster, which he scored in the early 2000s and has been upgraded to Seymour Duncan pickups on Primack’s recommendation. His white Balaguer T-style has been treated to the same upgrade. The Balaguer is tuned to drop C, and the Fender stays in D standard. Both have D’Addario strings, with a slightly heavier gauge on the Balaguer.
Dual-Channel Chugger
Taver loves his 2-channel Orange Rockerverb 100s, one of which lives in a case made right in Nashville.
Vadim Taver’s Pedalboard
Taver’s board includes an MXR Joshua, MXR Carbon Copy Deluxe, Empress Tremolo, Walrus ARP-87, Old Blood Noise Endeavors Reflector, MXR Phase 90, Boss CE-2w, and Sonic Research Turbo Tuner ST-200, all powered by a Voodoo Lab Pedal Power 2 Plus.
Big Duff
Harmon’s favorite these days is this Fender Duff McKagan Deluxe Precision Bass, which he’s outfitted with a Leo Quan Badass bridge. His backup is a Mexico-made Fender Classic Series ’70s Jazz Bass. This one also sports Primack-picked pickups.
Rental Rockers
Harmon rented this Orange AD200B MK III head, which runs through a 1x15 cab on top and a 4x10 on the bottom.
Noah Harmon’s Pedalboard
Harmon’s board carries a Boss TU-2, Boss ODB-3, MXR Dyna Comp, Darkglass Electronics Vintage Ultra, and a Voodoo Lab Pedal Power 2 Plus. His signal from the Vintage Ultra runs right to the front-of-house, and Harmon estimates that that signal accounts for about half of what people hear on any given night.
Kiesel Guitars has introduced their newest solid body electric guitar: the Kyber.
With its modern performance specs and competitive pricing, the Kyber is Kiesel's most forward-thinking design yet, engineered for comfort, quick playing, and precision with every note.
Introducing the Kiesel Kyber Guitar
- Engineered with a lightweight body to reduce fatigue during long performances without sacrificing tone. Six-string Kybers, configured with the standard woods and a fixed bridge, weigh in at 6 pounds or under on average
- Unique shape made for ergonomic comfort in any playing position and enhanced classical position
- The Kyber features Kiesel's most extreme arm contour and a uniquely shaped body that enhances classical position support while still excelling in standard position.
- The new minimalist yet aggressive headstock pairs perfectly with the body's sleek lines, giving the Kyber a balanced, modern silhouette.
- Hidden strap buttons mounted on rear for excellent balance while giving a clean, ultra-modern look to the front
- Lower horn cutaway design for maximum access to the upper frets
- Sculpted neck heel for seamless playing
- Available in 6 or 7 strings, fixed or tremolo in both standard and multiscale configurations Choose between fixed bridges, tremolos, or multiscale configurations for your perfect setup.
Pricing for the Kyber starts at $1599 and will vary depending on options and features. Learn more about Kiesel’s new Kyber model at kieselguitars.com
The Sunset is a fully analog, zero latency bass amplifier simulator. It features a ¼” input, XLR and ¼” outputs, gain and volume controls and extensive equalization. It’s intended to replace your bass amp both live and in the studio.
If you need a full sounding amp simulator with a lot of EQ, the Sunset is for you. It features a five band equalizer with Treble, Bass, Parametric Midrange (with frequency and level controls), Resonance (for ultra lows), and Presence (for ultra highs). All are carefully tuned for bass guitar. But don’t let that hold you back if you’re a keyboard player. Pianos and synthesizers sound great with the Sunset!
The Sunset includes Gain and master Volume controls which allow you to add compression and classic tube amp growl. It has both ¼” phone and balanced XLR outputs - which lets you use it as a high quality active direct box. Finally, the Sunset features zero latency all analog circuitry – important for the instrument most responsible for the band’s groove.
Introducing the Sunset Bass Amp Simulator
- Zero Latency bass amp simulator.
- Go direct into the PA or DAW.
- Five Band EQ:
- Treble and Bass controls.
- Parametric midrange with level and frequency controls.
- Presence control for extreme highs.
- Resonance control for extreme lows.
- Gain control to add compression and harmonics.
- Master Volume.
- XLR and 1/4" outputs.
- Full bypass.
- 9VDC, 200mA.
Artwork by Aaron Cheney
MAP price: $210 USD ($299 CAD).