The guitar tag-team uses bright tones, cheap gear, and a nearly lifelong friendship to craft the feel-good music on their debut album, The Dongo Durango.
Childhood friends Shane McCord, playing his Fender Stratocaster, and Mikey Powers, strumming an Epiphone Sheraton II, are the frontline and songwriting instigators of Sun Club. Photo by Ryan Farber
Baltimore’s music scene has emerged as an incubator for some of the most intriguing art-minded pop and indie-rock artists in recent memory, providing a breeding ground for breakouts like Future Islands, Lower Dens, and Beach House—all of whom have enjoyed an uncanny amount of love from fans and critics. If Sun Club’s debut full-length, The Dongo Durango, is any indication of what’s to come, the band is poised to be the latest Charm City musical export to hit the big time.
The Dongo Durango—which was recorded in a warehouse in Baltimore’s Pigtown section—is a spastic, exasperatingly heartfelt statement that fuses elements of ’90s psych-pop, pseudo-African sounds, and unconventionally wielded effects to make a dreamy landscape of disarmingly positive music. Rife with crashing walls of reverb, driven by two drummers, and full of unexpected rhythmic twists and turns, the album is certainly weird enough to hook even the deepest psych fans, but approachable and melodic enough to charm those with less adventurous tastes.
Sun Club is made up of childhood friends, some of who have been making music together since they were middle schoolers. The band made its debut in 2009 at the Sidebar, an all-ages rock club a few blocks from Baltimore’s inner harbor. And they recorded a 7-inch single and a 2013 EP, Dad Claps at the Mom Prom, before joining Alabama Shakes and My Morning Jacket on Dave Matthews’ ATO Records for The Dongo Durango.
Guitarist/songwriters Mikey Powers and Shane McCord work in tandem to create Sun Club’s calling card: walls of guitar that twist and coalesce between monoliths of reverb-drenched chords and twinkling legato lead lines. Premier Guitar spoke with the 6-stringers about the band’s writing process, the novelty and creative benefits of cheap gear, and the intuition that results from a working relationship forged in adolescence.
What influenced the songwriting on The Dongo Durango?
Powers: It had more to do with our environment at the time as a band—what we were going through as people and finding sounds that match what we were feeling—rather than a handful of bands we’d been listening to at any given time. We wrote all of the songs on The Dongo Durango over what wound up being a nearly three-year period, so it really is all over the place. The songs are all very different ideas coming from very different places.
McCord: When we’re writing music, we never think to go after another artist’s sound, but we try to follow the feeling or vibe of guitar parts we come up with. If it happens to feel nostalgic, or it evokes a feeling of some sort, we go toward that. A driving factor in our writing is emulating feelings and ideas—especially youthful, blissful feelings.
Despite the sonic and stylistic variations in the songs, the album sounds very cohesive, so it’s surprising it was created over such a long time. Was there a mission statement?
Powers: We decided right before recording it that we wanted to work everything into a more singular idea, so that was definitely a deliberate thing. The guy that produced it, Steve Wright, operated as sort of a conduit for our ideas, rather than really changing things or impacting the creative process too much like other producers. He was really open to our ideas and making sure things came out in the final product the way they happened naturally when we wrote them, but he also helped us make sure they fit together nicely.
The record was tracked in a makeshift warehouse studio. Did you bring in your own recording equipment? I know the band has self-recorded in the past.
Powers: It was mostly Steven’s gear, but it was a really makeshift setup that we used and it definitely didn’t feel like a proper studio. The album was really tracked as a live band and the setup in the studio was put together to capture that more than anything.
Did you do many overdubs?
Powers: We tracked two weeks of live and then did five separate days for overdubs. Once we tracked the overdubs, we brought the tracks back to the warehouse and pumped them through a big speaker there to make sure they fit well with what we had.
How does the band write songs?
Powers: It’s actually very collaborative. Shane or I usually bring a part to the whole band and we’ll punch out a structure as a team, and the riffs and licks will often change to better suit what the band is playing—so it really is very interactive.
McCord: Usually it starts with me and Mikey writing guitar parts together. Then we layer the rest of the instruments and end with vocals. Mikey and I have worked together since we were 10, so it’s second nature at this point.
Could you explain how a relationship that extends so far back helps with the creative process?
Powers: It’s always been that way for us, so it doesn’t even faze me anymore. That’s the most normal part of being in this band. It’s always been the same group of people and we’ve got a weird intuition because of that.
McCord: We know how to play off one another really well, but our playing styles change every year, so that relationship changes, too. We’ve transitioned together through all of those styles, though, and we grow together, so we always know how to make it work together. Recently Mikey has been playing more of the beefy chord-based stuff and I’ve been playing more delayed-out, high-pitched textural stuff. But there are no defined roles.
Busting out of Baltimore’s fertile indie-rock scene, Sun Club has developed an original approach to psych-rock that uses buoyant melodies and reverb-soaked sounds to create joyful music. Photo by Shervin Lainez
There’s a lot of interplay between the guitars—especially things like the big walls of reverb-drenched chords meshing with the twinkling legato leads that are the band’s signature. How do you work those parts out? Are they generally premeditated or bashed-out in a live setting?
Powers: Both, but it’s all really relative and specific to each instance. It’s never been a super-formulated process for us—though it has become a formula lately, which is a problem we’re actively trying to solve. We always try to avoid formulas and we like to keep things sounding fresh and spontaneous.
I hear a lot of African rhythmic ideas and tones in the guitars. Are either of you steeped in that music at all?
Powers: Honestly, not really! We get that question a lot, and I think people are just picking up on the fact that both guitars are always doing different rhythmic things in our music. It also has a lot to do with the drums in our songs, maybe, more than our guitar playing. The drums really lend themselves to that sound in a way.
Shane McCord’s Gear
Guitars2005 Fender Stratocaster
Fender Telecaster
Amps
’65 Fender Twin Reverb reissue
Effects
Electro-Harmonix Holy Grail Nano Reverb
Boss PS-5 Super Shifter
DigiTech X-series DigiDelay
Danelectro Fab Echo
Boss TU-2 tuner
Strings and Picks
GHS Boomers (.011–.050)
Mikey Powers’ Gear
GuitarsESP LTD EC-256
2009 Epiphone Sheraton II
Gibson Les Paul Studio (used for The Dongo Durango, it belongs to producer Steve Wright)
Amps
Fender Hot Rod DeVille
1x15 cab
Effects
Electro-Harmonix Holy Grail Reverb
TC Electronic Hall of Fame Reverb
MXR Analog Chorus
Line 6 Echo Park
Danelectro Dan Echo
Boss TU-3 tuner
Strings and Picks
GHS Boomers (.011–.050)
Most of the music we listen to and really try to emulate and recreate—if we have to name something—are local bands from in and around
the Baltimore scene … bands we’ve been
watching since we were younger. Those are the bands we look up to far more than what’s going on in the bigger picture.
McCord: I think the African influence people hear is really just because we’re so percussive and rhythmic—especially having two drummers drive so many of our songs. I also think it’s kind of funny, because around 2008 a whole bunch of bands that probably never listened to anything beyond Paul Simon’s Graceland started getting labeled as “Afropop,” and I think a lot of the bands really
didn’t go for that sound on purpose or do much homework, but the press just wanted to put them
in a genre box. I like that sound, but it always
made me laugh when people started labeling that stuff. I don’t know any African music, personally. I want to learn about it, but it’s never been something I’ve done much research on. I’d rather people think we’re coming from a more unique place, or have an African influence, than simply lump us in as a typical indie-rock band.
Beyond the drums, I hear a lot of that apparent influence in the upper-register guitar licks, and even in some of the tonal choices for the guitar.
McCord: The twinkling higher-up stuff is typically me, so that’s cool to hear! I’m not really sure
where that style developed in me, but we had some friends in a band called Hounds when we were younger—they broke up a while ago—that used a lot of short-but-heavy delays on their
guitars and worked with a lot of little lick ideas much more than chords, and had a heavy percussion side like us. They were probably our biggest influence, whether we realized it at the
time or not.
Which Baltimore bands were influential?
Powers: Sherman Whips is an awesome band we’ve played with a lot and really like. There’s a band called Slender Man that really kicks ass and we love them. Everyone in Sun Club likes different locals from the scene, but the scene as a whole has had a real impact on our approach.
As a guitarist, do you have anyone that you take direct influence from?
Powers: Avey Tare from Animal Collective has always been a big deal for me, but I’m not super into the hero worship thing. We—Shane and I—just happened to learn to play guitar as our first instrument and it became our tool by default. We’ve obviously developed our own little tricks that have become a part of our style over the years, especially with effects. It’s rare we aren’t using an effected guitar sound. A lot of our guitar playing, while not washed out, always has something heavy going on with effects.
McCord: I really respect when people get super into their guitar playing and gear, and I know a lot of people who are really deep into their identity as a guitarist, but for me, I don’t consider myself a serious guitar player. I play guitar, but it’s a way to get my music out and play parts in a band. I also write a lot on piano and sample electronic things. I do what I do within this band in a way that works well, but it’s more a vehicle for expression than anything.
YouTube It
Entering on a swell of feedback and ringing notes, Sun Club performs “Tropicoller Lease”—which appears on their debut album, The Dongo Durango—at Chicago’s Audiotree studio live series. At the 0:40 mark, Mikey Powers’ African sounding guitar licks kick in, relenting to the band’s lock-step beat, and then resuming. A joyful, hypnotic performance packed with exuberant dynamics, it perfectly showcases the band’s approach.
What effects made important appearances on the album?
Powers: The Hall of Fame Reverb by TC Electronic was a big part of my sound on the album. That pedal does literally everything you need it to do. I also use an Electro-Harmonix Holy Grail a lot, and my delays are always changing, but I always have one set for a straight-forward long delay and one set for a slapback sound. It’s never consistent and I’m always tweaking and swapping things out.
Are you chasing a specific sound with your swapping?
Powers: No, I’m just into rummaging through used music shops, and if I find something I like, I’ll buy it. It’s weird, but I normally love the sound of cheap used $30 pedals way more than I like any really expensive new pedals. It’s typically not as clean a sound, and they distort in weird ways—and that sounds more to me like a band than a computer-generated type of sound, which is how I hear a lot of new pedals.
Intermediate
Intermediate
How David Gilmour masterully employs target notes to make his solos sing.
When I was an undergraduate jazz performance major struggling to get a handle on bebop improvisation, I remember my professor Dave LaLama admonishing me, “If you think playing over the fast tunes is hard, wait until you try playing over the ballads. What Dr. Lalama was trying to impart was that playing fast scales over fast changes could get you by, but playing melodically over slow tempos, when your note choices are much more exposed, would really test how well you could create meaningful phrases.
Although getting past the “this scale works over these chords” approach to improvisation generally requires hours of shedding, aiming for particular target notes (specific notes over specific chords) is an optimum strategy to maximize your practice time. In the realm of rock guitar, I can think of no greater master of the melodic target note technique while playing ballads than David Gilmour.
For the unfamiliar few, Gilmour was first enlisted by fledgling psychedelic rockers Pink Floyd in 1967, when original guitarist/vocalist Syd Barrett began having drug-induced struggles with mental health. The band experimented with various artistic approaches for several years before refining them into a cohesive “art rock” sound by the early ’70s. The result was an unbroken streak of classic, genre-defining conceptual albums that included Meddle, The Dark Side of the Moon, Wish You Were Here, Animals, and The Wall. Although bassist/vocalist Roger Waters assumed the role of de facto bandleader and primary songwriter, Gilmour was a significant contributor who was praised for his soulful singing and expertly phrased lead playing that seemed to magically rework pedestrian blues phrases into sublimely evocative melodies. His focus on musicality over excessive displays of technique made him a musician’s musician of sorts and earned him a stellar reputation in guitar circles. When Roger Waters left Pink Floyd in the mid ’80s, Gilmour surprised many by calmly assuming the leadership mantle, leading the band through another decade of chart-topping albums and stadium tours. Although Pink Floyd are not officially broken up (keyboardist and founding member Richard Wright died in 2008 while Gilmour and drummer Nick Mason joined forces with Ukrainian singer Andriy Khlyvnyuk on the one-off single “Hey Hey Rise Up” in 2022), Gilmour has mostly spent the last few decades concentrating on his solo career. His latest release, Luck and Strange, features his wife, novelist Polly Sampson, as primary lyricist and daughter Romany Gilmour as vocalist on several tracks. His recent tour filled arenas around the world.
Let’s take a page from Gilmour’s hallowed playbook and see how incorporating a few well-chosen target notes can give our playing more melody and structure.
For the sake of simplicity, all the examples use the Gm/Bb major pentatonic scale forms. In my experience as a teacher, I find that most students can get a pretty solid handle on the root-position, Form-I minor pentatonic scale but struggle to incorporate the other four shapes while playing lead. One suggestion I give them is to work on playing the scales from the top notes down and focus on the four highest strings only. I believe this is a more logical and useful approach to incorporating these forms into your vocabulary. Try playing through Ex. 1, Ex. 2, Ex. 3, and Ex. 4, which are based on the top-down approach of the Form I, Form II, Form IV, and Form I (up an octave) shapes respectively.
Ex. 1
Ex. 2
Ex. 3
Ex. 4
Once you’ve gotten a handle on the scales, try playing Ex. 5, which is loosely based on the extended introduction to Pink Floyd’s “Shine On You Crazy Diamond.” We begin by soloing over a static Gm chord for four measures. As target notes, I’ve chosen the root and 5th of the G minor chord ( the notes G and D, respectively). In the first measure, we’re starting in a minor pentatonic Form I with a bend up to the root of the Gm chord. A flurry of notes on beat 4 sets us up for the bend to the D in the second measure. The D note is again targeted in measure three—this time up an octave via a shift into the minor pentatonic Form II shape. Measure four aims for the G tonic up an octave, but ends with a bend that targets a C—the root of the IVm (Cm) chord in the final measure. By focusing on target notes and connecting them with embellishing licks, your lead lines will have a much better sense of direction and melodic narrative. Also, by only targeting the root and 5th of the chord, the target note approach will be easily transferrable to songs in a G blues context (G pentatonic minor over a G major or G dominant tonality).
Ex. 5
A further exploration of this approach, Ex. 6 begins with a two-beat pickup that resolves to the scale tonic G. This time however, the G isn’t serving as the root of the Im chord. Instead, it’s the 5th of Cm—the IVm chord. Employing the root of the pentatonic scale as the fifth of the IVm chord is a textbook Gilmour-ism and you can hear him use it to good effect on the extended intro to “Echoes” from Live in Gdansk. When approaching the C on beat 2 of the second full measure, bend up from the Bb on the 6th fret of the 1st string then slide up to the C on the 8th fret without releasing the bend or picking again. In the final measure, I’ve introduced two Db notes, which serve as the b5 “blue note” of the scale and provide melodically compelling passing tones on the way to the G target note on beat 4.
Ex. 6
Exclusively positioned in the Form-IV G minor pentatonic shape, Ex. 7 is based on a bluesy lick over the I chord in the first and third measures that alternately targets a resolution to the root of the IV chord (C ) and the root of the V chord (D7#9) in the second and fourth measures. Being able to resolve your lead phrases to the roots of the I, IV, and V chords on the fly is an essential skill ace improvisers like Gilmour have mastered.
Ex. 7
Now let’s turn our attention to the Bb major pentatonic scale, which is the relative major of G minor. Play through the Form I and Form II shapes detailed in Ex. 8 and Ex. 9 below. You’ll see I’ve added an Eb to the scale (technically making them hexatonic scales). This allows us a bit more melodic freedom and—most importantly—gives us the root note of the IV chord.
Ex. 8
Ex. 9
Channeling the melodic mojo of Gilmour’s lead jaunts on Pink Floyd’s “Mother” and “Comfortably Numb,” Ex. 10 targets chord tones from the I, IV, and V (Bb, Eb, and F) chords.
The muted-string rake in first measure helps “sting” the F note, which is the 5th of the Bb. Measure two targets a G note which is the 3rd of the Eb. This same chord/target note pairing is repeated in the third and fourth measures, although the G is now down an octave. For the F and Eb chords of measures five and six, I’ve mirrored a favorite Gilmour go-to: bending up to the 3rd of a chord then releasing and resolving to the root (an A resolving to an F for the F chord and a G resolving to an Eb for the Eb chord.) The final measure follows a melodic run down the Bb scale that ultimately resolves on the tonic. Be sure to pay attention to the intonation of all your bends, especially the half-step bend on the first beat of measure seven.
As a takeaway from this lesson, let’s strive to “Be Like Dave” and pay closer attention to target notes when soloing. Identify the roots of all the chords you’re playing over in your scales and aim for them as the beginning and/or ending notes of your phrases. Think of these target notes as support beams that will provide structure to your lead lines and ultimately make them more melodically compelling.
A live editor and browser for customizing Tone Models and presets.
IK Multimedia is pleased to release the TONEX Editor, a free update for TONEX Pedal and TONEX ONE users, available today through the IK Product Manager. This standalone application organizes the hardware library and enables real-time edits to Tone Models and presets with a connected TONEX pedal.
You can access your complete TONEX library, including Tone Models, presets and ToneNET, quickly load favorites to audition, and save to a designated hardware slot on IK hardware pedals. This easy-to-use application simplifies workflow, providing a streamlined experience for preparing TONEX pedals for the stage.
Fine-tune and organize your pedal presets in real time for playing live. Fully compatible with all your previous TONEX library settings and presets. Complete control over all pedal preset parameters, including Global setups. Access all Tone Models/IRs in the hardware memory, computer library, and ToneNET Export/Import entire libraries at once to back up and prepare for gigs Redesigned GUI with adaptive resize saves time and screen space Instantly audition any computer Tone Model or preset through the pedal.
Studio to Stage
Edit any onboard Tone Model or preset while hearing changes instantly through the pedal. Save new settings directly to the pedal, including global setup and performance modes (TONEX ONE), making it easy to fine-tune and customize your sound. The updated editor features a new floating window design for better screen organization and seamless browsing of Tone Models, amps, cabs, custom IRs and VIR. You can directly access Tone Models and IRs stored in the hardware memory and computer library, streamlining workflow.
A straightforward drop-down menu provides quick access to hardware-stored Tone Models conveniently sorted by type and character. Additionally, the editor offers complete control over all key parameters, including FX, Tone Model Amps, Tone Model Cabs/IR/VIR, and tempo and global setup options, delivering comprehensive, real-time control over all settings.
A Seamless Ecosystem of Tones
TONEX Editor automatically syncs with the entire TONEX user library within the Librarian tab. It provides quick access to all Tone Models, presets and ToneNET, with advanced filtering and folder organization for easy navigation. At the same time, a dedicated auto-load button lets you preview any Tone Model or preset in a designated hardware slot before committing changes.This streamlined workflow ensures quick edits, precise adjustments and the ultimate flexibility in sculpting your tone.
Get Started Today
TONEX Editor is included with TONEX 1.9.0, which was released today. Download or update the TONEX Mac/PC software from the IK Product Manager to install it. Then, launch TONEX Editor from your applications folder or Explorer.
For more information and videos about TONEX Editor, TONEX Pedal, TONEX ONE, and TONEX Cab, visit:
www.ikmultimedia.com/tonexeditor
The luthier’s stash.
There is more to a guitar than just the details.
A guitar is not simply a collection of wood, wire, and metal—it is an act of faith. Faith that a slab of lumber can be coaxed to sing, and that magnets and copper wire can capture something as expansive as human emotion. While it’s comforting to think that tone can be calculated like a tax return, the truth is far messier. A guitar is a living argument between its components—an uneasy alliance of materials and craftsmanship. When it works, it’s glorious.
The Uncooperative Nature of Wood
For me it all starts with the wood. Not just the species, but the piece. Despite what spec sheets and tonewood debates would have you believe, no two boards are the same. One piece of ash might have a bright, airy ring, while another from the same tree might sound like it spent a hard winter in a muddy ditch.
Builders know this, which is why you’ll occasionally catch one tapping on a rough blank, head cocked like a bird listening. They’re not crazy. They’re hunting for a lively, responsive quality that makes the wood feel awake in your hands. But wood is less than half the battle. So many guitarists make the mistake of buying the lumber instead of the luthier.
Pickups: Magnetic Hopes and Dreams
The engine of the guitar, pickups are the part that allegedly defines the electric guitar’s voice. Sure, swapping pickups will alter the tonality, to use a color metaphor, but they can only translate what’s already there, and there’s little percentage in trying to wake the dead. Yet, pickups do matter. A PAF-style might offer more harmonic complexity, or an overwound single-coil may bring some extra snarl, but here’s the thing: Two pickups made to the same specs can still sound different. The wire tension, the winding pattern, or even the temperature on the assembly line that day all add tiny variables that the spec sheet doesn’t mention. Don’t even get me started about the unrepeatability of “hand-scatter winding,” unless you’re a compulsive gambler.
“One piece of ash might have a bright, airy ring, while another from the same tree might sound like it spent a hard winter in a muddy ditch.”
Wires, Caps, and Wishful Thinking
Inside the control cavity, the pots and capacitors await, quietly shaping your tone whether you notice them or not. A potentiometer swap can make your volume taper feel like an on/off switch or smooth as an aged Tennessee whiskey. A capacitor change can make or break the tone control’s usefulness. It’s subtle, but noticeable. The kind of detail that sends people down the rabbit hole of swapping $3 capacitors for $50 “vintage-spec” caps, just to see if they can “feel” the mojo of the 1950s.
Hardware: The Unsung Saboteur
Bridges, nuts, tuners, and tailpieces are occasionally credited for their sonic contributions, but they’re quietly running the show. A steel block reflects and resonates differently than a die-cast zinc or aluminum bridge. Sloppy threads on bridge studs can weigh in, just as plate-style bridges can couple firmly to the body. Tuning machines can influence not just tuning stability, but their weight can alter the way the headstock itself vibrates.
It’s All Connected
Then there’s the neck joint—the place where sustain goes to die. A tight neck pocket allows the energy to transfer efficiently. A sloppy fit? Some credit it for creating the infamous cluck and twang of Fender guitars, so pick your poison. One of the most important specs is scale length. A longer scale not only creates more string tension, it also requires the frets to be further apart. This changes the feel and the sound. A shorter scale seems to diminish bright overtones, accentuating the lows and mids. Scale length has a definite effect on where the neck joins the body and the position of the bridge, where compromises must be made in a guitar’s overall design. There are so many choices, and just as many opportunities to miss the mark. It’s like driving without a map unless you’ve been there before.
Alchemy, Not Arithmetic
At the end of the day, a guitar’s greatness doesn’t come from its spec sheet. It’s not about the wood species or the coil-wire gauge. It’s about how it all conspires to either soar or sink. Two guitars, built to identical specs, can feel like long-lost soulmates or total strangers. All of these factors are why mix-and-match mods are a long game that can eventually pay off. But that’s the mystery of it. You can’t build magic from a parts list. You can’t buy mojo by the pound. A guitar is more than the sum of its parts—it’s a sometimes unpredictable collaboration of materials, choices, and human touch. And sometimes, whether in the hands of an experienced builder or a dedicated tinkerer, it just works.
MT 15 and Archon 50 Classic amplifiers offer fresh tones in release alongside a doubled-in-size Archon cabinet
PRS Guitars today released the updated MT 15 and the new Archon Classic amplifiers, along with a larger Archon speaker cabinet. The 15-watt, two-channel Mark Tremonti signature amp MT 15 now features a lead channel overdrive control. An addition to the Archon series, not a replacement, the 50-watt Classic offers a fresh voice by producing retro rock “classic” tones reminiscent of sound permeating the radio four and five decades ago. Now twice the size of the first Archon cabinet, the Archon 4x12 boasts four Celestion V-Type speakers.
MT 15 Amplifier Head
Balancing aggression and articulation, this 15-watt amp supplies both heavy rhythms and clear lead tones. The MT 15 revision builds off the design of the MT 100, bringing the voice of the 100’s overdrive channel into its smaller-format sibling. Updating the model, the lead channel also features a push/pull overdrive control that removes two gain stages to produce vintage, crunchier “mid gain” tones. The clean channel still features a push/pull boost control that adds a touch of overdrive crunch. A half-power switch takes the MT to 7 watts.
“Seven years ago, we released my signature MT 15 amplifier, a compact powerhouse that quickly became a go-to for players seeking both pristine cleans and crushing high-gain tones. In 2023, we took things even further with the MT 100, delivering a full-scale amplifier that carried my signature sound to the next level. That inspired us to find a way to fit the 100's third channel into the 15's lunchbox size,” said Mark Tremonti.
“Today, I’m beyond excited to introduce the next evolution of the MT15, now featuring a push/pull overdrive control on the Lead channel and a half-power switch, giving players even more tonal flexibility to shape their sound with a compact amp. Can’t wait for you all to plug in and experience it!”
Archon Classic Amplifier Head
With a refined gain structure from the original Archon, the Archon Classic’s lead channel offers a wider range of tones colored with gain, especially in the midrange. The clean channel goes from pristine all the way to the edge of breakup. This additional Archon version was developed to be a go-to tool for playing classic rock or pushing the envelope into modern territory. The Archon Classic still features the original’s bright switch, presence and depth controls. PRS continues to stock the Archon in retailers worldwide.
“The Archon Classic is not a re-issue of the original Archon, but a newly voiced circuit with the lead channel excelling in '70s and '80s rock tones and a hotter clean channel able to go into breakup. This is the answer for those wanting an Archon with a hotrod vintage lead channel gain structure without changing preamp tube types, and a juiced- up clean channel without having to use a boost pedal, all wrapped up in a retro-inspired cabinet design,” said PRS Amp Designer Doug Sewell.
Archon 4x12 Cabinet
As in the Archon 1x12 and 2x12, the mega-sized PRS Archon 4x12 speaker cabinet features Celestion V-Type speakers and a closed-back design, delivering power, punch, and tight low end. Also like its smaller brethren, the 4x12 is wrapped in durable black vinyl and adorned with a British-style black knitted-weave grill cloth. The Archon 4x12 is only the second four-speaker cabinet in the PRS lineup, next to the HDRX 4x12.
PRS Guitars continues its schedule of launching new products each month in 2025. Stay tuned to see new gear and 40 th Anniversary limited-edition guitars throughout the year. For all of the latest news, click www.prsguitars.com/40 and follow @prsguitars on Instagram, Tik Tok, Facebook, X, and YouTube.