Heavy-hitting trio looks ready to swim with alt-rock’s big fish.
Sharkmuffin’s press posse describes the trio as “badass riot grrl.” And there’s no question that the sonic storm generated by Tarra Thiessen (guitar, lead vocals, theremin, keyboards), Natalie Kirch (bass, vocals), and Janet LaBelle (drums) slams through the speakers with enough punk intensity and sharpened hooks to draw favorable comparisons with the Yeah Yeah Yeahs, Hole, Bikini Kill, and the Breeders—trailblazing alt-rock bands with strong female leads.
But listen to the four songs on the band’s latest EP, 1097, and it doesn’t take long to hear that there’s more than bad-assitude behind Sharkmuffin’s crunching riffs, thundering drums, and punk-simple bass lines. The band’s kick-to-the-stones ferocity amplifies solid songwriting, while Thiessen’s noise-rock fretboard assaults are balanced by nuanced technique. Amidst the noise, there’s plenty of cleverly applied tones and expressive dynamics.
A few weeks before a trip to Los Angeles to put the finishing touches on Sharkmuffin’s full-length debut album, Thiessen checked in from Brooklyn and explained how noise rock can coexist with the study of music theory, an appreciation for Van Halen, and a love of Pink Floyd—and why neither “riot” nor “grrl” tell the whole story.
so it’s always there.
How would you describe Sharkmuffin’s sound?
I guess like “psych-punk-surf?” I don't know! It’s like you just start stringing so many words together that you need to think of new words for it. I really like Ty Segall and Thee Oh Sees—they’re garage bands from San Francisco that have that “blown-out speaker” sound with catchy riffs and catchy melodies. But you can’t really hear the words they’re saying all that well because they’re so distorted. I wanted the sound to be less distorted so you can hear what I’m saying, while still being noisy.
Was that always your musical goal?
That’s a more recent thing, I think, from the last couple years of what Sharkmuffin turned into. I listen to my stuff from a couple years ago and it’s more classic rock “jammy” college stuff. I met Natalie the summer after I graduated college and she didn’t really know how to play yet. But that was fine because I wanted to be in a punk band. I like her style because she hasn't been playing that long, so it’s more basic, which is easier to follow and write stuff on top of. And it's more fun too.
Our sound and approach have changed as we’ve developed as a band. Our original drummer left and Janet LaBelle joined us in October. She’s out with an arm injury but we’re hoping she can finish the album with us when we go to L.A. in July. Patty Schemel from Hole stepped in and recorded with us in February.
Do you and Natalie write together?
For our first EP, She-Gods of Champagne Valley, the songs were written in my previous two bands and Natalie just learned those. On the new EP and album, we’ve done more jamming and writing together. “Soft Landing” came out of a bass line that Natalie wrote. We jammed a lot of the songs on the new album at her family’s beach house in New Jersey, which was destroyed by Hurricane Sandy. We named the EP 1097 after it [based on the beach house's address].
YouTube It
This extended video features all four tracks from Sharkmuffin’s current EP, 1097. Check out the expressive surf-guitar solo outro starting at 1:21 and lasting until the end of the first track, “Foul Play.”
When did you start playing guitar?
My stepdad was a bass collector. He had about 30 different basses that I sort of jammed on when I was younger. I think it was Jack White who made me really want to start playing the guitar, after I heard “Fell in Love with a Girl.” I was in high school, so I just learned a bunch of Led Zeppelin, Pink Floyd—I like David Gilmour—and stuff like that.
Classic rock? That might surprise some of your listeners….
I’m more into noisy stuff now. I have lots of pedals and I like everything to be really loud. I really like surf rock. In high school, this one Ventures CD was stuck in my car stereo, so I listened only to them for a whole summer: The Ventures and Dick Dale. I love the Velvet Underground sound, too. I listened to Side B of Velvet Underground & Nico every day for a couple of months in college. I also really like [German experimental rock band] Can. I like their guitar parts. Then there’s this band called the Mallard—they were kind of more post-punk, noisy, with this girl guitar player that I thought was pretty sweet, Greer McGettrick.
While recording Sharkmuffin’s latest EP, 1097, at Audio Parlour in Brooklyn with engineer Kevin Andreas, Tarra Thiessen played a Fender Jaguar HH through her 1966 Fender Pro Reverb. Thiessen gets her noise fix from Death by Audio pedals. Photos by Jaime Schultz.
How long have you been writing songs?
I tried writing songs when I first started playing guitar in middle school, but I could never get myself to finish them. I always had really bad anxiety about finishing songs until I was about 19 and I started singing—then I started writing and finishing them. But I’ve had a journal since I was 11 and have always written things down, sort of as a release. I was always depressed when I wasn’t writing.
Interesting that you’re drawing from something as personal as a journal and then cranking it up to be loud and in your face.
There’s a lot of rage—controlled rage—in it. I guess it’s my ex-boyfriends pissing me off [laughs]. I’m really into storytelling. A song like “Mermaid Sex Slave” [from She-Gods of Champagne Valley]is kind of mythical and a bit jokey—just a stupid story that I made up. It’s more interesting to take my actual autobiographical experiences and make those into stories and songs.
Is there an essential piece of gear in your arsenal?
I use lots of Death By Audio pedals. During college, I had this band and the bass player lived in the loft behind Death By Audio [in Brooklyn, New York], and they built all the pedals there. So that’s how I first started playing with them—being in my practice space alone and playing around with the pedals. I’ve become friends with the guys who make them.
Do you work out parts and sounds ahead of time?
It depends on the song. On “Ten Ten,” that noise thing was such a spur of the moment idea. I asked Natalie what time it was, and she just screamed “10:10!” And our drummer just did this hardcore beat. It was a joke, an in-the-moment kind of thing. We ended up turning it into something because we thought it was so funny. I also played a theremin on that—I have a bunch of guitar pedals that I don’t use in my setup, so I use my theremin with them.
Other songs, like “Foul Play,” are more controlled. If you see me play live, I have three different pedals that I use to control dynamics. I don’t really know where that comes from. I guess for different parts I want to be louder and more in your face, as opposed to other parts where you just want to communicate your words.
Tarra Thiessen’s Gear
Guitars
2009 Fender Jaguar Special HH Version
Amps
1966 Fender Pro Reverb
Effects
Death by Audio Fuzz War
Death by Audio Interstellar Overdriver
Death by Audio Echo Dream
Seymour Duncan SFX-07 Shape Shifter Tremolo
Boss DD-6 Digital Delay
Boss RE-20 Space Echo (for vocals)
Strings and Picks
Augustine Spectra Light Electric strings (.010–.046)
Dunlop Gator Grip 1.14 mm picks
How did you approach the production of 1097?
We recorded at Audio Parlour in Bushwick [Brooklyn] with Kevin Andreas, and tracked the bass and drums to 2" tape, which sounded great. I played my Fender Jaguar HH through my 1966 Fender Pro Reverb. “Quarter Machine” and “Soft Landing” were pretty basic—mainly just the Jaguar through my Death By Audio Interstellar Overdriver and the Pro Reverb. “Ten Ten” has three different guitar tracks laid over each other, where I was just sort of improvising along with two theremin tracks.
Do you play any other instruments?
I play bass and I can sort of play keyboard. I have a Bachelor’s of Music degree in Music Business [from NYU]. I took four years of music theory, oral comprehension, and music history, so I know a lot of boring classical stuff—and some really interesting classical stuff, too. We also had to take recording classes and there was an option to take lessons, so I did voice lessons and guitar lessons towards the end.
Do you have a set writing or practice regimen?
I definitely try to write a song every day, or try to work out parts for songs. I have to go through a lot of crappy ideas to get to the decent ones. Last winter, I learned a lot of Van Halen solos—so I go through phases where I want to learn new licks and try different stuff because I get bored with my soloing. When I don’t have a boyfriend, I always sleep next to my guitar, so it’s always there.
It seems like the only difference in being a female is that we always need to specify that we’re female—that's the only problem. It’s kind of annoying, because I’ll never be on a “Best Guitar Players” list ... I’ll be on a “Best Female Guitar Players” list. Women have been playing rock music for a long time now, so it really shouldn't have to be differentiated anymore: It’s not new.
The voice of the guitar can make the unfamiliar familiar, expand the mind, and fill the heart with inspiration. Don’t be afraid to reach for sounds that elevate. A host of great players, and listening experiences, are available to inspire you.
In late fall, I had the good fortune of hearing David Gilmour and Adrian Belew live, within the same week. Although it’s been nearly two months now, I’m still buzzing. Why? Because I’m hooked on tone, and Gilmour and Belew craft some of the finest, most exciting guitar tones I’ve ever heard.
They’re wildly different players. Gilmour, essentially, takes blues-based guitar “outside”; Belew takes “outside” playing inside pop- and rock-song structures. Both are brilliant at mating the familiar and unfamiliar, which also makes the unfamiliar more acceptable to mainstream ears—thereby expanding what might be considered the “acceptable” vocabulary of guitar.
Belew was performing as part of the BEAT Tour, conjuring up the music of the highly influential King Crimson albums of the ’80s, and was playing with another powerful tone creator, Steve Vai, who had the unenviable role of tackling the parts of Crimson founder Robert Fripp, who is a truly inimitable guitarist. But Vai did a wonderful job, and his tones were, of course, superb.
To me, great tone is alive, breathing, and so huge and powerful it becomes an inspiring language. Its scope can barely be contained by a venue or an analog or digital medium. At Madison Square Garden, as Gilmour sustained some of his most majestic tones—those where his guitar sound is clean, growling, foreign, and comforting all at once—it felt as if what was emanating from his instrument and amps was permeating every centimeter of the building, like an incredibly powerful and gargantuan, but gentle, beast.
“The guitar becomes a kind of tuning fork that resonates with the sound of being alive.”
It certainly filled me in a way that was akin to a spiritual experience. I felt elevated, joyful, relieved of burdens—then, and now, as I recall the effect of those sounds. That is the magic of great tone: It transports us, soothes us, and maybe even enlightens us to new possibilities. And that effect doesn’t just happen live. Listen to Sonny Sharrock’s recording of “Promises Kept,” or Anthony Pirog soloing on the Messthetics’ Anthropocosmic Nest, or Jimi Hendrix’s “Freedom.” (Or, for that matter, any of the Hendrix studio recordings remixed and remastered under the sensibilities of John McDermott.) Then, there’s Jeff Beck’s Blow by Blow, and so many other recordings where the guitar becomes a kind of tuning fork that resonates with the sound of being alive. The psychoacoustic effects of great tones are undeniable and strong, and if we really love music, and remain open to all of its possibilities, we can feel them as tangibly as we feel the earth or the rays of the sun.
Sure, that might all sound very new age, but great tones are built from wood and wires and science and all the stuff that goes into a guitar. And into a signal chain. As you’ve noticed, this is our annual “Pro Pedalboards” issue, and I urge you to consider—or better yet, listen to—all the sounds the 21 guitarists in our keystone story create as you examine the pedals they use to help make them. Pathways to your own new sounds may present themselves, or at least a better understanding of how a carefully curated pedalboard can help create great tones, make the unfamiliar familiar, and maybe even be mind-expanding.
After all these years, some players still complain that pedals have no role other than to ruin a guitar’s natural tone. They are wrong. The tones of guitarists like Gilmour, Belew, Vai, Hendrix, Pirog, and many more prove that. The real truth about great tones, and pedals and other gear used with forethought and virtuosity, is that they are not really about guitar at all. They are about accessing and freeing imagination, about crafting sounds not previously or rarely heard in service of making the world a bigger, better, more joyful place. As Timothy Leary never said, when it comes to pedalboards and other tools of musical creativity, it’s time to turn on, tune up, and stretch out!
With 350W RMS, AMP TONE control, and custom Celestion speaker, the TONEX is designed to deliver "unmatched realism."
"The next step in its relentless pursuit of tonal perfection for studio and stage. Born from the same innovative drive that introduced the world's most advanced AI-based amp modeling, TONEX Cab ensures that every nuance of modern rigs shines onstage. It sets the new standard for FRFR powered cabinets for authentic amp tones, delivering unmatched realism to TONEX Tone Models or any other professional amp modeler or capture system."
Setting a New Standard
- Professional full-range flat-response (FRFR) powered cab for guitar
- True 350 W RMS / 700 W Peak with audiophile-grade power amps and advanced DSP control
- The most compact 12" power cab on the market, only 28 lbs. (12.7 kg)
- Exclusive AMP TONE control for amp-in-the-room feel and response
- Custom Celestion 12'' guitar speaker and 1'' high-performance compression driver
- 132 dB Max SPL for exceptional punch and clarity on any stage
- Programmable 3-band EQ, custom IR loader with 8 onboard presets and software editor
- Inputs: XLR/1/4" combo jack Main and AUX inputs, MIDI I/O and USB
- Output: XLR output (Pre/Post processing) for FOH or cab linking, GND lift
- Durable wood construction with elegant design and finish
- Swappable grill cloths (sold separately) and integrated tilt-back legs
Finally, Amp-in-the-room Tone and Feel
Thanks to its unique DSP algorithms, TONEX Cab's exclusive AMP TONE control stands apart from any other FRFR in the market today, allowing players to dial in the perfect amount of real amp feel and response to any room or venue.
It achieves this through advanced algorithmic control over the custom high-wattage Celestion 12'' guitar speaker and 1'' high-performance compression driver. Together, they deliver the optimal resonance and sound dispersion players expect from a real cab. Combined with a wood cabinet, this creates a playing experience that feels alive and responsive, where every note blooms and sustains just like a traditional amp.
Ultra-portable and Powerful
TONEX Cab is the most compact 12'' powered cab in its class, leaving extra room in the car to pack two for stereo or to travel lighter. Despite its minimal size, the TONEX Cab delivers true 350 W RMS / 700 W Peak Class-D power. Its unique DSP control provides true-amp sound at any volume, reaching an astonishing 132 dB Max SPL for low-end punch and clarity at any volume. With larger venues, the XLR output can link multiple cabs for even more volume and sound dispersion.
Amplify Any Rig Anywhere
TONEX Cab is the perfect companion for amplifying the tonal richness, dynamics and feel of TONEX Tone Models and other digital amp sims. It adds muscle, articulation, and a rich multi-dimensional sound to make playing live an electrifying and immersive experience.
Its onboard IR loader lets players connect analog preamps directly to the cab or save DSP power by removing the modeler's IR block. Precision drivers also work perfectly with acoustic guitars and other audio instruments, ensuring that time-based effects shine with studio-quality clarity and detail.
Pro-level Features
TONEX Cab offers plug-and-play simplicity with additional pro features for more complex rigs. Features include a 3-band EQ for quickly dialing in your tone to a specific room without editing each preset. You can program the eight memory slots to store both EQ and AMP TONE settings, plus your cabinet IR selection using the onboard controls or the included TONEX Cab Control software. Seamlessly select between memory slots with the onboard PRESET selector or via the built-in MIDI I/O.
On Stage to FOH
TONEX Cab's balanced audio output makes it easy to customize the stage or house sound. It features pre- or post-EQ/IR for cab linking or sending sound to the front-of-house (FOH). The AUX IN allows users to monitor a band mix or play backing tracks. These flexible routing options are ideal for fine-tuning the setup at each gig, big or small.
Stereo and Stacking
With two or more TONEX Cabs, any rig becomes even more versatile. A dual TONEX pedal rig creates a lush, immersive tone with spacious, time-based effects. Players can also build a wet/dry or wet/dry/wet rig to precisely control the direct/FX mix, keeping the core tone intact while letting the wet effects add depth and space. Stack multiple cabs for a massive wall of sound and increased headroom to ensure the tone stays punchy and powerful, no matter the venue size.
Designed to Inspire
The TONEX Cab's Italian design and finish give it a timeless yet modern look under any spotlight. The integrated tilt-back legs let users angle the cab and direct the sound, which is optimal for hearing better in small or dense sound stages. Swappable optional grills (Gold/Silver) make it easy to customize each rig's appearance or keep track of different TONEX Cabs between bandmates or when running stereo rigs.
Bundled Software
TONEX Cab includes a dedicated TONEX Cab Control software application for managing and loading presets and IRs. As part of the TONEX ecosystem, it also includes TONEX SE, the most popular capture software program, with 200 Premium Tone Models, unlimited user downloads via ToneNET and AmpliTube SE for a complete tone-shaping experience.
Pricing and Availability
TONEX Cab is now available for pre-order from the IK online store and IK dealers worldwide at a special pre-order price of $/€699.99 (reg. MSRP $/€799.99*) with a black grill as the default. The optional gold and silver grill cloths are available at a special pre-order price of $/€39.99 (reg. MSRP $/€49.99*). Introductory pricing will end on March 18, with TONEX Cab shipping in April.
*Pricing excluding tax.
For more information, please visit ikmultimedia.com
IK Multimedia TONEX Cab 700-watt 1 x 12-inch Power Guitar Cabinet
TONEX Powered FRFR CabWith over 350 effects models, 120 sampling slots, and a Groove Station with a 480-second looper, this pedal offers unparalleled versatility for guitarists worldwide.
In 2025, MOOER has announced that it will be set to release its latest multi-effects pedal, the GS1000 Intelligent Amp Profiling Processor, an augmented intelligent amp profiling processor. Built on MOOER’s advanced third-generation digital platform, the GS1000 introduces groundbreaking MNRS 2.0 technology, allowing guitarists around the world to emulate their favorite gear with immense precision–specifically, for distortion pedals, preamps, amplifier heads, and cabinets.
With this innovation, guitarists can fully capture the essence of their favorite guitar gear without owning the physical hardware, enabling them to carry their favorite tones wherever they go. Users are even able to use third-party IRs for cabinets of their choice, further enhancing the flexibility of this feature.
It’s unforgettable how much MOOER’s multi-effects pedals have impressed audiences so far, primarily thanks to their robust tone libraries. However, even still, the GS1000 continues to build upon this with storage for up to 120 sampling profiles, along with continued integration with the MOOER Cloud app. Essentially, this cloud integration facilitates infinite upload and download possibilities, giving users access to a global community of shared tones, widely expanding the number of accessible tones. More still, the GS1000’s previously mentioned third-party IR cabinet simulations support up to 2048 sample points, guaranteeing studio-grade tonal accuracy across the board.
Even more impressive for the price is how the GS1000 inherits the dual-chain effects architecture that made previous MOOER gear so versatile, making it suitable for highly complex usage scenarios. With over 350 factory effects models and a Sub-Patch preset grouping mode, the GS1000 makes it far simpler for users to make seamless transitions between tones, all while maintaining effect tails to guarantee seamless transitions. Additionally, the reintroduction of the innovative AI-driven EQ Master builds upon MOOER devices’ previous capabilities, using intelligent adjustments in real-time to match the musical style of players to tones, while still allowing manual tweaks for precise control.
Impressively, the GS1000 also comes packed with a Groove Station module, consisting of a combination of drum machine and looper features–including 56 high-quality drum kits! It offers a 480-second phrase looper with infinite overdubs, automated detection, and synchronization capabilities, resulting in an intuitive platform for solo jamming, composition, and live loop-based performance. Overall, the Groove Station acts as an all-in-one suite for creating full arrangements, without having to depend on additional backing tracks or bandmates.
Visually and functionally, the GS1000 really stands out thanks to its sleek visual design and enhanced user experience. For example, it features a convenient 5-inch high-resolution touchscreen, which is also paired with ambient lighting to add a visually stunning element to the pedal. As a result, the GS1000 is not only designed for convenient touch-based control but also as a standout centerpiece in any guitar rig.
In addition to this touchscreen control system, the GS1000 also provides expanded connectivity options, improving upon the already impressive flexibility of past pedals. Most notably, it supports connectivity with the MOOER F4 wireless footswitch, as well as the ability to control presets via external MIDI devices.
As is expected from MOOER these days, the GS1000 also excels when it comes to routing opportunities, going above and beyond the typical stereo ¼” inputs and outputs that would be expected from other brands. Yes, it still includes such staples, but it also includes an XLRmicrophone input, alongside balanced TRS outputs for long-distance signal clarity. The configurable serial/parallel stereo effects loop enables seamless integration of external effects, and the addition of Bluetooth audio input and MIDI compatibility broadens its wide range of use cases for live and practice-based applications.
Furthermore, the pedal also serves as a professional audio solution thanks to its low-latency 2-in/2-out ASIO USB sound card. Supporting up to 192kHz sampling rates, the GS1000 makes recording and live streaming effortless, as it can easily be used with software DAWs, MOOER’s editing software, as well as the USB-based MIDI control.
The GS1000 will be available in two versions–the standard white edition, which is powered by mains power, and the GS1000 Li version, which introduces a 7.4V 4750mAh lithium battery, chargeable through its power port. With this upgrade, users can enjoy up to six hours of continuous power-free playtime, making it ideal for practicing, busking, and generally performing on the go.
Overall, for fans of MOOER’s previous amp simulation offerings, the GS1000 represents a natural evolution, building on everything that made its predecessors great while introducing cutting-edge features and expanded capabilities. Most importantly, MOOER has promised to continuously update its MOOER 4.0 tonal algorithms on the MOOER Cloud in line with therelease, keeping things fresh for the company’s dedicated user base.
- MNRS 2.0 sampling technology for emulating distortion pedals, preamps, amplifier heads, and cabinets
- Over 350 original factory effects models
- 120 sampling slots with upload/download support via the MOOER Cloud app
- Supports third-party cabinet IR files up to 2048 sample points
- Integrated Groove Station with a drum machine and 480-second looper, featuring infinite overdubs and synchronization capabilities
- 54 high-quality drum kits
- 4 metronome tones
- Tap-tempo control for timing effects
- Advanced AI-driven EQ Master for intelligent tone adjustment based on music styles, with manual customization options
- Built-in high-precision digital tuner
- Quick-access dual-chain effects architecture for seamless creative workflows
- 5-inch high-resolution touchscreen with ambient lighting for enhanced usability
- Four multi-purpose footswitches
- Configurable serial/parallel TRS stereo effects loop for external effects integration
- 6.35mm instrument input and XLR microphone input for expanded connectivity
- Balanced TRS stereo outputs for long-distance signal transmission without quality loss
- Bluetooth audio input functionality for accompaniment playback
- Low-latency ASIO 2-in/2-out USB sound card supporting up to 192kHz sampling rate
- MIDI controller compatibility for managing presets and features
- USB-C port for preset management, USB audio, and USB MIDI functionality
- Supports MOOER F4 wireless footswitch for extended control
- Also available as the GS1000 Li, which features a built-in 7.4V 4750mAh lithium battery, offering up to 6 hours of continuous playtime, chargeable through the power port
The GS1000 will be available from the official distributors and retailers worldwide on January 16th, 2025.
For more information, please visit mooeraudio.com.
Hand-crafted in Petaluma, California, this amp features upgrades while maintaining the original's legendary tone.
The Mesa/Boogie Dual Rectifier Solo Head’s arrival in 1992 was a watershed moment for alternative rock and metal that changed everything; heavy music would never sound the same again, and the Dual Rectifier’s crushing, harmonically rich tone became the most sought-after guitar sound of the era. With a feel as empowering as its sound, the Rectifiers provided an ease of playing that supported and elevated proficiency and was inspirational, rewarding, and addictive.
Its sound and impact on the generation that used it to define what rock music would become were as sweeping as they have been lasting. And it remains arguably the most modeled in today’s digital amp landscape. Now, the 90s Dual Rectifier is back with a vengeance, built in Petaluma, California, by the same artisans who made the originals the most desirable high-gain guitar amplifier of all time.
For more information, please visit mesaboogie.com.