PG's Chris Burgess is On Location in Nashville, TN, for Summer NAMM '09 where he swings by the DAR Amps booth. In this segment, we get to check out DAR's Superaria head. The Superaria is like no other guitar amp in that it comes loaded with 6C33 tubes, which are the same tubes used in MIG 25 jets and Russian battlefield tanks. It delivers a full 65 watts of rich Class A tone. In Aria mode, this amp delivers an astounding 35 watts of hum free and harmonically accurate Single Ended Class A tone (accomplished while maintaining push pull bandwidth and stability). A switchable tone stack matrix delivers tones from classic American rock all the way to the deepest grinding bone crushing British import sound. The amp is advertised as pushing more gain than anyone could ever want, this beast even comes with a spring reverb.



PG's Chris Burgess is On Location in Nashville, TN, for Summer NAMM '09 where he swings by the DAR Amps booth. In this segment, we get to check out DAR's Superaria head. The Superaria is like no other guitar amp in that it comes loaded with 6C33 tubes, which are the same tubes used in MIG 25 jets and Russian battlefield tanks. It delivers a full 65 watts of rich Class A tone. In Aria mode, this amp delivers an astounding 35 watts of hum free and harmonically accurate Single Ended Class A tone (accomplished while maintaining push pull bandwidth and stability). A switchable tone stack matrix delivers tones from classic American rock all the way to the deepest grinding bone crushing British import sound. The amp is advertised as pushing more gain than anyone could ever want, this beast even comes with a spring reverb.

Almost six decades after forming the short-lived Rising Sons, the two legends reconvene to pay tribute to the classic blues duo of Sonny Terry and Brownie McGhee on the warm and rootsy Get on Board.

Deep into Taj Mahal and Ry Cooder’s Get on Board: The Songs of Sonny Terry & Brownie McGhee, percussionist Joachim Cooder lays out, letting the two elder musicians can take a pass through “Pawn Shop Blues.” To start, they loosely play around with the song’s intro on their acoustic guitars. “Yeah, nice,” remarks Mahal off-handedly in his distinctive rasp—present since he was a young man but, at 79, he’s aged into it—and Cooder lightly chuckles. They hit the turnaround and settle into a slow, loping tempo. It’s a casual and informal affair—some notes buzz, and it sounds like one of them is stomping his foot intermittently. Except for Cooder’s slide choruses, neither guitar plays a rhythm or lead role. They simply converse.

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The emotional wallop of the acoustic guitar sometimes flies under the radar. Even if you mostly play electric, here are some things to consider about unplugging.

I have a love-hate relationship with acoustic guitars. My infatuation with the 6-string really blasted off with the Ventures. That’s the sound I wanted, and the way to get it was powered by electricity. Before I’d even held a guitar, I knew I wanted a Mosrite, which I was sure was made of fiberglass like the surfboards the Beach Boys, Surfaris, and the Challengers rode in their off time. Bristling with space-age switchgear and chrome-plated hardware, those solidbody hotrod guitars were the fighter jets of my musical dreams. I didn’t even know what those old-timey round-hole guitars were called. As the singing cowboys Roy Rogers and Gene Autrey strummed off into the sunset, the pace of technology pushed the look and sound of the electric guitar (and bass) into the limelight and into my heart. Imagine my disappointment when I had to begin my guitar tutelage on a rented Gibson “student” acoustic. At least it sort of looked like the ones the Beatles occasionally played. Even so, I couldn’t wait to trade it in.

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Need an affordable distortion pedal? Look no further.

We live in the golden age of boutique pedals that are loaded with advanced features—many of which were nearly unthinkable a decade or so ago. But there’s something that will always be valuable about a rock-solid dirt box that won’t break your wallet. Here’s a collection of old classics and newly designed stomps that cost less than an average concert ticket.

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