Recorded with Epiphone Scroll bass (neck pickup only) into Focusrite Scarlett 2i4 interface into GarageBand.
Clip 1: Boost at 1 o’clock, character 2 o’clock, mid gain 2 o’clock, mid freq 2 o’clock, bass at noon, and treble at 1 o’clock. [Pedal engaged at 0:21]
Clip 2: Used in front of an Electro-Harmonix Nano Bass Big Muff. Boost at 12 o’clock, character 2 o’clock, mid gain 2 o’clock, mid freq 2 o’clock, bass at 9 o’clock,, and treble at noon. [Pedal engaged at 0:21]
RatingsPros:Solid build. Great EQ. Conjures a more present, thicker, tone without coloration. Cons: It’s pricey at 200 bucks. Street: $199 Darkglass Harmonic Booster darkglass.com | Tones:  Ease of Use:  Build/Design: Value:  |
Like all Darkglass pedals, the Harmonic Booster has a smart, modern and stealthy look. But unlike most of the company’s pedals, which are lauded for their distortion circuits, this revamp of their very first offering is all about the clean.
The Harmonic Booster is a simple affair with controls for boost (+/- 20 dB), character, and a 3-band EQ, which includes a mid-frequency dial with a range of 250 Hz to 2.5 kHz. A very bright white LED resides smack-dab in the center to indicate on/off status.
Why a booster? Bass solos! Sure, it can be placed after your other effects for a generous helping of dBs when you need it, but putting it first in line (or as the only pedal in line) from your bass makes for a very helpful tone shaper—especially for those of us who primarily play passive instruments. The midrange fine-tuning is a beneficial tool to have on hand, particularly if your amp is lacking in mid-frequency maneuverability.
While somewhat subtle, the Harmonic Booster livened up the tone of my favorite P with gusto, but without coloration. It’s a nuance that’s hard to describe outside of simply giving additional life, clarity, and openness to a tone I was already content with. And when I placed it in front of an EHX Bass Big Muff, the sound of my filth was that much more fierce and pronounced. This little black box is spendy at $200, but if it’s a pedal you don’t turn off, the math works.
Test Gear: 2002 Fender Precision, Late-’70s Epiphone Scroll bass, Gallien-Krueger 800RB, Orange OBC212, Electro-Harmonix Nano Bass Big Muff, Focusrite Scarlett 2i4
Duane Betts enjoys a control set modification that was preferred by his father, the late, legendary Dickey Betts.
Guest Picker - Duane Betts
Betts’ 1961 ES-335 has its toggle and volume-dial positions switched.
A: My favorite mod is the one on my 1961 Gibson ES-335. The toggle switch and neck volume knob positions have been switched so the volume knob is more accessible for volume swells using your pinky finger. This is something my dad had done when he obtained the guitar in the ’90s as he loved using the volume swell effect.
A pedal primed for vintage fuzz sounds.
Obsession: My current obsession is this DanDrive Secret Machine fuzz that JD Simo gave me a few years ago. I don’t use fuzz often but I’ve loved it as a way to change things up and give the listener something fresh. My normal tone is very natural with the amp turned up. This is just a great fuzz tone that gives me a new angle that I really enjoy pursuing both live and in the studio.
Reader of the Month - Steve Nowicki
A: A push/pull knob for humbucker coil split. It’s a sneaky little mod I throw on my tone pots. You won’t get amazing Strat tone, but the ability to instantly swap between Les Paul chunk and Fender twang during a jam opens a ton of possibilities tonally. Plus, no extra switches or routing needed—even though it’s fun to hack guitars apart.
Obsession: The EVH 5150 Iconic EL34 amp. Owning an 80-watt half-stack in a Brooklyn apartment might be overkill, but damn this amp is awesome. It delivers insane amounts of gain and distortion, yet every little nuance of your playing comes through crystal clear. I pair it with a Bugera Power Soak so I can crank the head and get that warm “Brown Sound” tone at lower volumes.
John Bohlinger - Nashville Correspondent
John Bohlinger and his Lukather-ized Strat.
A: I’ve hacked up a bunch of guitars over the years, but my favorite mod remains the highly intrusive, expensive, and quixotic B-bender install. It is the equivalent of open heart surgery, and there’s no going back—but the first time you play the Clarence White “You Ain’t Goin’ Nowhere” intro right, it’s totally worth it.
John at work. When it comes to mods, he know the drill!
Obsession: I recently filmed a PG video where we swapped pickups in my ’90s Strat with an EMG Lukather set. I never thought I’d go active, but what gets me is how smoothly the volume and tone work. I’m rethinking all my gear biases. Like maybe there’s been some progress since 1957.
Jon Levy - Publisher
Let it bleed: Jon dials back the treble on his Tele.
A: Installing a treble bleed on my volume pots has changed how I play electric guitar. Previously, I never dialed back my volume knob because it dulled my sound. Now I can fine-tune loudness and gain while retaining tone—it’s a game changer. I still swap pickups and hardware, but one mod always comes first: the humble treble bleed.
Did you know both John Paul Jones and Jimmy Page played on Shirley Bassey’s iconic recording of “Goldfinger?”
Obsession: John Paul Jones. I’ve always loved his bass (and other instrumental contributions) with Led Zeppelin. But after seeing the Zep documentary [Becoming Led Zeppelin] I searched his session work from 1964–1968, which includes Shirley Bassey, Lulu, Donovan and more. What an amazingly versatile and talented artist he is!
“I am thrilled to announce the launch of The Collection: Kirk Hammett. I’ve worked diligently on this curated collection of vintage and modern guitars for the book. I feel the book captures the rich history and artistry behind each of these unique and rare instruments. Every picture tells a story and thanks to Ross Halfin and his exceptional photography, every picture in this book is worth a million words! This book could not be possible without the help of Gibson, so I’d like to thank them for making my passion for Greeny, and guitars a reality. I hope all of you enjoy this journey as much as I did.”
“It’s exciting the time has come to release The Collection: Kirk Hammett by Gibson,” adds Cesar Gueikian, President and CEO of Gibson. “We have been working on this project with Kirk for years now, and I had the opportunity to work closely with Kirk on the composition of the collection for the book. It was a thrill to put this together and it took a village to get it done! I hope everyone appreciates the work that went into this book and enjoys every story behind the guitars.”
The Collection: Kirk Hammett, Custom Edition is limited to just 300 numbered copies signed by KIRK HAMMETT and comes in a huge 19 x 14.5” (490 x 370mm) presentation box featuring custom artwork and an outstanding case candy package. In addition to the large-format 17 x 12” (432 x 310mm) hardcover version of the book with a stunning lenticular cover, the boxset includes a frameable 16 x 11.6” (407 x 295mm) art print of a Ross Halfin portrait of KIRK HAMMETT signed by both Halfin and the Metallica guitarist. Other case candy includes an Axe Heaven miniature replica of Hammett’s 1979 Gibson Flying V with case and stand, an exclusive pick tin complete with six Dunlop® Kirk Hammett signature Jazz III guitar picks, and a Gibson Publishing Certificate of Authenticity.
Explore The Collection: Kirk Hammett book HERE.
