The Sound Control system is the first wireless all-in-one effects pedal management system which enables guitar players to turn on and off multiple analog or digital effects in one stomp.
Concord, CA (January 11, 2013) – Diablo FX, a new player in the guitar market, introduces a truly innovative solution for effects pedal players: Sound Control 6. The Sound Control system is the first wireless all-in-one effects pedal management system which enables guitar players to turn on and off multiple analog or digital effects in one stomp. Sound Control 6 is unique because of its wireless design, which means no cords and power strips at the front of the stage or in the way at practice.
Convenience
Everyone who uses pedals when performing experiences the same dilemma: set-up and break-down takes forever, power cords clutter up the stage and the performers had better be very practiced and skilled to stomp on the right pedal, or combination of pedals, at the right time. Joseph Lockyer, co-founder of Diablo FX, was no stranger to these challenges, and, playing more and bigger gigs, he really needed a simpler solution. At that point, he and Rick Schwab invented a new wireless pedal, the first of its kind: Sound Control 6, to be introduced to the world for the first time at NAMM 2013.
“I will never go back to pushing pedals again, because Sound Control 6 makes everything so easy. My set-up takes me about seven minutes now: take out my amps, plug in, take out my wireless pedal and put it on stage, and I’ll go have a beer while the rest of the guys are still setting up,” Lockyer says with a grin and adds “At the end of the night, I pick up my pedal, throw it in the bag, close my box up and I’m done.”
Control
Not only is set-up easy, playing with Sound Control 6 makes your performance simpler and better. It is hard to turn a number of pedals on and off at the same time, within half a second. Even the most practiced players easily miss pedals again and again. Sound Control 6 can be placed anywhere on stage and it allows to control up to six effects pedals or effects loops. Simply select the pedals you want to be “on” for up to four different channels. Now, you can turn on or off up to six pedals on each channel with one button push. Listening to all the changes that happen with just one button click is amazing: turning on the EQ, adding analog delay, a little reverb – players appreciate the huge benefit to be able to do all those things without having to perform the usual “tap dance”.
High Fidelity
When a pedal is not in use, Sound Control 6 bypasses it altogether. When using stomp boxes, the audio signal is degraded traveling through various pedals in line, regardless whether they are turned on or off. With Sound Control 6, however, a pedal that is not in use, will be physically bypassed, so the audio signal is not going through that pedal at all. This allows for minimal signal disruption. Another factor is the length of cable run across the stage. With regular stomp boxes, the signal has to travel through 75 feet of cord or more. Sound Control 6 only requires a couple of feet of cable to be connected, further decreasing loss of fidelity.
Versatility
Sound Control 6 allows for great versatility. “You can use it for up to six effects on each of the four channels, or as an amp switching device or use it as an effects loop for a digital processor. You can do so many things with it, it’s crazy” says Lockyer.
Pricing
Sound Control 6: MSRP $599.00
For more information:Diablo FX
Linkin Park introduce new vocalist Emily Armstrong (of Dead Sara), new drummer Colin Brittain, and share their first brand new music in seven years.
Linkin Park share a new single (HERE) and video (premiering HERE at 4pm PT/7pm ET), for “The Emptiness Machine,” plus a global livestream performance (happening now HERE and available only for 24 hours), and the launch of 6 upcoming arena shows in Los Angeles, New York, Hamburg, London, Seoul, and Bogota as part of the From Zero World Tour. LP Underground fan club exclusive pre-sales start September 6 and general on-sales September 7. Go to LinkinPark.com for more info.
These surprises herald the arrival of LINKIN PARK’s first album since 2017, FROM ZERO, on November 15.
Tomorrow, Friday September 6th, the band joins long-time friend and Apple Music host Zane Lowe for an in-depth candid conversation about the incredible legacy of Linkin Park, the 7-year long journey to new music and their excitement for the future.
Without expectations, Shinoda, Delson, Farrell, and Hahn quietly began meeting up again in recent years. Rather than “trying to restart the band,” their instinct was to simply spend more time together, and reconnect with the creativity and camaraderie that has been at the core of their friendship since college. During this time, they invited various friends and cohorts to join them in the studio; among the guests, they found a special kinship with Armstong and Brittain. A natural chemistry drew these musicians back into its gravitational pull as they logged more and more hours in the studio. It was the sound of lifelong musicians rediscovering the uncontainable energy of a new beginning once again. Over this season, FROM ZERO was born.
FROM ZERO
FROM ZERO TRACKLIST
- From Zero (Intro)
- The Emptiness Machine
- Cut The Bridge
- Heavy Is The Crown
- Over Each Other
- Casualty
- Overflow
- Two Faced
- Stained
- IGYEIH
- Good Things Go
About the new era, Shinoda stated, “Before LINKIN PARK, our first band name was Xero. This album title refers to both this humble beginning and the journey we’re currently undertaking. Sonically and emotionally, it is about past, present, and future—embracing our signature sound, but new and full of life. It was made with a deep appreciation for our new and longtime bandmates, our friends, our family, and our fans. We are proud of what LINKIN PARK has become over the years, and excited about the journey ahead.”
Right out of the gate, “The Emptiness Machine” channels the DNA of LINKIN PARK, harnessing the band’s explosive energy and retaining the hallmarks of their instantly identifiable and inimitable sound. A chameleonic and catchy anthem, Shinoda’s hypnotic melodies hand off to Armstrong’s blistering chorus, over distorted riffs and head-nodding drums.
Shinoda elaborated, “The more we worked with Emily and Colin, the more we enjoyed their world-class talents, their company, and the things we created. We feel really empowered with this new lineup and the vibrant and energized new music we’ve made together. We’re weaving together the sonic touchpoints we’ve been known for and still exploring new ones.”
FROM ZERO WORLD TOUR 2024
September 11, 2024 | Kia Forum - Los Angeles, CA
September 16, 2024 | Barclays Center - New York, NY
September 22, 2024 | Barclays Arena - Hamburg, Germany
September 24, 2024 | The O2 - London, UK
September 28, 2024 | INSPIRE Arena - Seoul, South Korea
November 11, 2024 | Coliseo Medplus - Bogota, Colombia
Featuring dual-engine processing, dynamic room modeling, and classic mic/speaker pairings, this pedal delivers complete album-ready tones for rock and metal players.
Built on powerful dual‑engine processing and world‑class UAD modeling, ANTI 1992 High Gain Amp gives guitarists the unmistakable sound of an original "block letter" Peavey 5150 amplifier* – the notorious 120‑watt tube amp monster that fueled more than three decades of modern metal music, from Thrash and Death Metal, to Grunge, Black Metal, and more.
"With UAFX Dream, Ruby, Woodrow, and Lion amp emulators, we recreated four of the most famous guitar amps ever made," says UA Sr. Product Manager Tore Mogensen. "Now with ANTI, we're giving rock and metal players an authentic emulation of this punishing high gain amp – with the exact mic/speaker pairings and boost/noise gate effects that were responsible for some of the most groundbreaking modern metal tones ever captured."
Key Features:
- A complete emulation of the early '90s 120‑watt tone monster that defined new genres of modern metal
- Powerful UAFX dual-engine delivers the most authentic emulation of the amp ever placed in a stompbox
- Complete album‑ready sounds with built‑in noise gate, TS‑style overdrive, and TC‑style preamp boost
- Groundbreaking Dynamic Room Modeling derived from UA's award-winning OX Amp Top Box
- Six classic mic/speaker pairings used on decades of iconic metal and hard rock records
- Professional presets designed by the guitarists of Tetrarch, Jeff Loomis, and The Black Dahlia Murder
- UAFX mobile app lets you access hidden amp tweaks and mods, choose overdrive/boost, tweak noise gate, recall and archive your presets, download artist presets, and more
- Timeless UA design and craftsmanship, built to last decades
For more information, please visit uaudio.com.
- YouTube
The Memphis-born avant-funk bassist keeps it simple on the road with a signature 5-string, a tried-and-true stack, and just four stomps.
MonoNeon, aka Dywane Thomas Jr., came up learning the bass from his father in Memphis, Tennessee, but for some reason, he decided to flip his dad’s 4-string bass around and play it with the string order inverted—E string closest to the ground and the G on top. That’s how MonoNeon still plays today, coming up through a rich, inspiring gauntlet of family and community traditions. “I guess my whole style came from just being around my grandma at an early age,” says Thomas.His path has led him to collaborate with dozens of artists, including Nas, Ne-Yo, Mac Miller, and even Prince, and MonoNeon’s solo output is dizzying—trying to count up his solo releases isn’t an easy feat. Premier Guitar’s Chris Kies caught up with the bassist before his show at Nashville’s Exit/In, where he got the scoop on his signature 5-string, Ampeg rig, and simple stomp layout, as well as some choice stories about influences, his brain-melting playing style, and how Prince changed his rig.
Brought to you by D’Addario.
Orange You Glad to See Me?
This Fender MonoNeon Jazz Bass V was created after a rep messaged Thomas on Instagram to set up the signature model, over which Thomas had complete creative control. Naturally, the bass is finished in neon yellow urethane with a neon orange headstock and pickguard, and the roasted maple neck has a 10"–14" compound radius. It’s loaded with custom-wound Fireball 5-string Bass humbuckers and an active, 18V preamp complete with 3-band EQ controls. Thomas’ own has been spruced up with some custom tape jobs, too. All of MonoNeon's connections are handled by Sorry Cables.
Fade to Black
MonoNeon’s Ampeg SVT stack isn’t a choice of passion. “That’s what they had for me, so I just plugged in,” he says. “That’s what I have on my rider. As long as it has good headroom and the cones don’t break up, I’m cool.”
Box Art
MonoNeon’s bass isn’t the only piece of kit treated to custom color jobs. Almost all of his stomps have been zhuzhed up with his eye-popping palette.
Thomas had used a pitch-shifting DigiTech Whammy for a while, but after working with Paisley Park royalty, the pedal became a bigger part of his playing. “When I started playing with Prince, he put the Whammy on my pedalboard,” Thomas explains. “After he passed, I realized how special that moment was.”
Alongside the Whammy, MonoNeon runs a Fairfield Circuitry Randy’s Revenge (for any time he wants to “feel weird”), a literal Fart Pedal (in case the ring mod isn’t weird enough, we guess), and a JAM Pedals Red Muck covers fuzz and dirt needs. A CIOKS SOL powers the whole affair.
Shop MonoNeon's Rig
Fender MonoNeon Jazz Bass V
Ampeg SVT
DigiTech Whammy
CIOKS SOL
The legendary Queen guitarist shared an update on his social media that he noted as a "little health hiccup." "The good news is I can play guitar,” he said.
Brian May revealed that he was rushed to a hospital after suffering a minor stroke and temporarily losing control of his left arm. In a message to his fans, May addresses the events of the past week:
“They called it a minor stroke, and all of a sudden out of the blue, I didn’t have any control of this arm. It was a little scary, I have to say. I had the most fantastic care and attention from the hospital where I went, blue lights flashing, the lot, it was very exciting. I might post a video if you like.”
“I didn’t wanna say anything at the time because I didn’t want anything surrounding it, I really don’t want sympathy. Please don’t do that, because it’ll clutter up my inbox, and I hate that. The good news is I’m OK.”