
Slash onstage with Guns N’ Roses, backed by a fleet of glowing Magnatone M-80 amps, the inspiration for his current signature model, the SL-100.
The guitar icon revisits his roots with a feral 6-string rager featuring guests Billy Gibbons, Gary Clark Jr., Chris Stapleton, Brian Johnson, Steven Tyler, Beth Hart, Demi Lovato, and others. His guests onstage for the accompanying S.E.R.P.E.N.T. Festival tour will be a rotating cast of the Warren Haynes Band, Keb’ Mo’, Christone “Kingfish” Ingram, Robert Randolph, Larkin Poe, Eric Gales, ZZ Ward, Samantha Fish, and Jackie Venson.
Many of us have been transfixed by Jimi Hendrix’s acoustic 12-string performance of “Hear My Train A Comin’,” in the 1973 documentary A Film About Jimi Hendrix. Including Slash. But Slash, being Slash, took it a step further.
Chasing that sound, he purchased a used Fraulini 12-string built along the same lines as the 1960 Zemaitis that appears in Jimi’s hands. Slash says that guitar had some intonation issues, so he commissioned Fraulini luthier Todd Cambio, who specializes in reproductions of historic models, to make him a new one.
“It’s basically a vintage-style baritone acoustic guitar,” Slash explains. “The strings are tuned down to open B or open C, and the tension is there. It’s just amazing sounding—really earthy, soulful, and rich. So, it was just sitting around my house and I hadn’t any designs as to what I was going to use it for.”
Slash feat. Brian Johnson - "Killing Floor" (Official Music Video)
Until he started developing a high-intensity, guest-star-packed blues album, the just-released Orgy of the Damned. Then, it was game on for the 12-string, thanks to a conversation with Iggy Pop, who suggested they team up for a version of Lightnin’ Hopkins’ apocalyptic “Awful Dream.”
“It’s the only song on the album that was brought to me by the singer,” Slash recounts. “There was something about the lyrics that really spoke to Iggy. The original sounds very much like it’s almost an outtake—something they did at the end of a session and just left on tape. When I listened to it, I picked up a guitar to play along—it was tuned in B—and I had that light bulb: ‘Hey, I can use that Fraulini guitar and record the song with that.’ When we recorded it, it was just me and Iggy in the studio. We played through the song twice, and that was it. It’s such a cool track—very spontaneous and natural.”
Slash's Gear
Slash used a Gibson ES-335 for the tunes “Stormy Monday,” “The Pusher,” and “Killing Floor” on Orgy of the Damned, and has a new signature model on the way.
Photo by Gene Kirkland
Guitars
- 1956 Gibson Les Paul goldtop
- 1958 Gibson Les Paul
- 1959 Gibson Les Paul
- Leo Scala-built Gibson Explorer
- Gibson ES-335Gibson J-45
- Custom Fraulini 12-string
- Fender Stratocaster
- Fender Telecaster
Amps
- Magnatone M-80
- Magnatone SL-100
Strings & Picks
- Ernie Ball Signature (.011–.048)
- Dunlop custom 1.14 mm
Slash and Pop, who howls on the song’s outro like a lost, mournful coyote, captured not only Hopkins’ insouciance—a notable part of his musical character—but underscored every bit of the lyric’s fatalist chiaroscuro, which includes references to the atom bomb, an ominous talking bird, and, ultimately, death. Orgy of the Damned, indeed.
But for an album with that title, its dozen tracks plucked from the classic blues and R&B canon are a hell of a lot of fun. Slash and his compatriots—who also include Chris Stapleton, Billy Gibbons, Paul Rodgers, Gary Clark Jr., Brian Johnson, Tash Neal, Steven Tyler, Beth Hart, and Demi Lovato (who kicks out the jams on “Papa Was a Rolling Stone”)—rock the juke joint down. There’s some typecasting. Johnson sings Howlin’ Wolf’s “Killing Floor,” and Gibbons’ wails and grinds through Muddy Waters’ “Hoochie Coochie Man” like he was born to the song, which he was. And while Clark and Slash take the on-ramp that Cream built to Robert Johnson’s “Crossroads Blues,” their solos veer to a different route than Clapton’s, and there’s a slow breakdown that adds a more sonically doleful turn before their engines rev again.
One of the album’s great pleasures is hearing Slash put his own incendiary stamp on these chestnuts, rather than mimicking the solos from the original records, as so many musicians who play classic blues covers do. Sure, the signposts for each song are in place, but they’re departure points, not boundary markers. If anything defines this album’s character, it’s the upbeat energy and sheer glee of making music that ripples through every track. And Slash’s solos are vibrant and filled with grittier turns on the kind of bends and slides that would make Howlin’ Wolf’s venerated guitarist Hubert Sumlin beam.
Slash and one of his new signature Magnatone heads, the SL-100, a single-channel 100-watt amp with four 12AX7s, four EL34s, and a buffered effects loop—inspired by the company’s vintage-plus sounding Super Fifty-Nine M-80.
Slash picks up the acoustic again for the intro to Orgy of the Damned’s take on Peter Green’s Fleetwood Mac psych-blues “Oh Well,” sung by Chris Stapleton. But this time it’s not the 12-string. Gibson’s Slash Collection of guitars also includes his J-45 Standard, which you’ve seen him play in acoustic sets by Guns N’ Roses and with his band the Conspirators, with Myles Kennedy. (For those who can't drop 3,500 smackers, there’s also an Epiphone version.) But mostly, the album’s guitars are full-tilt electric. In addition to ’58 and ’59 Les Pauls, and an Explorer made by Gibson master artisan Leo Scala that Slash played on Albert King’s “Born Under a Bad Sign,” he used a fat-toned ES-335 on “Stormy Monday,” “The Pusher,” and “Killing Floor,” and his new signature edition of that model is due about now. Slash also deployed a Strat and a Tele, so there’s a cavalcade of 6-strings. And his favored amps these days are feisty Magnatones—a departure from his longtime fascination with Marshall JCM800s and Silver Jubilees. After falling for the modern Magnatone company’s blend of old-school tone and contemporary performance, he used the brand’s M-80s for Guns N’ Roses’ 2023 tour as well as Orgy of the Damned, and now has a signature version, the SL-100, an EL84-driven beast with two gain modes and no shortage of cleans, grind, and headroom.
“The tour is a fundraiser geared towards equity and bringing people together, driven by the idea of treating everybody like they’re your friend instead of your enemy.”
As a companion to the album, Slash, whose fondness for boa constrictors, anacondas, and pythons is well known, has launched the summer S.E.R.P.E.N.T. Festival tour. That’s an acronym for Solidarity, Engagement, Restore, Peace, Equity N’ Tolerance. It features Slash and the core band from Orgy of the Damned—singer/guitarist Tash Neal, bassist Johnny Griparic, drummer Michael Jerome, and keyboardist Teddy Andreadis—and different guest openers at various venues. That cast includes the Warren Haynes Band, Keb’ Mo’, Christone “Kingfish” Ingram, Robert Randolph, Larkin Poe, Eric Gales, ZZ Ward, Samantha Fish, and Jackie Venson. And it’s fair to say, in the spirit of blues, that jamming will occur.
“The tour is a fundraiser geared towards equity and bringing people together,” Slash explains, “driven by the idea of treating everybody like they’re your friend instead of your enemy. A lot of that is going on right now, and I’m expecting to have this really great communal vibe.” A portion of ticket sales goes to the Equal Justice Initiative, Know Your Rights Camp, the Greenlining Institute, and the War Child charities—all organizations the Cat in the Top Hat routinely supports.
With Myles Kennedy, Slash rides the feedback train. A ’58 and a ’59 Les Paul were part of the chemistry for his new album of reinterpreted blues classics.
Photo by Tim Bugbee/Tinnitus Photography
Aptly enough, blues has always been an especially communal music. And Slash’s initial exposure was familial. He was born in 1965 in England, where he lived until 1970, and his father and uncles filled his ears with the sound of British rock: the Yardbirds, the Who, the Stones, and others. “When I moved to the States, my whole musical experience broadened,” he says. Reggae, folk, and R&B became part of his diet, and then his grandmother turned him on to blues in its un-redefined form.
“B.B. King was the blues artist that really stuck with me, and I think that has a lot to do with his phrasing. He had a very melodic, memorable style.”
“B.B. King was the blues artist that really stuck with me, and I think that has a lot to do with his phrasing. He had a very melodic, memorable style,” Slash recalls. “Fast forward to when I started playing guitar, and as a kid guitar player at the time, you had the Stones and Derek and the Dominos and Cream for models, and then there was Jimi Hendrix, Zeppelin, and Johnny Winter. Being influenced by those guys took me back to that B.B. King record my grandmother first played for me. It was a big full-circle blues discovery that I had. And so, the blues has always been an important element in my playing.
“I didn’t know it, technically, at the time, but one of the things I picked up on about Jimmy Page, hearing the first two Zeppelin albums, is how much he’s got a B.B. King feel when he plays slow blues. There’s a texture to B.B.’s playing that I understood even before I dreamt of picking up a guitar. I have a huge passion for the feel of blues and the guitar playing and the singing and the stories. It all really means a lot to me.”
Slash recorded his new album at six different studios, but its core tracks went down at East West and his own Snakepit studios in Los Angeles.
While it’s been obvious since the early days of GNR that he’s a blues-informed player, “It’s a great outlet to be able to play with musicians who are really steeped in the genre,” Slash observes. He’s referring to his Orgy of the Damned playmates Griparic and Andreadis, with whom he formed the blues tribute band Slash’s Blues Ball in the mid ’90s—a busman’s holiday compared to his high-profile non-GNR projects over the years: Slash’s Snakepit, Velvet Revolver, and, currently, Slash featuring Myles Kennedy and the Conspirators. “But for this album, I didn’t feel like I deserved to jump on the blues bandwagon with all the other artists who are totally committed to the music. I wasn’t feeling like I was trying to keep up with the Joneses in the blues world or trying to impress anybody. Because it’s just fun for me, there is a certain energy to it. I was calling in friends to sing and play, and to just enjoy ourselves.
“I’ve been wanting to do some sort of a blues record for a long time,” he continues. “Knowing my way around the blues means I’m able to be in any city and go sit in with any blues band in some bar and kick back and play covers of whatever songs that band is doing. That’s always been a great outlet for me as a player.”
Many of the tunes on Orgy of the Damned came from an old Slash’s Blues Ball set list, or were favorites—like “Born Under a Bad Sign”—Slash has been itching to cut for decades. That explains the songs, but Slash’s guitar tones—portly, burnished, growling, full of just the right amount of low-mid punch, and guided by the hands of a master—are partly the result of his ear’s latest passion. And a gift from the Rev. BFG.
Slash sends a note to the rafters on one of his beloved Gibson Les Pauls.
Photo by Annie Atlasman
“I went through my amplifier trial-and-error period a long, long time ago, and I stuck with Marshalls,” he relates. “But at some point a few years ago, Billy Gibbons gave me this Magnatone amp. It was a combo, and I was like, ‘cool, yeah, thanks.’ I put it with a bunch of other stuff and never checked it out.” When it was time to consider tracking Orgy of the Damned, “I knew I didn’t have to bring a stack of Marshalls.” So, he visited his collection of vintage Fenders and Voxes, and a 50-watt Marshall with a half-stack. And then he came across the mothballed Magnatone.
“I decided to swap out my Marshalls for Magnatone heads and 2x12 half-stacks for Guns N’ Roses, and then with the Conspirators.”
“Sonically, it was just there. I used that amp for a whole rehearsal and then the first song we cut, ‘Key to the Highway.’ It sounded fucking great!” He ended up using the Magnatone M-80, a 45-watt 1x12 combo with four 12AX7s and two EL34s, for the entire album. “Then I decided to swap out my Marshalls for Magnatone heads and 2x12 half-stacks for Guns N’ Roses, and then with the Conspirators.” It wasn’t long before he was in Magnatone’s St. Louis shop, working on the 100-watt head that now bears his signature and will accompany him as he rides the S.E.R.P.E.N.T.
“Playing this music makes me feel very grounded and connected,” he observes. “Emotionally, it really helps me to sing. There’s a lot more improvisation, so I’m not tethered, and this will be uncharted waters for me—to be able to go onstage and do an entire show of whatever it is that we want to play. Blues is the best for improvisation. You can really express yourself emotionally. Jazz doesn’t speak to me so much, and I don’t play it because I don’t have anything to say in jazz. But in blues … I feel like I can really express myself down to the last letter.”
YouTube It
Playing through his now-favored Magnatone amps, Slash, with Guns N’ Roses last year, essays the song that built his reputation as a guitar hero, “Sweet Child O’ Mine.”
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Advanced
Intermediate
- Learn how to incorporate open strings all the way up the fretboard.
- Build velocity in your playing without practicing speed exercises.
- Discover an easy way to steal licks from the pros using YouTube.
It’s universally known in the guitar community that Brad Paisley isn’t just some guy that strums a guitar and sings country songs. He’s widely respected as one of the best players in the country music scene and takes an unusual approach to achieve the sonic insanity that spills out of his guitar. From Telecasters, G-benders, and cranked Dr. Z amps to instrumental records and wild guitar solos getting mainstream country radio airtime, Paisley has solidified his place in the discussion of all-time greats, and not just in the country world. In this lesson, we’ll dive into one of the cornerstones of Brad’s playing that makes him so unique: open strings.
A couple of prefaces:
Most of the licks in this lesson are exponentially easier when hybrid picked.
And in case you didn’t know, YouTube allows you to alter the speed of videos. This is a massive tool to take advantage of when learning licks, practicing them, and getting them up to speed. Simply click the Settings button in the bottom right corner of the video player and select Playback Speed. This will allow you to speed up or slow down the video to your liking without any changes to pitch. Transients will become an issue the farther away from the original speed you go, but not enough to keep you from slowing a solo down 50 percent to really learn and nail the nuances.
We’ll start by just dipping a toe in the water for Ex. 1, looking at a small part of the solo from Brad’s song “Ticks.” This section is found at the 3:06 mark of the video below. Brad really likes to use open strings to provide color to licks, usually with the note falling outside of the established scale. This little nugget is entirely in the E major scale (E–F#–G#–A–B–C#–D#) with exception of the open 3rd string. The use of the open string throws a b3 into the mix, while making it feel faster with little added effort. If you were to play this lick at half speed, the open G string does not sound great—but that’s the whole idea behind what Brad is able to do with open string licks. At tempo, the open string sounds like a natural inflection and the lick has more velocity than if it were omitted.
Ex. 1
Ticks
In Ex. 2 we’re still looking at the “Ticks” solo but focusing on the back half. This entire section of the solo is a smorgasbord of open strings. The first phrase uses sliding and open strings to create an almost bouncy and circus feel. The use of the open G string allows Brad to travel up the fretboard with some very interesting flair. Then he uses the open 1st string in measure 2 to create momentum again, but in this instance, the open-string pull-offs fall inside the E major scale rather than acting as color tones. It’s much easier to connect this section of the lick to the previous by using the third finger to execute the bend and the fourth finger to start the new descending phrase. Lastly, Brad takes the solo home with a simple descending three-note-per-string pull-off lick that combines inside and outside notes.
Ex. 2
If you’ve ever listened to Paisley’s “Time Warp,” you know that it’s a gold mine of licks to steal. In Ex. 3, I’m focusing on a lick Brad plays on the “Live on Letterman” version, which occurs after the piano solo at the 1:23 mark in the video below. It’s worth noting that this is not the same line featured on the album version from Time Well Wasted. This lick is a perfect example of how Brad uses open strings to create velocity and really get going downhill at breakneck speeds. The lick is not overly complicated, but it is extremely fast, especially if you are new to hybrid picking. I’m playing it at roughly 75 percent speed so that the notes are intelligible and not just a blur. The lick is mostly based in the A Aeolian mode (A–B–C–D–E–F–G), with flatted second being the exception.
Ex. 3
Brad Paisley - Time Warp (Live on Letterman)
In this example (Ex. 4), we tackle a fantastic phrase from the solo to “Water.” The lick I’m breaking down falls around the 1:43 mark in the YouTube video. What’s so interesting is that while the song is in F major, Brad utilizes the open A, D, and G strings to navigate the fretboard vertically and create energy. My favorite thing about the descending pull-off section of this lick is that it’s a tame bluegrass-style lick in G, but it’s the placement of the lick over the chord changes that makes it sound interesting.
Ex. 4
Brad Paisley - Water
Ex. 5 is where things get really exciting. It’s from a live performance of “Water” during the 2010 ACM awards. At the 3:40 mark Brad uses an open-string lick to build tension and work his way up the fretboard that caught my attention. As before, it sounds monstrous at tempo but really doesn’t make a ton of sense when slowed down. It’s a fairly simple pull-off lick that isn’t too difficult if you’re already used to hybrid picking, but it creates a ton of movement and excitement when sped up. I’m guilty of stealing both this lick and the idea behind it for “wow” moments in solos.
Ex. 5
Brad Paisley - Water (live ACM Awards 2010)
It’s undeniable how freakishly good of a guitar player Brad Paisley is (try grabbing some of the monster licks from the outro of “Water”). Because of how many tricks he has up his sleeve, he’s nearly impossible to replicate, but that doesn’t mean there isn’t something that everyone can take from Paisley’s bag of tricks. Use this concept of using open strings in unconventional places to add spice, speed, and mystique to your playing.
Unleash your inner metal icon with the Jackson Lee Malia LM-87, a high-performance shred-ready axe designed in collaboration with Bring Me The Horizon guitarist Lee Malia. Featuring custom Jackson signature pickups, a fast D-profile neck, and a TOM-style bridge for rock-solid stability, this signature model is a must-have for commanding metal tone and smooth playability.
British metal icon and Bring Me The Horizon guitarist Lee Malia has partnered with Jackson to create his signature LM-87, a shred-ready axe built for heavy riffing and alternative modern metal. As a founding member and lead guitarist of the Grammy-nominated band, Malia is renowned for his aggressive playing style and intricate solos. This high-performance guitar matches his demanding musicality.
With its offset Surfcaster™ body shape and vintage appeal, the LM-87 melds classic design with modern appointments. The thin open pore finish on the bound Okoume body and neck exudes organic style, while the unique 3-ply pickguard and chrome hardware add striking accents. The fast D-profile 3- piece okoume neck allows smooth riffing across the bound amaranth fingerboard.
Custom Jackson signature pickups, including a bridge humbucker with push-pull coil-split, equip the LM-87 with versatile tone-shaping options to fulfill Malia's sonic vision. The TOM-style bridge with anchored tailpiece and fine tuners provides rock-solid stability for low tunings and heavy picking.
Designed in close collaboration with the legendary guitarist, the Jackson Lee Malia LM-87 is built for shredding. Its blend of vintage vibe and high-performance features make this signature model a must-have for players who value commanding metal tone and smooth playability.
The Tune-o-matic bridge with an anchored tailpiece and fine tuners offers enhanced tuning stability and precise, incremental adjustments. This setup ensures consistent pitch control, improved sustain, and easier fine-tuning without affecting overall string tension.
The guitar’s three-piece set-neck guitar with graphite reinforcement offers exceptional strength, stability, and resistance to warping. The multi-piece construction enhances sustain and tonal clarity, while the graphite reinforcement adds extra durability and prevents neck shifting due to humidity or temperature changes. This design ensures a solid, reliable performance with improved resonance and longevity.
Features Include:
- Okoume body
- Three-piece okoume set neck construction with graphite reinforcement
- 12"-16" compound radius amaranth fingerboard
- 3-ply pickguard
- Chrome hardware
- Custom wound Jackson LM-87 pickups
- Volume with push-pull coil-split and tone control
- TOM-style bridge with anchored tailpiece and fine tuners
- Gig bag included
The Jackson LM-87 carries a street price of $899.99.
For more information, please visit jacksonguitars.com.
Unleashing the Pro Series Signature Lee Malia LM-87 | Jackson Guitars - YouTube
Jackson Pro Series Signature Lee Malia LM-87 Electric Guitar - Open Pore Black
Pro Series Lee Malia Signature LM-87 Open Pore BlackThe Tone King Imperial Preamp Pedal delivers legendary vintage American tube tone with modern control. Featuring two channels mirroring '50s tweed and '60s blackface tones, built-in zero watt poweramp, stereo convolution spring reverb and tremolo, and low-latency impulse response technology. MIDI programmable with up to 128 presets for instant recall.
The Imperial All-Tube Preamp pedal delivers Tone King’s legendary MKII amplifier's '50s tweed, '60s blackface, and vintage British rock tones in a compact, pedalboard-friendly format. It features the exact preamp section and phase inverter circuitry of the Imperial MKII amp, as well as Reverb, Tremolo and Attenuation, resulting in a pedal that sings with harmonic richness and blooming touch response. Powered by three 12AX7 preamp tubes running at high voltage, this preamp delivers the amp's sound, responsiveness, and exquisite interaction with your pickups and effects. The onboard, low-latency impulse response (IR) loader (per channel), Headphones, easy integration and expansion with your existing gear, and MIDI capabilities, takes these iconic tones into the new era of guitar playing.
Legendary Vintage Tube Amp Tones
The Imperial Preamp Pedal features two distinct channels, each mirroring the '50s and '60s flavors of the Imperial MKII.
- The Rhythm Channel evokes the essence of a classic '60s blackface combo's pristine cleans with a touch-sensitive response that transitions smoothly into overdrive.
- The Lead Channel is inspired by the iconic tweed amps of the '50s’ with the ability to glide between warm articulate cleans and aggressive midrange bark. This channel's Mid-Bite control adds a further layer of tone shaping, focusing the low-end, while adding high-end presence and gain for a British-flavored rock crunch.
Built-In Zero Watt Poweramp - Phase Inverter
The Imperial Pre-Amp Pedal includes the exact phase inverter circuitry of the actual Imperial MKII amp, utilizing one of its three 12AX7 tubes. This built-in “0 watt poweramp” authentically provides the harmonic and dynamic content of the Tone King poweramp section. This revolutionary design is the cornerstone that delivers the ENTIRE Imperial MKII experience right on your pedal board.
Stereo Convolution Spring Reverb & Stereo Tremolo
Like its namesake amp, the Imperial Preamp boasts foot-switchable spring reverb and tremolo (digital on the preamp pedal) which are assignable to each channel. A signature of the Tone King Imperial MKII tube amplifier, these era-correct effects add dimension and movement while transporting you to a golden age of electric guitar tone.
Impulse Response (IR) Cabinet & Power Amp Sim
The Imperial Preamp pedal's low latency IR and power amp simulation technology delivers its tube tones directly to the front of house or your interface. That’s especially evident in the 15 included OwnHammer-made IRs. Each channel has three of our favorites, preloaded, and selectable via dual 3-way toggle switches.
OH 112 Imperial TK1660: Tone King 1660 speaker in a Tone King Imperial 1x12 combo. Captured using a Shure SM57, a Neumann U87, and a Royer 121 through '70s API 312 preamps.
OH 212 Class A Blue: Celestion Blues from 1963 in a Vox AC30 2x12 combo. Captured using a Shure SM57, a Neumann U87, and a Royer 121 through '70s API 312 preamps.
OH 412 Basketweave M25: Celestion G12M-25 speakers from 1971 in a basket-weave 1960B 4x12 cabinet. Captured using a Shure SM57, Telefunken MD421, and Royer 121.
There are 12 additional IRs to choose from in the included Tone King Editor software (powered by Synergy) which are easy to swap in and out of the pedal's six available slots. You can also disengage the onboard IR loader entirely to use the preamp with an external IR loader or powered cabinet.
Tone King Editor Software
You can assign the Reverb, Tremolo and IR to each of the channels right on the pedal itself, making it a powerful and easy-to-use sonic tool. Tone King offers an Editor software, powered by Synergy, which takes the Pre-Amp's capabilities to another level, allowing you to fine-tune all of the preamp's digitally controlled parameters and save them in up to 128 MIDI presets
- Control the independent power amp simulation HF Comp and Low-Pass filters
- Access all 15 included OwnHammer IRs• Easily load your own IRs and manage your IR library
- Assign any of your IRs to the pedal's six available slots (three per channel)• Control your reverb, reverb tails, tremolo and effects loop bypass settings• Save these settings to up to 128 presets for instant recall via MIDI
The Tone King Editor software also unlocks all of the Imperial Preamp's modern control. Fully MIDI-capable, you can save your presets and access them instantly with a MIDI pedalboard controller or the laptop running your entire show. It is the perfect marriage of modern control and classic tube tone.
Expanding Your Rig's Capabilities
The Imperial Preamp Pedal is the perfect DI recording and performing solution. But that's just scratching the surface.
Add Channels to Your Current Guitar Amplifier
A standout feature of the Imperial preamp pedal is its ability to easily integrate with your existing amplifiers (must have a series effects loop). A straightforward 3-cable connection is all it takes, and you can instantly alternate between the Imperial Preamp as your amp's front end or your amp's preamp channels.
Networking with Other Effects-Loop-Equipped Preamp Pedals
Create the ultimate pedalboard-based rig with other preamp pedals (with effects loops). Using the same 3-cable method, you get both Imperial channels, your other preamp’s tones, the Imperial's stereo effects loop, and its onboard IRs. Additionally, you can assign the Imperial's spring reverb and tremolo effects to your other preamp channels.
Classic American Tube Tone for Every Stage & Studio
Whether you're a gigging musician, a recording artist, or simply a tone enthusiast, the Tone King Imperial Preamp pedal offers endless possibilities. Use it as a standalone preamp for recording or for silent stages and practice, add its two channels to your existing amplifier, pair it with a power amp and cabinet to move some air, or combine it with other preamp pedals for an even wider range of pedalboard-based tones.
Tone King Imperial Preamp Pedal is the ultimate marriage of legendary, vintage American tube tone and modern control.
For more information, please visit toneking.com
Features
- Two Channel High-Voltage preamp – DI
- 3 x 12AX7 preamp tubes running at proper high voltages
- Built-In zero watt poweramp - phase inverter circuit
- Two channels with independent Volume and Attenuation controls
- Rhythm Channel (top)
- '60s-era American blackface combo tone
- Bass and Treble controls
- Lead Channel (Bottom)
- '50s-era American tweed combo and British rock tones
- Tone and Mid-Bite controls
- Spring Reverb (convolution)
- Reverb and Dwell controls
- Independently assignable to each channel
- Tremolo (digital)
- Depth and Speed controls
- Independently assignable to each channel
- Stereo, Series FX loop (bypassable)
- MIDI programmable
- Save up to 128 presets for instant recall via an external MIDI switcher
- Presets save:
- Channel selection
- Master bypass settingo IR selection
- IR bypass setting
- Effects loop bypass setting
- Reverb bypass and tails settings
- Tremolo bypass settings
- Onboard Impulse Response (IR) Technology
- Low-latency Impulse Response cabinet simulation (bypassable)
- 3-position CAB/IR select switch per channel (programmable via software)
- Included OwnHammer IRs
- Poweramp simulation with software editable HF Comp and Low-Pass filters (per channel)
- Connections:
- Dual stereo balanced XLR outputs with Ground Lift Switch
- ¼" Headphone output
- Effects Send and Stereo Return Jacks
- MIDI 5-pin standard connector
- USB-C connector for use with the included Tone King Editor software editor
- To Amp In, From Amp Send and From Amp Return Jacks – for adding Imperial channels to your amp or preamp
- Included
- 6’ USB Cable
- Universal 12V Power Supply
- Dimensions: 7.2” (W) x 5.7” (D) x 2.75” (H)
- Weight: 1.9 lbs.
With a bit of downtime back in Nashville, co-shredders-in-chief Megan and Rebecca Lovell joined Shred With Shifty to deconstruct their face-melting leads on “Summertime Sunset,” off of their 2022 record Blood Harmony.
The Georgia-born, Nashville-based roots-rock outfit Larkin Poe have had a busy year. Last summer, they toured across the U.S. supporting Slash, and released their seventh studio album, Bloom, on January 22. With a bit of downtime back in Nashville, co-shredders-in-chief Megan and Rebecca Lovell joined Shred With Shifty to deconstruct their face-melting leads on “Summertime Sunset,” off of their 2022 record Blood Harmony.
The Lovells grew up reading sheet music and learning violin via the Suzuki method—there was little room for going off the beaten path until they fell in love with Jerry Douglas’ dobro playing on Alison Krauss records. Rebecca took up the mandolin, while Megan went for the dobro and the slide side of things. It took a while for them to get comfortable turning up from their bluegrass roots, but eventually they built Larkin Poe’s amplified, blues-rock sound.
First up, Rebecca, playing a pristine ’60s SG, shows how she put together her stinging, fuzzy solo by “hunting and pecking out” melodies in her mind, building up the chops to follow her intuition. Then Megan, playing a Rickenbacker-inspired lap steel of her own design through a Rodenberg TB Drive, details her dizzyingly fast slide acrobatics, and her particular “rake” technique that she copped from Jerry Douglas and Derek Trucks.
Tune in to hear them talk about how to sustain family relationships while going professional, keeping music community-minded, and whether or not they’ll go back to bluegrass.
If you’re able to help, here are some charities aimed at assisting musicians affected by the fires in L.A:
https://guitarcenterfoundation.org
https://www.cciarts.org/relief.html
https://www.musiciansfoundation.org
https://fireaidla.org
https://www.musicares.org
https://www.sweetrelief.org
Credits
Producer: Jason Shadrick
Executive Producers: Brady Sadler and Jake Brennan for Double Elvis
Engineering Support by Matt Tahaney and Matt Beaudion
Video Editor: Addison Sauvan
Graphic Design: Megan Pralle
Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.