Tech 21 is celebrating their 25th Anniversary this year, and to celebrate, they unveiled the Fly Rig 5. It's an ultra-compact unit that allows a player to access the sounds of five pedals in Tech 21's celebrated line-up: a SansAmp, reverb, delay, boost, and Plexi distortion.
Editorial Director Ted Drozdowski’s current favorite noisemakers.
Premier Guitar’s editors use their favorite fuzz pedals in countless ways. At any point during our waking hours, one of us could be turned on, plugged in, and fuzzed out—chasing a Sabbath riff, tracking menacing drone ambience, fire-branding a solo break with a psychedelic blast, or something else altogether more deranged. As any PGreader knows, there are nearly infinite paths to these destinations and almost as many fuzz boxes to travel with. Germanium, silicon, 2-transistor, 4-transistor, 6-transistor, octave, multimode, modern, and caveman-stupid: Almost all of these fuzz types are represented among our own faves, which are presented here as inspiration, and launch pads for your own rocket rides to the Fuzz-o-sphere.
Ted Drozdowski - Editorial Director
My favorite is my Burns Buzz, a stomp custom-made for me by Gary Kibler of Big Knob Pedals. Gary specializes in recreations of old circuits, and this Burns Buzzaround-inspired box has four germanium NOS transistors and sounds beautifully gnarly. It improves on the original, which Robert Fripp favored in early King Crimson, by adding a volume control. I went a little stir-crazy acquiring fuzzes during Covid lockdown and now have an embarrassing amount. My other current darlings are a SoloDallas Orbiter (which balances fuzz with core-signal clarity), a Joe Gore Duh (a no-nonsense, 1-knob dirt shoveler), and my Big Knob Tone Blender MkII 66, which taught me how smooth and creamy fuzz can be with carefully calibrated settings. These pedals allow me to cover all of my favorite fuzz sounds from the past 60 years. I do have one more secret weapon fuzz that only travels to the studio: an original Maestro FZ-1 that I picked up used for about $20 in the early ’90s. It’s banged up but functional, takes two 9V batteries, and is righteously juicy.
Nick Millevoi - Senior Editor
The two greatest fuzzes I’ve ever played are a Pigdog Tone Bender build and a Paul Trombetta Bone Machine. Both experiences will stick with me for decades to come. But creations by those two masters of fuzz come with a price tag high enough to keep my time with those pedals fleeting.
Instead, my favorite fuzz is an inexpensive, mass-produced pedal that hasn’t left my board since I reviewed and subsequently purchased it in 2021: the Electro-Harmonix Ripped Speaker, designed to emulate the distorted tones on ’50s and ’60s records that were created with broken or misused gear.
Retro inspiration is not all it has to offer though. The rip knob, which controls transistor bias, is the star of the show, interacting with the fuzz level to deliver everything from a smooth, mild fuzz to sputtery mayhem that can evoke a faulty channel strip or old tube combo that’s been set ablaze. I prefer to crank the rip knob and feed it to a phaser and slapback analog delay, which gives me a bit-crushed-like gnarliness. Pull back on the rip or add a boost in front of the pedal, and it has a more organic but still gated sound, which, for me, can be just the thing to set my sound apart in a more traditional setting.
For a cool $116, the Ripped Speaker, which seems to fly under most fuzz freaks’ radars, might be the special something that complements the rest of your board or just a tone you turn to on occasion. Either way, it’s a great deal.
Luke Ottenhof - Assistant Editor
You could give me the most powerful-sounding fuzz in the world, but if it was in a stupid-looking enclosure, I don’t know if I’d give it a second look. This is just how we operate: Vision is the sense we privilege most, even in matters of audio.
Luckily, the most seismic, monstrous fuzz I’ve ever heard also happens to come in a beautiful package. The Mile End Effects Kollaps, built by Justin Cober in Montreal, measures an elephantine 7 3/8" x 4 5/8" x 1 1/2", and its MuTron-meets-’60s-Soviet aesthetic matches the sounds its guts produce. The Kollaps is modeled after the nasty Univox Super-Fuzz circuit, and carries a few of that pedal’s hallmarks, including its use of germanium diodes and midrange boost control. Cober added a switchable Baxandall active EQ circuit, with up to 12 dB of boost and cut to both low and high frequencies. Coupled with the mid-boost toggle, this gives the Kollaps a shockingly broad range of tonality to play with.
With the mids off, the Kollaps is jagged and ruthless, a deafening turbojet of upper mids and chest-vibrating lows that yanks me toward the darker, less commercially successful corners of ’90s doom and noise rock. Kicking on the EQ circuit and boosting the lows turns it titanic. With the balance (volume) and expand (gain) controls maxed, the Kollaps starts to live up to its name, crumbling into a thick, overextended chaos in a way more polite fuzz circuits rarely do.
My favorite Kollaps sounds occur when the mids are engaged, for an articulate, deeply textured fuzz sound that retains your attack. Playing with your guitar’s volume knob, you can coax a range of EQ profiles and take advantage of the upper- and lower-octave content in the fuzz. With guitar volume lower, you can access some unbelievably emotive and sensitive sounds that still teeter on the edge of chaos and violence. It’s a rich, volatile circuit that gets as close as I’ve heard to a sound and physical feeling I’d call “planet-destroying.”
Charles Saufley - Gear Editor
My first fuzz, A Sovtek Big Muff, remains tied for first place among many favorites. The pedal’s most famous virtues—corpulence and sustain—are among the reasons I treasure it. But the way the Sovtek pairs with a Rickenbacker 330 and Fender Jaguar, which were once my two primary guitars for performance and recording, made it invaluable in various projects for a long time. Neither the Ricky nor the Jag are sustain machines, but the wailing mass of theBig Muff makes their focused voices an asset—inspiring tight, concise fuzz phrases, hooks, and riffs as well as articulate chords.
A silicon Fuzzrite clone built by good pal Jesse Trbovich (long-time member ofKurt Vile’s Violators) runs second place to the Sovtek in terms of tenure, and is a very different fuzz. It’s a piercing, hyper-buzzy thing, but a perfect match for a squishy 1960s Fender Bassman head and 2x12 I adore. Perversely, I sometimes couple it with a Death By Audio Thee Ffuzz Warr Overload or Wattson FY-6 Shin-Ei Super-Fuzz clone. These tandems create chaos and chance, but sing loud and melodiously too—at least when I’m not intentionally bathing in feedback. The Jext Telez Buzz Tone, a clone of the mid-’60s Selmer circuit, is often my go-to now. It’s a low-gain affair compared to the other fuzzes here, and I use it in its even-lower-gain (and vintage-correct) 3-volt setting. It’s pretty noisy, but it is thick, dynamic, detailed, raunchy, and plenty trashy when the occasion demands it. It’s also a very cool overdrive when you back off the gas.
Jason Shadrick - Managing Editor
I rarely need fuzz in my everyday gigs, but it's one of the most fun effects to explore when I'm noodling around. At a NAMM show a few years ago I plugged into Mythos' Argo and as soon as I hit a note my eyes lit up. The sound of the fuzz wasn't unwieldy or hard to manage. It gave me the illusion of control while the octave was the magic dust on top. I knew right then I wasn't leaving the show without one. After I spent some time with it, I became enamored by how much more the Argo can do.
It's inspired by the Prescription Electronics C.O.B. (Clean Octave Blend), so the control set is similar. The octave is always present in the signal path, but you can dial it out with the blend knob. The fuzz and volume knobs are self explanatory, but dialing the fuzz and octave knobs all the way down gives you a killer boost pedal. I find my favorite settings are at the extremes of the fuzz and blend ranges. Typically, both are either all the way up or all the way down. Another great experiment is to turn the fuzz down and then pair it with a separate drive pedal. And in octave mode, Argo is one of those pedals that inspires you to head directly for the neck pickup and stay above the 12th fret.
In recent years, Samantha Fish’s most often-used guitar was this alpine white Gibson SG, but it ran into some issues last summer—“I ended up having to reglue the neck”—and it is now on hiatus.
Photo by Douglas Mason
Samantha Fish is moving in new circles these days—circles occupied by the kind of people you see a lot on classic-rock radio playlists. First there was the invitation from Eric Clapton to play at his 2023 Crossroads Guitar Festival in L.A. Then there was the summer ’24 slot on Slash’s S.E.R.P.E.N.T. tour, followed by the Experience Hendrix tour, on which she dug into Jimi classics in the company of Eric Johnson, Dweezil Zappa, and other luminaries. And, oh yeah, she opened for the Stones in Ridgedale, Missouri, on the final date of their Hackney Diamonds jaunt. That’s right, the Rolling Stones.
If you’re already a fan of Fish’s tough Delta-mama singing and high-temperature guitar work, you’ll probably think that all this is just as it should be. You gotta reap what you sow eventually, right? And Fish has been sowing for a long time, from her bar-band days in Kansas City 15 years ago through eight rootsy, eclectic albums as a leader (not counting the two early-2010s discs she cut with Dani Wilde and Victoria Smith as Girls with Guitars, or her 2013 outing with Jimmy Hall and Reese Wynans in the Healers, or 2023’s tangy swamp-rock collaboration with Jesse Dayton, Death Wish Blues) to her current tour schedule of about 150 dates per year in North America, the U.K., Europe, and Australia.
Still, even with such a solid career foundation to draw on, mixing and mingling in the flesh with folks you’ve known all your life as names on record covers could be a little intimidating. Is it? “You know, I don’t ever think about it in those terms,” Fish says on the phone from her home in New Orleans. “So when you lay it all out there like that, it feels like, ‘Aw shit, that’s crazy.’ I mean, it is crazy. When I think about the goals that I’ve made over the years … honestly, I’ve crossed off a bunch of things that I thought were even ironic being on the list, because they just seemed so far-fetched. Every interview I’ve ever done, they were like, ‘If you could ever open up for somebody, who would it be?’ And I always said the Stones, ironically. Cause when the hell’s that gonna happen? I’m a guitar player from Kansas. That’s nuts.”
With her Stogie Box Blues 4-string, heavy hitting style, and wide array of blues and rock influences, Fish is an artist of a different stripe.
Photo by Jim Summaria
Fish spits out the sentences above in a fast, excited spray, one word tumbling over another. Then she pauses for a second, and it’s clear that wheels are turning in her head. Her voice gets more playful. “I’m gonna start speaking some even wilder things into existence just to see what happens,” she cracks, her grin nearly audible over the line. “A billion dollars!No, money’s evil, but you know what I mean.”
“I wanted to lean into superpowers.”
Given her formidable chops, it’s not that daring a leap to suggest that Fish could be capable of playingsome wilder things into existence, too. She’s certainly off to a good start with the just-released Paper Doll, her ninth solo album overall and third for Rounder Records. Whether your personal taste leans more toward nasty string-snapping riffs (the aptly titled “Can Ya Handle the Heat?”), sizzling slide escapades (“Lose You”), or high lonesome twang (“Off in the Blue”), you can’t deny that the album’s loaded with prime guitar moments. And its two longest tracks, “Sweet Southern Sounds” and “Fortune Teller”—“longest” being a purely relative term (they’re both under six minutes)—offer listeners just a taste of the neo-psychedelic fantasias that can occur when Fish stretches out in concert.
“People always come up to me and say, ‘You’ve got to figure out a way to capture the live feeling on a record,’” she reports. “Sometimes you go into the studio and it’s like, ‘Shit, I gotta make the song work for vinyl, so let’s cut it down,’ and you end up hacksawing away some of these parts that are kind of the feeling and heartbeat of the song. This time we set out to make something that felt live.”
Fish made her recording debut in 2009 as the leader of the Samantha Fish Blues Band, with the punny-titled in-concert indie album Live Bait.
Photo by Curtis Knapp
That’s one way in which Paper Doll differs dramatically from its predecessor, 2021’s Faster, which delved into a poppier territory of synths, beats, and high-tech production (and, in this writer’s opinion, did so with great effectiveness; one of Faster’s highlights, “Hypnotic,” sounds like it could have been recorded at a late-night dance club hang with Prince and the Pointer Sisters). In contrast, obviously electronic sounds are nowhere to be heard on the new disc, and the music referenced stays firmly in the American roots category: soul, rock, country, juke-joint blues. For some artists, a stylistic shift like this could be seen as a retrenchment, but for Fish, it’s the result of a major departure. This is the first time she’s ever used her road band—keyboardist Mickey Finn, bassist Ron Johnson, and drummer Jamie Douglass—to make a studio album.
“Everybody’s scratching their heads about what genre this falls into, but I know where every song started—with a blues riff.”
“Usually,” Fish explains, “I’ve worked in studio situations where there’s been a producer and they want to put the people they know together. So it was cool to bring in the band that I’ve been playing with for the last couple of years instead of session musicians. I feel like the dynamic was different—the familiarity, and just kind of knowing where the others were gonna go. It might be a minute difference to a listener, but for the players in the room, it helped breed another sensibility.”
Also helping in that department was producer Bobby Harlow, late of Detroit garage-rock revivalists the Go. Paper Doll is the second Fish album that Harlow’s produced; the first was 2017’s Chills & Fever. But whereas that album was all covers, the focus this time was on original songs, more than half of them co-written by Harlow with Fish before he was even considered to produce the album.
“Last March, Bobby came out to a show we did in Detroit,” Fish recalls. “We went out to lunch, and because I was working on writing songs, I asked him to do some co-writing with me, because I love the songs he wrote for the Go. He’s really fun to be in a room with when you’re making something, because he’s incredibly devoted to it. So we started writing, and then a few months later the label was like, ‘We gotta make this album, who’s gonna produce it?’ Well, we’re on the road all summer, so I don’t know when y’all expect us to do this record. But Bobby was available, and it was like the universe bringing us back together. He was passionate about the kind of songs I was writing, and he understood where I wanted to go with it.”
Samantha Fish's Gear
Before finding her SG, Fish’s main guitar was her Delaney signature model thinline style, with a fish-shaped f-hole.
And where was that? “I wanted to lean into superpowers,” Fish quickly answers. “What are my strengths, what are the things that people know me for and recognize me for, and what can I amplify to make this a real statement record? It’s funny, because everybody’s scratching their heads about what genre this falls into, but I know where every song started—with a blues riff.”
Born out of the blues it may have been, but when the Paper Doll material reached the studio (actually, two studios: the Orb in Austin and Savannah Studios in L.A.), it went through some changes, partly due to the band’s contributions, partly due to Harlow’s conceptual leaps. “Bobby’s like a musicologist,” Fish says approvingly. “He’s deep. He pulls from so many different spaces, and he’s definitely introduced me to some things that I wasn’t hip to over the years. That’s done a lot to shape my musical tastes.” If you’ve had the significant pleasure of attending one of the many gigs in which Fish breaks out proto-punk nuggets like the MC5’s “Kick Out the Jams” and Love’s “7 and 7 Is,” well, now you know the guy to thank.
“This time we set out to make something that felt live.”
Perhaps not surprisingly, one of Paper Doll’s best tracks, “Rusty Tazor,” is a similar romp through the garage. In a rare case (for this album) of the producer bringing in someone he knows, Harlow tapped Mick Collins of cult faves the Gories and the Dirtbombs for backing vocals. “He adds such a personality to that song,” Fish says. “And I’m a punk rock fan. I love that whole era. I just love this raw, uninhibited way of playing. There’s nothing precious about it. Leaning into the edges—that’s where the real shit lies.”
Because the Paper Doll sessions took place in between periods of touring, Fish only brought her road instruments, including a new white Gibson SG and Stogie Box Blues 4-string cigar box guitar (see sidebar for more on her personal collection). But both the Austin and L.A. studios presented plenty of other options. “A ton of guitars,” Fish remembers with a laugh, “in varying degrees of disrepair. I used a rather unruly [Gibson ES-] 335 in Savannah for ‘Sweet Southern Sounds.’ You know how some guitars fight you when you play them? Well, I like a little bit of fight, but not so much that I’m pulling the strings out of the saddle, and it was fighting me like that. It was hard to push the strings down, I could only bend in certain places. But that just made the performance more intense, and it sounded good. There was also a Tele and a Strat that they had at the Orb. We had so many tools at our disposal, it was like, ‘Let’s go nuts and play with everything we can.’”
That choice of m.o. also sounds like a positive way to respond to a career moment that Fish calls “an incredible ride. Especially in the last year-and-a-half, two years, it’s just upped the ante even more. There’s nothing more to do, really. I went out, I played to the best of my ability and I did the thing that I’ve been working hard to do for the last 15 years or so. And it’s awesome to be able to show up in that capacity and perform alongside people that I’ve really looked up to. I just feel grateful. I know I’m lucky.”
Fish’s Favorites
Fish has a brawling style of playing slide, often on her cigar box. “Lose You,” on her new album, is especially representative of her approach to the classic blues technique.
Photo by Jim Summaria
For nearly a decade, Samantha Fish’s primary stage axe has been a 2015 alpine white Gibson SG that she bought new online. She’s still got it, but last year it ran into some trouble. “I ended up having to reglue the neck over the summer,” she says, “and it’s been having tuning issues. So Gibson sent me another white SG that’s just beautiful, in great shape. The neck’s a bit fatter, which is cool, different from mine. I’ve been using that one a lot”—indeed, the new SG is all over Paper Doll. “I’ve hung onto it, and I feel bad about that. I don’t want to be the person who borrows a guitar and keeps it. But it just played so great, and it was like, ‘I need this thing. What can I do to keep it?’ Luckily, the people at Gibson have been so good to me over the years.”
An even more recent addition to Fish’s electric arsenal is a Custom Shop Gibson ES-335 in silver sparkle finish, purchased in the fall at Eddie’s Guitars in St. Louis. “Because I played a 335 on ‘Sweet Southern Sounds’ in the studio, I was like, ‘Well, I’m gonna need one live, so of course I have to get this one!’ I’ve always wanted a silver sparkle, and this one is pristine. I’m so scared of the first scratch I get on it, or buckle rash. I’m probably gonna cry!”
Fish hasn’t been playing her Delaney SF1 Tele-style “Fish-o-caster” so much recently, but another Delaney model, the hollowbody 512, is still getting lots of action (often tuned to open D for slide use), as is her Stogie Box Blues 4-string, equipped with a P-Bass pickup. Her Danelectro baritone, Bohemian oil-can guitar, and clutch of Fender Jaguars are also safe at home, along with her current acoustic main squeeze, a new Martin D-45.
YouTube It
Samantha plays Jimi in this September 2024 performance from the most recent Experience Hendrix tour. The selection: “Fire.”
Here’s how 21 killer players from the past year of Rig Rundowns—including Justin Chancellor, Zakk Wylde, MonoNeon, Carmen Vandenberg, Sturgill Simpson, Jason Isbell, and Grace Bowers—use stomps to take their sounds outside the box.
TOOL'S JUSTIN CHANCELLOR
Justin Chancellor’s Pedalboard
If you ever catch yourself playing air guitar to Tool, you’re probably mimicking Justin Chancellor’s parts. “Schism,” “The Pot,” “Forty Six & 2,” “H.,” “Fear Inoculum,” “Descending,” “The Grudge,” and plenty of others feature his buoyant bass riffs.
What stomps does he run his Wal, StingRay, and Fender basses through? Glad you asked. His setup is either a bass player’s dream or nightmare, but for someone as adventurous as Chancellor, this is where the party starts.
You’ll notice many of his pedals are available at your favorite guitar store, including six Boss boxes, an Ernie Ball Volume Pedal, and MXR Micro Amp. Crucial foot-operated pedals are in blue: the Dunlop JCT95 Justin Chancellor Cry Baby Wah with a Tone Bender-style fuzz circuit (far left) and DigiTech Bass Whammy (middle). He really likes using the Tech 21 SansAmp GT2 for distortion and feedback when the Whammy is engaged or he’s playing up the neck. Covering delays are three pedals—he has the pink Providence DLY-4 Chrono Delay programmed to match drummer Danny Carey’s BPMs in “Pneuma,” which slightly increase during the song from 113 ms to 115 ms. The Boss DD-3s are set for different speeds with the one labeled “Faster” handling “The Grudge” and the other one doing more steady repeats. There’s a pair of vintage Guyatone pedals—the Guyatone VT-X Vintage Tremolo Pedal (Flip Series) and Guyatone BR2 Bottom Wah Rocker (a gift from guitarist Adam Jones). The Gamechanger Audio Plus pedal is used to freeze moments and allow Justin to grab onto feedback or play over something. The Boss GEB-7 Bass Equalizer and Pro Co Turbo RAT help reinforce his resounding, beefy backbone of bass tone, while the MXR Micro Amp helps goose his grimy rumbles. The Boss LS-2 Line Selector is a one-kick escape hatch out of the complicated signal chain for parts of “Schism.” The Wal and Music Man stay in check with the TU-3S tuner, a pair of Voodoo Lab Pedal Power 2 Pluses help bring things to life, and everything is wired up with EBS patch cables.
STURGILL SIMPSON AND LAUR JOAMETS
Sturgill Simpson’s Pedalboard
Alt-country veteran Sturgill Simpson packed light for his latest run. His board bears just a Peterson Stomp Classic tuner running into a Fulltone True-Path ABY-ST, which splits his signal to his two Magnatone Panoramic Stereo amps. “I wouldn’t use a tuner if I didn’t have to,” he chuckles. The LILY P4D beside the splitter lets him control his mic signal to cut interference from onstage noise.
Laur Joamets’ Pedalboard
For his main board, Laur Joamets packs a little heavier than his boss. The platform, made by West Coast Pedal Board, carries a Peterson StroboStomp, Greer Amps Arbuckle Trem, sRossFX fuzz/overdrive, MXR Booster, T-Rex Replica, sRossFX germanium octave pedal, TC Electronic Viscous Vibe, Dunlop EP103 Echoplex, and Source Audio True Spring Reverb. An MXR Tap lets him tap in delay tempos. He has a second pedalboard, as well, for his Stage One steel guitar. It goes into a Peterson StroboStomp HD, then on to a Greer Black Tiger and Goodrich Sound Company volume pedal, before hitting his Magnatone Varsity Reverb and a custom-built Fender brown-panel Deluxe clone he calls “the Charmer.”
PANTERA’S ZAKK WYLDE AND REX BROWN
Zakk Wylde’s Pedalboard
When Pantera’s bassist Rex Brown and singer Phil Anselmo decided to fire the band up again, the choice of fellow road dog Zakk Wylde on guitar seemed perfect. Here’s what Wylde had on the floor and in the racks for the band’s February date at Nashville’s Bridgestone Arena.
His signature arsenal of effects seen here includes a MXR Wylde Audio Overdrive, MXR Wylde Audio Phase, Wylde Audio Cry Baby wah, and a Dunlop ZW357 Zakk Wylde Signature Rotovibe. The lone box that isn’t branded Wylde is a standard fare MXR Carbon Copy. Offstage, his rack is home to a MXR Smart Gate and MXR Wylde Audio Chorus that’s always on. Both are powered by a Voodoo Lab Pedal Power 3 Plus. Another drawer holds a Radial BigShot I/O True-bypass Instrument Selector, Lehle Little Dual II Amp Switcher, and a Radial BigShot EFX Effects Loop Switcher.
Rex Brown’s Pedalboard
This tour was the first time Rex Brown used a switching system. His stage board sported a Dunlop JCT95 Justin Chancellor Cry Baby Wah, a 2000s Morley Pro Series II Bass Wah, Origin Effects DCX Bass Tone Shaper & Drive, a MXR M287 Sub Octave Bass Fuzz, and a Peterson StroboStomp HD. The brain of everything in the rack and onstage is the RJM Mastermind GT. And to help “move mountains,” Rex has a Moog Taurus III.
MSSV’S MIKE BAGGETTA AND MIKE WATT
Mike Baggetta’s Pedalboard
Mike Baggetta has some core pedals in MSSV, his indie supergroup with legendary bassist Mike Watt and drummer Stephen Hodges. His arsenal includes a Creepy Fingers Hold Tight fuzz, an Electro-Harmonix Ring Thing, a Wilson Effects Freaker Wah V2, an EHX Deluxe Memory Man, and a Red Panda Tensor. The signal flows from his Benson amp into the Tensor, which he uses for glitch sounds, harmonizing, and overdub mode, among other feats. His Memory Man adds space—the final frontier.
Mike Watt’s Pedalboard
Mike Watt puts his signature Reverend Wattplower bass into a Broughton Audio high-pass filter, an EarthQuaker Devices The Warden optical compressor, and a Sushi Box Effects Finally tube DI that functions as a preamp. There’s also a TC Electronic PolyTune.
MONONEON
MonoNeon’s Pedalboard
The Memphis-born avant-funk bassist keeps it simple on the road with a signature 5-string, a tried-and-true Ampeg stack, and just four stomps. Almost all of his stomps have been zhuzhed up in his eye-popping palette. He’d 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.” MonoNeon also uses a Fairfield Circuitry Randy’s Revenge, a Fart Pedal (in case the Fairfield 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.
GRACE BOWERS
Grace Bowers’ Pedalboard
Grace Bowers is one of the freshest new guitar stars to emerge in the past year. She has the essential fixin’s for her classic rock tones: a Dunlop Crybaby Wah, Grindstone Audio Solutions Night Shade Drive, EarthQuaker Devices Tone Job, MXR Phase 90, MXR Phase 95, and Boss DD-2. Bowers powers them with a Voodoo Labs Pedal Power ISO-5.
GREEN DAY’S JASON WHITE
Photo by Raph Pour-Hashemi
Jason White’s Pedalboard
Long-time touring member Jason White’s stable is dominated by his Gibson Les Pauls and ES-335s. A Shure wireless system sends his signal to a rack set-up with an ISP noise gate, just in case White’s P-90s are picking up a lot of noise. From there, it hits a Dunlop Cry Baby and DVP1XL, then a MIDI-controllable RJM Effect Gizmo, which handles White’s effects: an MXR Reverb and Poly Blue Octave, Strymon TimeLine and Mobius, API Select TranZformer GTR, and a Custom Audio Electronics 3+SE Guitar Preamp, which gets engaged for clean tones and small combo sounds. A Lehle Dual SGoS Switcher and Fishman Aura DI Preamp handle changes with the piezo-equipped guitars. A Strymon Zuma provides the juice.
BONES UK’S CARMEN VANDENBERG
Carmen Vandenberg’s Pedalboard
Carmen Vandenberg covers a lot of ground with her Bones UK guitar sounds, and she’s got a carefully curated collection of stomps to span the territory. Her guitar first hits an Ernie Ball Cry Baby before running through the rest of the pedals: a Boss TU-3, Fulltone OCD, Supro Drive, Pigtronix Octava, EHX Micro POG, Supro Chorus, Blackstar Dept. 10 Boost, EarthQuaker Devices Dispatch Master, MXR Carbon Copy Deluxe, Catalinbread Belle Epoch, and Boss NS-2. A Live Wire Solutions ABY manages the signals on their way to her signature Blackstar CV30s.
BLACK PUMAS’ ADRIAN QUESADA, BRENDAN BOND, AND ERIC BURTON
Adrian Quesada’s Pedalboards
Adrian Quesada loves tremolo and reverb, and uses a Strymon Flint for both. His other main stomp is the Electro-Harmonix Holy Grail that provides a healthy dose of spring reverb. Also along for the tour: a Line 6 Echo Park, a Catalinbread Echorec, a Boss GE-7 Equalizer, a Catalinbread Belle Epoch, and an EarthQuaker Devices. The Fulltone Clyde Wah Deluxe has stepped in for a different filter sweeper. There’s also a JAM Pedals Ripple two-stage phaser, and a TC Electronic PolyTune2 Noir keeps his guitars in check. That’s all on board one.
His second board includes a JHS 3 Series Delay, a JHS Crayon, and an Electro-Harmonix Nano POG. Utility boxes on here—Strymon Ojai, JHS Mini A/B, and TC Electronic PolyTune—handle switching, tuning, and power.
Brendan Bond’s Pedalboard
Three pedals get the job done for Mr. Bond: an Acme Audio Motown D.I. WB-3 passive D.I., a JHS Colour Box, and a Boss TU-3 Chromatic Tuner.
Eric Burton’s Pedalboard
Frontman and guitarist Eric Burton is the band’s lone wireless member. To accommodate his onstage prowling, tech Bryan Wilkinson uses a Radial JDI passive direct box that takes in the XLR from the audio subsnake wireless rackmount and routes it into the first pedal: a Boss TU-3 Chromatic Tuner. From there, Burton only has a couple pedals—a DigiTech Mosaic to mimic a 12-string for “OCT 33” and a JHS Colour Box for any required heat. A Strymon Ojai turns everything on.
JASON ISBELL AND SADLER VADEN
Jason Isbell’s Pedalboards
Jason Isbell could open a huge gear shop just by clearing off his boards and racks. First off, he has a complex wet/dry/wet setup that is parsed out via a RJM Mastermind, with two Magnatone Twilight Stereo combos carrying the all-wet effects. There’s also a Radial JX44v2, which serves as the core signal manager. Above it, on the rack, is an Echo Fix Chorus Echo EF-X3R. Moving up the rack, one drawer includes an Ibanez DML10 Modulation Delay II, EarthQuaker Devices Tentacle, and a trio of stereo-field-only effects: a Boss MD-500, Strymon Volante, and Hologram Electronics Microcosm. Another level up, you’ll find a Chase Bliss Preamp Mk II, Chase Bliss Tonal Recall Delay, Chase Bliss Dark World Reverb, Chase Bliss Condor EQ/Filter, Chase Bliss Gravitas Tremolo, Chase Bliss CXM-1978 Reverb (stereo-field only), Keeley 30ms Automatic Double Tracker, gold Klon Centaur, Analog Man Sun Lion Fuzz/Treble Booster, Analog Man King of Tone with 4-jack mod, Keeley 4-knob CompROSSor, Pete Cornish OC-1 Optical Compressor, EHX Micro POG, Analog Man ARDX20 Delay, and a trio of Fishman Aura Spectrum DIs.
Sadler Vaden’s Pedalboard
Isbell’s 6-string sparring partner Sadler Vaden’s pedalboard chain starts with a Dunlop Clyde McCoy Wah, then a Lehle volume pedal, which feeds the Gig Rig. He uses a Line 6 M5 with a Dunlop expression pedal for a lot of modulation effects. Other pedals include a Crowther Prunes & Custard, Nordvang No.1, an Analog Man Dual Analog Delay, Comp, and King of Tone, a Strymon BlueSky, and a Greer Lightspeed. Every effect is isolated into the Gig Rig. The board has four outputs, two for each side of his 3rd Power British Dream, one for a Marshall plexi, and one that goes to an aux line and splits to a Vox Pacemaker. The auxiliary line is as a backup in case Sadler’s amps go down. It consists of a Strymon Iridium into a Seymour Duncan Power Stage that goes to FOH. And finally, his acoustic pedalboard sports a Shure wireless running into an ART Tube MP/C preamp into a L.R. Baggs Venue DI, with a Radial Engineering Bigshot selector.
MICHAEL LEMMO
Michael Lemmo’s Pedalboard
Rising star player Michael Lemmo relies on his stomps for tone sculpting, but he doesn’t need much to get the job done. His signal hits a Korg tuner, followed by an Xotic EP Booster, Bearfoot FX Honey Bee OD, Red Panda Context, Boss DD-7, and TC Electronic Ditto. They’re all juiced by a Truetone 1 Spot Pro CS7.
HELMET’S PAGE HAMILTON
Page Hamilton’s Pedalboard
Page Hamilton used to travel with a full Bradshaw rig with rack gear, but he’s reduced things to a pair of Eventide H9 units and a handful of Boss boxes—a PS-5 Super Shifter, a MT-2W Metal Zone Waza Craft, a TS-2 Turbo Distortion, a NS-2 Noise Suppressor, and a FB-2 Feedbacker/Booster. A couple of Peterson Stomp Classic tuners keep his ESP Horizons ready, and a Boss ES-5 Effects Switching System organizes all his sounds and settings.
BARONESS’ JOHN BAIZLEY, GINA GLEASON, AND NICK JOST
John Baizley’s Pedalboard
The Baroness frontman’s board is packed with staged dirt boxes and tasteful mod stomps, all held in check with a GigRig G2, Peterson StroboStomp, and Ernie Ball Volume Pedal. The crown drive jewels are a heavily modded EHX Big Muff and Crowther Double Hot Cake, but a Beetronics FX Overhive and Pro Co RAT add sizzle, too. A Boss DD-3, DM-2W, and TR-2, EarthQuaker Devices Dispatch Master and Tentacle, MXR Phase 90 and Dyna Comp, and EHX Deluxe Memory Man handle the rest, while a DigiTech Whammy lurks for its moment to blast off.
Gina Gleason’s Pedalboard
Gleason’s favorite drive these days is the EQD Zoar. Piling on top of that are a MXR Super Badass Distortion, MXR Timmy, modded EHX Big Muff, and a touchy Philly Fuzz Infidel prototype; an Xotic SP Compressor and UAFX 1176 Studio Compressor tighten things up when needed. Three time machines—the Strymon TimeLine, EQD Space Spiral, and Boss DD-3—handle delay, and a Walrus Slo dishes out reverb. The MXR EVH Phase 90 adds some color along with another DigiTech Whammy. The Ernie Ball Volume Pedal, Peterson StroboStomp, and GigRig G2 finish the line-up.
Nick Jost’s Pedalboard
The bassist’s board is powered by an MXR Iso-Brick, with an Ernie Ball Volume Pedal and Boss TU-3 pulling utility duties before an Xotic Bass BB Preamp, Boss ODB-3, DOD FX69B Grunge, MXR Stereo Chorus, and Tech 21 SansAmp Bass Driver DI.
WOLFMOTHER’S ANDREW STOCKDALE
Andrew Stockdale’s Pedalboard
When we walked into Nashville’s Eastside Bowl for this Rig Rundown with Wolfmother’s alpha canine, Andrew Stockdale, it sounded like he was playing his SG through a Marshall stack at head-ripping volume. Nope! Stockdale was blasting skulls apart with a Line 6 HX Stomp doing the heavy tonal lifting. The rest of his board’s layout is a Snark floor tuner, an EHX Micro Synth (a Wolfmother staple), an Xotic AC Booster, an EHX Micro POG, a Dunlop Cry Baby 535Q Multi-Wah, a Boss TR-2 tremolo, a CIOKS DC5 power supply, and Shure GLXDC+ wireless.
FEARLESS FLYERS' CORY WONG AND MARK LETTIERI
Cory Wong’s Pedalboard
Through a Shure GLXD16 wireless system, Cory Wong flows his guitar into his Neural DSP Quad Cortex, which runs a beta version of his Archetype: Cory Wong plugin, based off of a melding of a Dumble and a Fender Twin. The signal hits an onboard envelope filter and rarely used pitch shifter, then exits out the effects loop into a Wampler Cory Wong Compressor, Jackson Audio The Optimist, and a Hotone Wong Press. The signal goes back into the Quad Cortex, where there’s a preset phaser, stereo tape delay, and modulated reverb, plus a freeze effect. Two XLR outs run to front of house, while two run to Wong’s Mission Engineering Gemini 2 stereo cabinet.
Mark Lettieri’s Pedalboard
Mark Lettieri’s signal first hits a Keeley Monterey Custom Shop Edition, followed by an MXR Deep Phase, J. Rockett HRM, J. Rockett Melody OD (Lettieri’s signature), Pigtronix Octava, and a Dunlop DVP4, all powered by a Strymon Ojai. A TC Electronic TonePrint Plethora X5 pedalboard handles coordination and switching between the devices.
SLASH’S BLUES BALL BAND
Slash’s Pedalboard
“I haven’t had a pedalboard in front of my feet since the ’80s,” Slash told us. But with the Blues Ball tour, he kept it simple, stomping his own boxes. His chain includes a Peterson StroboStomp, Dunlop Cry Baby, MXR CAE Boost/Line Driver, Ibanez TS9 Tube Screamer, MXR EVH90, BBE Soul Vibe Rotary Simulator, Boss DD-3 Digital Delay, and MXR Uni-Vibe, with everything powered by a Voodoo Lab Pedal Power 2 Plus. All pedals are taped down with their settings dialed in. When his signal leaves the board, it hits a Whirlwind Selector A/B box, where it splits off between his amps and his Talk Box rig.
Tash Neal’s Pedalboard
Tash Neal keeps a modest pedalboard at his feet: a D’Addario Chromatic Pedal Tuner, Dunlop Cry Baby, XTS Custom Pedals Precision Multi-Drive, EHX Green Russian Big Muff, and a Fender Waylon Jennings Phaser, powered by a T-Rex Fuel Tank.
RANCID’S MATT FREEMAN
Matt Freeman’s Pedalboard
Bassist Matt Freeman’s signal goes wireless into one of his Avalon U5 Class A Active Instrument DI and Preamps, and then through a Way Huge Pork Loin Overdrive, set to give his Bassman a good push.
CHRISTONE “KINGFISH” INGRAM
Kingfish’s Pedalboard
Kingfish’s signal starts with a Shure Wireless BLX4, which hits a Boss TU-3w Chromatic Tuner. From there, the route is a Dunlop Cry Baby Mini Wah, a Marshall ShredMaster, and a Boss DD-3 Delay. The pedals live on a Pedaltrain Nano board and were assembled by Barry O’Neal at XAct Tone Solutions.
DIXIE DREGS’ STEVE MORSE
Steve Morse’s Pedalboard
Steve plays through a pair of 3-channel Engl Steve Morse signature 100-watt amps—one wet, one dry—but his pedal chain is relatively simple: a Keeley Compressor, two Ernie Ball volume pedals, two TC Flashbacks, a TC Electronic Polytune, and a foot controller for his Engls.
Dig into the details of new gear from EHX, Gibson, Martin, Dumble, Collings, EVH, and more! Check back for daily updates from the convention.
Martin D-3 Millionth
<p>Chris Martin shows off the 3,000,000th Martin serial number at their annual NAMM kick-off press conference. It’s an immaculate feat of craftsmanship that shows off Martin’s 192-year history via the tree rings across the top and a pickguard that shows a map of the locations of the company’s factory over the years. There will be three models made and only one put up for sale. Chris mentioned that there will be a “production” model that is slightly less ornate, slightly more available (30 pieces), and a bit more affordable ($300,000).</p>
Martin D-28 Billy Strings and D-X2E Billy Strings
The big news from the Martin press conference was the release of a pair of new signature models from Billy Strings. The D-28 Billy Strings was based upon his 1940 D-28 with a unique 25” scale length, custom nut, and modified low oval satin neck. It’s a pro-level model that will street for $3,799. The D-X2E Billy Strings has a MSRP of $899 and still features the same scale length and custom nut, but also includes Martin’s E1 electronics, and a hemp softshell case.
Mooer Audio have fine-tuned and updated their sleek GS1000 Intelligent Amp Profiling Processor that now allows guitarists around the world to emulate their favorite gear with immense precision–specifically, for distortion pedals, preamps, amplifier heads, and cabinets.
Huss & Dalton TD-R Trey Hensley Signature
<p>The adventurous bluegrass burner Trey Hensley & acoustic stalwarts Huss and Dalton combined to release a delightful dread that a thermo-cured Adirondack red spruce, wavy east Indian Rosewood for back, sides & peghead, Honduran mahogany with diamond volute, herringbone purfling, and Gotoh SXB510V open-back nickel tuners.</p>
Third Man Hardware & Eventide Knife Drop
The Third Man Pedal Universe (TMPU) gained another member via this collaboration with Eventide. It’s part fuzz, part octaver, and part synth. It will rattle the rafters and create some of the dirtiest fuzz and growls you can imagine. One of the highlights of the show so far. It’s available now for $299.
Collings 71 Model
Collings brought a brand-new solidbody model to this year’s show. The 71 model introduces not only a new offset body shape, but their first 6-in-a-line headstock. The neck feels smooth and fast and can be customized with T-style pickups from Lollar, Throbak, or Ron Ellis. There’s even a push-pull tone control for series/parallel switching.
Ernie Ball & Cory Wong StingRay II
Ernie Ball announced a new collaboration with Cory Wong called the StingRay II. Cory wanted more humbucker flavors in his arsenal, so these models feature his signature HT pickups, roasted maple neck, and stainless steel frets. They start at $2,999 with the Deluxe version listing for $3,299.
Carr Skylark Special
Boutique amp builder Steve Carr has teamed up with Ken Haas from Reverend guitars at NAMM this year, providing the combos for those who want to sample the diverse range of Reverend’s guitars. Among the amps is an updated version of Carr’s successful Skylark model, the Skylark Special, with a new rectifier structure, 2-ply construction for 5 pounds less weight and improved resonance, a deeper reverb, a 12-watt attenuator, and a wider hi/lo range. It ain’t cheap, at $3390 for the combo, but it’s badass!
Seymour Duncan Powerstage 700 Bass
Seymour Duncan unveiled the newest addition to its popular Powerstage workhorse pedal series … for bass. The Powerstage 700 Bass is a power amp with huge headroom that’s designed for use with modelers and has a rich menu of functions: drive, level gain, multi-band EQ, master volume, and EQ bypass, presence, frequency. The tag is, aptly, $700.
Seymour Duncan Joe Bonamassa Greenburst Stratocaster Set
Seymour Duncan and blues-rock hero Joe Bonamassa continue their decade-long collaboration with Strat pickups based on the set from Joe’s own fabled 1964 refin-ed Strat he calls the Greenburst. These are exacting reproductions of that guitar’s stock grey-bottom pickups, made for tone hunters, and carry a $375 MAP. They’ve got period-correct wiring and staggered alnico 5 magnets, and sound notable punchy with a higher output. The first 500 come in limited edition packaging signed by JB himself.
Dunable Stregas
<p>Dunable Guitars luthier Tony Tirado introduced his own line of handbuilt Strega 7-string guitars–a perfect cut for metal in style and sound, with pickups with extended low-range clarity, custom-wound in the Dunable shop. The guitar line, whose entries are tagged at about $3,850, is entirely the brainchild of Tirado, who explained that they are an outgrowth of his passion for metal as well as his design aesthetic, which tends toward angles, edges, and fins‑–classic flourishes with a fresh spin. They clock in at very well-balanced 7–8 pounds, but sound heavy as hell.</p>
Huss & Dalton 30th Anniversary
<p>Celebrating their 30th anniversary, Huss & Dalton brought a knockout OM that was decked out from head to tail with beautiful tonewoods, intricate inlays, and a snappy sound that'll make you forget about it's dread-dead looks.</p>
Mesa/Boogie 90s Dual Rectifier
<p>Get the JNCOs and flannels out because Mesa Boogie went back to the future with the release of the 90s Dual Rectifier that combined the best parts of the F & Rev G amps and created a modern monster. The 100W tonezilla has two channels (now with their "cloning" so you can Vintage or Modern Modes on either channel, patented switchable rectifiers (tube or silicon diode), and of course, they're using 6L6s.</p>
Gibson Murphy Lab Heavy Aged Acoustic Collection
<p>These might look like old Gibson friends (and that's the point), but these are fresh out of the factory in Bozeman, Montana. Under the watchful eye of Tom Murphy, the relic rage has fully sunk deeper into their acoustic operation as they're now offering heavy-aged options for their flattops like the 1960 Hummingbird and 1939 SJ-100, which hasn't been made in nearly 90 years!</p>
VegaTrem VT1
VegaTrem brought a new tool to the trade show with the introduction of the VT1 Evolution that works for all the Floyd-Rose freaks to give you all the dive-bomb debauchery, but with a flick of a switch, you had a blocked trem that lets you easily slide into drop-D tuning or open tunings for slide. It's a piece of machined metal, but the ingenious design will help gigging guitarists cover a lot of ground on any given set without any guitar changes.
L.R. Baggs AEG-1
With its remarkable acoustic properties, L.R. Baggs was able to successfully amplify the AEG-1 with their most accurate system yet — the revolutionary HiFi Duet. Equipped with their award-winning HiFi Bridge Plate Pickups and studio-quality Silo Microphone, the AEG-1 is versatile for any stage, big or small.
Cole Clark True Hybrid Thinline Grand Auditorium
If you can't decide between acoustic or electric, Cole Clark has you covered with their striking True Hybrid Thinline Grand Auditorium with a nitrocellulose blue top. The Hybrid is entirely made from sustainable tonewoods: AA grade Australian blackwood (top, back & sides), Queensland maple (neck), and ebony (bridge & fretboard). The thinline is loaded with all Cole Clark electronics starting with their PG3 acoustic pickup system and a H-S-S magnetic pickup set. And a three-way toggle engages (electric/both/acoustic).
NUX MG-300
NUX updated their MG-300 modeler with a MKII unit that now includes a 25 amps, plus a bunch of effects like a noise gate, two compressors, 13 overdrive & distortion sounds, a wah, two EQs, 14 modulations, seven delays, and five reverbs. And if that wasn't enough, you can create and store up to 24 user-loadable IR slots to freely create your own unique tones.
NUX Amp Core Studio & Drive Core Deluxe MKII
<p>NUX Core lineup saw a pair of additions including the Amp Core Studio & Drive Core Deluxe MKII. The Amp Core Studio boasts 26 amp models and you can store up to 20 amp presets with built-in NUX IR cabinets or 3rd party IRs. Their three scene modes switching between different amp tones in real-time.The Drive Core Deluxe MKII still has a 100-percent pure analog circuit, but now it's stocked with eight distinct TS-style sounds. Another new (and impressive) tone tweak is the post-boost function (engaged by holding down the footswitch) that gives your signal a 7dB kick in the pants! </p>
Cherub Pix Tune Tuner
If you're tired of the boring tuning game, Cherub Technology's new Pix Tune clip-on tuner offers 16 vibrant display modes that includes draining a soccer goal or swishing a basketball when getting your string in the sweet spot. It has a stainless steel clamp (with rubber pads) to make sure it's snug on your instrument's headstock for a good fit and better tune.
Ren Ferguson Slop Shoulder Dreadnought
<p>Ren Ferguson is a master luthier and has worked with several companies throughout his impressive career, but his current venture is building custom instruments under his own name (with some help from family). He's putting all the knowledge and expertise he's absorbed over the decades he's worked constructing workhorse guitars that not only sound stellar, but look the part, too. He showed us his slope-shouldered dread that was a clydesdale of an acoustic that looked regal and sounded powerful.</p>
Mayones Duvell DT6 & DT7
<p>Mayones is a dealer devilishly dashing instruments and they did not disapoint with the introduction of their Duvell DT6 & DT7 models that strip back away some of their high-end appointments to briing the guitar into a more-obtainable price point. That being said, don't be fooled, these shredders still rip and are handmade in Poland at the same small shop. These two feature a swamp ash body, a 5-ply maple-wenge neck, blackheart fretboard, TUSQ nut, Hipshot Grip-Lock tuners, and a single Velvetrone Ironside & Solium 7 pickups. (Each model has pickups made to their spec based on 6- or 7-string configuration.)May</p>
Magnatone Starlite
<p>Magnatone showed us three killer amps that have their own flair. The 1x8 Starlite Reverb is still the single-ended 5W combo with a single 6V6 & 12AX7 that can bark between a black-panel and tweed, but now it includes Accutronics Digi-Log reverb that has optimized gain stages ensure the reverb seamlessly integrates with the amp’s natural sound, preserving the true classic tone of Magnatone amps.</p>
Gibson J-45
<p>The heralded J-45 & Hummingbird Gibson acoustic models go the no-frills treatment with the release of the Special series that focuses on creating inspiring, well-built instruments that skimp on the extra but not on the tone. These American-made dreads provide the bell-like chime, sparkle, and articulate punch we love from their lineage but come in at a competitive price point.</p>
Gibson Warren Haynes Signature Les Paul
<p>You're not visiting Gibson and not checking out Les Pauls, and were lucky enough to see two fresh faces with the Warren Haynes signature that has a chunky mahogany neck, a pair of growly P-90s, and most notably, a small switch that ignites a clean boost for an angrier purr.The other Lester we saw a sunburst Standard 50s beast that had its pickup covers removed and gave it a pure 1959/60 vibe.</p>
Thorn Soundlabs Assorted Pedals
<p>Thorn Soundlabs, a brand-new pedalmaker out of Nashville, Tennessee, made a splash at NAMM with the debut releases in their product line–a whopping seven guitar pedals and two bass pedals, with a promise of many more to come. At the show, Thorn revealed the Silver Spurs ($180 MAP), a super flexible distortion; the Bad Cash ($180 MAP), a TS on steroids; the Magma ($225 MAP), a distortion and noise gate combo for metal players; the Black Swamp ($190 MAP), a flexible fuzz/OD; the Steam ($195 MAP), a compressor with a control set geared to beginners and expert players; the Tremonator ($229 MAP), a–yep–tremolo stomp; and the Freaq ($140 MAP), a double-stage booster, all for guitar. The two bass entries: an overdrive called the Basstard ($175 MAP) and a compressor dubbed the Steambass ($195). Stay tuned for more releases.</p>
Fluence Greg Koch Gristle-Tone ST Signature Pickup Set
Fishman introduced a new set of Greg Koch signatures, the Gristle-Tone ST Strat-style trio, at NAMM 2025, as part of its Fluence series. They are remarkably hi-fi sounding, with exceptional definition, clarity, and punch. And while they come stock in Koch’s latest Reverend Signature model, the Gristle ST, you can get ’em from Fishman for your S-style axe at $269 (street) per set. PS: You gotta watch the demo video!
Boss Tube Amp Expander
<p>If chasing big, bold tones is your thing–but you can’t do it at brain-crushing volumes–consider investigating Boss’ Tube Amp Expander. Highly compatible with amps and DAWs, the Expander is a power attenuator with deep controls and adaptability. It’s also easy to use. A dial on the front switches between two impedance settings, appropriate for a combo or a stack. There are 10 rig presents, and it’s easy to design and save your own, too. There’s an “air” dial for ambiance, and speaker, line out, and headphone options. If headphones is your thing, just plug in your amp and don’t worry about a cab. Running with a DAW, a wide world of IRs, effects, and more becomes available. At dealers now at a $699 street price.</p>
Radial Engineering Highline Passive Line Isolator
Naw, this ain’t a DI. It’s Radial’s NAMM-fresh Highline passive line isolator, which comes in mono ($179 street) and stereo ($249), and uses premium Jensen transformers to preserve your signal’s pure sound. The Highline takes 1/4" cable (with XLR outs) for connecting amp simulators or pedals to your amps or a DAW. It’s compact and pedalboard friendly, and the Mono version sums stereo sources down to mono. The Stereo can take four 1/4 ” inputs and deliver a stereo signal, but it can also sum stereo sources down to mono. And it fits snugly under a pedalboard.
Darkglass Kaamos
Darkglass deals in the dirty arts and the new collaboration with Taylor Swift bassist Amos Heller is no exception with the Kaamos that blends a powerful distortion with octave-down tones. Real-time routing controls let you shape your signal path with ease—stack effects in series for rich saturation or run them in parallel for intricate, layered textures. A movable effects loop, configurable in three distinct positions, opens up new possibilities, while a dedicated sub-octave output unlocks creative multi-amp setups. Every detail is precision-engineered to put you in complete control of your sound.
Godin Artisan
<p>Canadian crew Godin Guitars reintroduced their Artisan line (original run in the '90s) with some modern updates and posh appointments. Both the Artisan TC (slide 1) & Artisan ST-II (slide 2) include Canadian Laurentian basswood bodies drizzled with a barrel-proof, high-gloss Whiskeyburst finishes, hard-rock maple necks, a maple fretboard on the singlecut and an ebony board on the double cut, and the T was loaded with Fralin pickups (Split Blade Tele & Unbucker), while the ST-II comes with Fishman Fluence Classic humbuckers.</p>
Godin Guitars Multiac Nylon Oceanburst
<p>Godin unlocked a lot doors for players when they first introduced their popular Multiac. They continue striving to improve their design with slight tweaks and this year was no different as they brought a pair dazzlers that have new, comfier neck shapes (designed to lure the electric player to the nylon-based instrument) and dreamy finishes like the Opalburst (with a maple fretboard) & Oceanburst (with a richlite fretboard). They also are packed with updated custom-voiced <a href="http://lrbaggs.com/" target="_blank">LR Baggs</a> electronics. Both models have hollowed silver leaf maple bodies & necks, a solid cedar top with figured flame leap top (that's sunken into the body).</p>
Godin Connaisseur
<p>Our North American neighbors at Godin Guitars brought the brand-new Connaisseur MJ flattops. A solid spruce top, solid rosewood back & sides, mahogany neck, and ebony fretboard make this a sturdy, stout ride. Each of these studs come with the LR Baggs HiFi electronics, but we're not sure how much you're gonna want to plug in when this baby jumbo sings so well on its own. </p>
Spector NC-4 Frank Bello
<p>If you're gonna get caught in a mosh at an Anthrax show, you better bring your Frank Bello signature Spector NC-4! The powerhouse 4-string is constructed with an alder body, a one-piece maple neck, maple fingerboard, vintage-inspired chrome tuners and a modern adjustable bridge. This beast bites with Bello’s signature <a href="https://www.emgpickups.com/" target="_blank">EMG</a> P/J pickups. And the best part has to be the metallic purple finiish that was inspired by his mother and grandmother (their favorite color was purple) naming it the "Tina Rose" finish. It also has a matching headstock and purple acrylic block inlays.</p>
Spector Doug Wimbish Euro 4
<p>Two things that go together like peanut butter & jelly are Spector and Living Colour bassist Doug Wimbish. Making new waves with their longtime partnership they collaborated on a fresh trio of 4-strings under the Doug Wimbish Euro 4 banner that is built with a quilted maple top paired with maple body wings, Doug's preferred slim neck profile, and custom-wound EMG pickups. The bad news, it doesn't come with Doug's flashy, funky, musical</p>
Blackstar DA100 Ruby
Blackstar worked with Doug Aldrich — a man with a heart full of tone — to create the DA100 Ruby (named after his young daughter) that was unleashed this week at NAMM. A major highlight was the OD Voice function that delivers a vintage, hot-rodded Plexi-style punch with the flick of a switch. Additionally, they fine tuned the midrange to provide a chest-thumping resonance that makes every power chord hit with authority. The enhanced effects loop is now fully footswitchable, controlled by the included 5-way foot controller. The matching 4x12 is packed with Celestion Vintage 30 speakers. Here's what Doug had to say about the experience working with Blackstar: "It feels like I’ve spent my entire life chasing the perfect tone. Over the years, I’ve owned dozens of amps – from modern to boutique, modded to vintage classics. Most of them were tube amps, and each had something special, but I was always searching for more. I’ve been lucky to build great relationships with many amp companies and received several offers to create a signature amp. Yet, I never fully committed. I just wasn’t 100% sure… until now.”
Red Panda RD-1
Red Panda is known for complex, creative pedals, and that trend didn't stop with the release of their RD-1 Pitch Delay, which is a simplified version of their beloved Raster. This reduced Raster still does QUITE a bit, but offers a streamlined control set that focuses on still being a stellar digital delay that allows you to rip a hole in space and time with a frequency and pitch shifter that can be placed inside or outside of the feedback loop. You can shift all repeats by the same amount, or endlessly up or down. It's a trip worth the lowered-cost of admission!
GMI Public Address Systems 33F6
It wouldn't be NAMM without a few surprises. One we stumbled upon today was the GMI Public Address Systems 33F6 that was designed in collaboration with guitar great Troy Van Leeuwen of Queens of the Stone Age. It uses new, old-source components and gives TVL everything he's loved in old Peavey, Marshall & Fender amps. The 35W, two-channel head has four inputs, a solid-state rectifier preamp with a fully-tube power amp section (6L6). It's also outfitted with a Lar-mar style post phase inverter master volume and defeatable tone stack.
Cort X700 Mutility II
Shredmaster Hedras showed us his new Cort X700 Mutility II signature that has an American basswood body (with an ergonomic double-cutaway design), a roasted 5-piece maple-and-walnut neck, a compact 25-25.5" multi-scale setup, a roasted maple fretboard, a GraphTech TUSQ nut, and rips thanks to Fluence Open Core Modern humbuckers.
DigiTech Whammy 5
Many musicians have used and abused the various versions of DigiTech's Whammy pedal, but bass badass MonoNeon has taken the pitch shifter to new heights (and lows). DigiTech took notice and they worked with the funkmaster on a tweaking the Whammy 5 with revamped detune settings that give you distinct options for pitch-bending and harmonizing not found on the standard model. The new hypersonic mode sends your sounds straight to three octaves above input. The three octave range applies to both dry and octave modes to create an expanded, electrifying pitch palette. And best of all, it's optimized for use with both electric guitars and basses.
DigiTech HammerOn
DigiTech is synonymous with pitch shifting. At the 2025 NAMM show they introduced the HammerOn Instantaneous Pitch-Shifter that melts into your technique just like a traditional guitar or bass hammer on/pull-off. There's a total of 27 total pitches to choose from, ranging from 2 octaves up to 2 octaves down. The sequence mode allows for user-configurable 2-, 3-, and 5-note progressions. Trust us when we say this pedal is gonna raise some eyebrows and open new dimensions.
Kernom Elipse
Are you indecisive on your modulation application? Would you like to blend them? Well, Kernom has your solution with the impressively versatile Elipse is a modulation taproom with harmonic tremolo, rotary, chorus & vibrato, flanger, phaser, and vibe settings. The mood knob doesn't just select the effect, but you can blend them as you twist the knob. The all-analog, digital-controlled pedal secret sauce is in the swirl that blends a slow phaser with any modulation effect to create rich, multidimensional tones. If you can't find a sound in there you don't like, you don't have a pulse.
Kyser Capo
If you see a curl on your capo, you know it was made by Kyser in Texas. They did a unique thing by bringing production to NAMM and showed how they make their acoustic guitar capos. There's only a few parts on their capos, but they're all high-grade components that make a secure, snug, dependable hug on your guitar's neck.
Reverend Guitars
<p>Reverend always have a stable of fresh ponies at NAMM and this year's show was no different as they paraded out a collection of fresh updates, new upgrades, and reintroduction of old favorites. Clearly, they're loving the P-90 growl and painted pickguards with these dynamic releases.</p>
Hotone Ampero II Stage
Hotone brought their Ampero II Stage modeler to NAMM and let us test out its capabilities that include over 100 pedal models, 90 amp models, 68 cab models, 60 Hotone original effects models, 20 classic Celestion speaker IRs, and 300 presets. It has a built-in stereo looper with 60 seconds (max) recording time and undo/redo function. There are eight assignable footswitches with multicolor halo LEDs, with two working modes and customization support.
Kepma K3 Plus
The new K3 Plus series is a line of incredibly playable bolt-on models that offer features aimed at the beginning player—most notably the $199 price tag. each model has a slimmer neck for easier playing and AcoustiFex K-10 electronics that include built-in effects and Bluetooth capabilities.
Tubesteader Pedals
One of the new discoveries at the show was this line of amp-in-a-box pedals, each centered around a 12AX7 preamp tube. All the major food groups are covered from '50s tweed to D-style, and more. Each pedal is built to order and range from $300-$350.
Supercool Pedals
The sound of the classic ProCo Rat pedal has been the central point of so many great guitar tones. Supercool Pedals has taken inspiration from that and expanded into a deeper version packed with features. In addition to an active 3-band EQ there's also a turbo switch that instantly takes you one of the most popular variations of the classic circuit. They are available now for $199.
Tsakalis Phonkify
The latest iteration of Tsakalis' expansive envelope filter is a pure funk machine. All the classic '70s-era sounds are packed in there, but with three separate filters, you can get so much more out of it. Both the octave and filter are switchable, and with effect order switching you can really push the limits of out-of-this-world wah sounds. It will be available in March for $229.
Fender Prestige Performer
<p>Although Fender didn't have their usual presence at NAMM, we were able to get a peek at a few custom shop models. Here is a Prestige Performer, built by Levi Perry. The '80s are back! It has a 24-fret setup, Curtis Novak pickups, and a custom Strat hardtail bridge. It can be yours for $11,350.</p>
EVH Wolfgang Trans Amber
EVH's custom shop was quite busy as well. As an unapologetic fan of '90s Van Halen, the finish on this Wolfgang Trans Amber brings back so many memories. Along with the basswood body and Quilt Maple arched top, it has 22 stainless steel frets, EVH Floyd Rose bridge, and Wolfgang Black and Creme Zebra humbuckers. Streets at $5,800.
Dumble "Woody" Amp
<p>Dumble Amplification brought an impressive collection to the show, but this amp might be the most significant. Before Dumble would agree to build you an amp you had to make the pilgrimage to see him and play for him. This amp, dubbed “Woody”, would be what each player would plug into. It’s a single-channel design that has this beautiful, smooth compression. And like many of Dumble’s amp designs, there’s nowhere to hide.</p>
EHX Pedals
<p>EHX always brings some fresh goodies to NAMM and this year they showed us a trio of tone twisters. The most impressive unit had to be the POG3 that builds off their stupendous previous iterations and put lightning-fast tracking and perfect polyphony over four octaves with smoother tone and performance than ever before. It has six voices including DRY, -2, -1, +5th, +1, & +2, you can mix each with individual sliders and create enveloping stereo effects with dedicated pan knobs and selectable LEFT/RIGHT/DIRECT outputs. The effects section has been expanded to offer envelope control and adjustable Q for the new multi-mode FILTER, enhanced DETUNE section with SPREAD, and individual DRY effect selection, plus the famous ATTACK slider for subtle or dramatic swell effects. It also includes expression effects like Freeze, Glissando, Volume, Filter, X-Fade, and Warp.The pedal that launched the company got a facelift with the introduction of the Linear Power Booster (LPB-3) that has an active EQ featuring a powerful parametric mids control and up to a walloping 33dB of boost (or selectable down to 20dB). Its high-voltage rails increase the pedal's headroom and the 3-band EQ features treble and bass knobs to control the highs and lows plus a powerful parametric mids control with adjustable mid freq and q.The popular 360 looper got the Pico treatment reducing its footprint quite a bit. With 6 minutes of loop recording time with unlimited overdubs over 11 loop memory banks, the 360+ also features an OVERDUB control which sets the level of playback of previously recorded loops while overdub new loops, making it possible to create ever-changing loops and ambient sounds scapes. Adjustable fadeout time from 1-10 seconds applies a musical fade to your loop when you stop the loop. Dry and loop levels are independently adjustable for a precision blend of layers.</p>
Two-Rock Silver Sterling Signature
<p>Two Rock are tone titans and they dished us a double uppercut this year. We got to hear the Silver Sterling Signature (now in 1x12 combo format) that is a rides at either 100 or 50 watts thanks to 4-6L6 power tubes. It has foot-switchable FET and tone stack bypass, 7-position gigh and low filter rotary controls, tube-driven, analog spring reverb with send and return controls & passive effects loop. From lush, crystalline cleans to stainky blues, this amp will give you the classic sounds and more — plus look how classy it looks!The second bad boy we saw was their TS1 “Tone Secret” amp that was originally released in 2010. In 2020, they updated the layout from previous incarnations of this amplifier for more tonal shaping options and performance. The TS1 is a nod to the classic overdrive, cascading gain stage amplifier and we wanted to put our take on this design. Featuring a full tube-buffered effects loop and an overdrive channel that is incredibly touch-sensitive with a rich sustain that will inspire you to express yourself in new and creative ways. Possibly the coolest thing was the grille cloth that was made with and in the same tradition as the early Bluesbreaker combos.</p>
Jack White x Third Man Pedals
<p>We got an exclusive look at the next two pedal collaborations from Jack White and Third Man. Any guesses on what type of effects these are?</p>
Divided by 13 JRT 9/15
Fred Taccone recently retired and he wanted Divided by 13's legacy to continue but had to find the right fit. The Two Rock team jumped at the chance and are now carrying on the designs (and probably some new ones in the future that are a bit more British flavored). We heard a bit from the JRT 9/15 that is essentially two amps in one. This is accomplished by switching between 9 watts, utilizing a pair of 6V6 tubes in Class A to deliver the warm, rich tones of vintage 1950s American amps, and 15 watts with a pair of EL84 tubes in Class AB for a bright, chimey top-end and complex, musical breakup, reminiscent of 1960s British designs. The JRT 9/15 preamp drives two 5879 pentodes in tandem, each with its own independent volume control. These circuits are voiced for dramatically different responses: one provides more top-end presence and later breakup, while the other offers lower headroom with an emphasis on low-mid frequencies, delivering a dense, rich tone.
Novo Voltur B6
One of the standout models from Novo was this Voltur B6, which is their version of the classic Bass VI setup. It’s well balanced and lightweight, but really growls with the Lollar-designed gold foil pickups. They are up for pre-order now for $4,499.
Ashdown Rootmaster 500 EVO III
If you're a bassist looking for power, versatility, and portability, the Ashdown Rootmaster 500 EVO III might be the ticket. The lightweight heavyweight offers Ashdown's thunderous tone, featuring a comprehensive EQ, Ashdown sub harmonic generator, compression control, and variable valve emulated drive. Designed for reliability, it's a tool built to last a lifetime with responsible design. The EVO III also includes the Analogue Cab Sim Di output, balanced D.I., and customizable filters for your monitor mix.
Collings D1 A HC
<p>Collings is a revered guitar outfitter that is dishing out some deadly instruments. Whether it's a mandolin, electric, baritone, or a flattop, they look like a Cadillac and cruise like it, too. Our stop on their acoustic side focused on their D1 A HC (Hill Country) dreadnought that has an Adirondack spruce top, Honduran mahogany back, sides & neck, and ebony fretboard and bridge. The beautiful burst is covered with a high-gloss, ultra-thin nitrocellulose lacquer. Their goal with the top-tier HC series is to push the tonal palette to the far end of the spectrum with a strong fundamental voice that is both warm and full, along with unique appointments, such as our matching, hand-poured pickguard, rosette ring, wedge, and heel cap, plus the Collings logo stamped on the back of the peghead.</p>
Xvive Pedals
Tsakalis Mothership
The great Greeks at Tsakalis Audioworks brought an impressive powerhouse pedal that works with three major functions: tube overdrive, preamp & cabinet simulation. It has two completely independent channels, each featuring a four-band EQ, two different gain/volume sections, three selectable gain-stages and three selectable cabinet simulations. Plus, there's a serial mono effects-loop for your external effects, MIDI in and free access to Tsakalis Audioworks’ full free online library of carefully selected and curated digital cabinet simulations. Its two independent channels provide a huge range of tones from warm or sparkling cleans all the way to high gain tube-driven dirt. The two ECC83 (12AX7) tubes, run at a comfortable 240 Volts, providing touch sensitivity, headroom and plenty of gain and tube sag as required.
Sterling by Music Man & Ernie Ball
<p>Axis, Cutlass, Sting Rays, oh my! There were all those and more new stylings at the Sterling by Music Man & Ernie Ball both this year as we got a tour of all their affordable options that are out or will be coming out in 2025. We saw new stylings on signature sweets for James Valentine, Steve Lukather, Ryan "Fluff" Bruce, Pete Wentz, Tosin Abasi, Jason Richardson and more!</p>
Danelectro Guitars
<p>Danelectro keeps bring the past to the future by recreating cult classics from their history. The masonite masters brought a pair of new electrics, their Sitar in a cracked-black finish, and some new colors on the Longhorn basses.</p>
Snark Crazy Little Thing
If you blink, you'll miss it (or lose it), but Snark somehow minaturized the clip-on tuner to a button-sized package with the development of Crazy Little Thing!
IK Multimedia TONEX Cab
Audio creation specialists IK Multimedia showcased two strong new entries in their TONEX modeling and effects product line at NAMM: the powered TONEX Cab and the Joe Satriani Ltd. Edition TONEX One pedal. The lux-sounding cab, which ships in April but is available for preorder at $699 street–$100 less than the MAP–is full range, flat response with a custom 12" Celestion and a Lavoce 1" high-performance compression driver. It’s built to enhance the sonic vibe of amp modelers, and kicks out the jams at 350-watts via audiophile-grade power amps. The sound pressure level is 132 dB, so there’s plenty of punch, response, and definition. The control set includes a programmable 3-band EQ, a mike and live dial for tone, an easy-to-use preset dial, and a custom IR loader with 8 onboard presets. There are XLR and AUX outs, it’s MIDI controllable, has old-school tilt-back legs, wood construction, and swappable grille cloths. Plus, it comes with AmpliTube 5 SE, TONEX SE, and TONEX Cab Control Software.
IK MULTIMEDIA Joe Satriani Ltd. Edition TONEX One Pedal
IK’s literally shiniest new NAMM offering is the Joe Satriani Ltd. Edition TONEX One pedal. It’s got an eye-catching chrome finish with 3-band EQ and a center control for volume, gain, gate, and reverb. Satch’s work on the pedal included hauling 26 of his own amps into the studio to sculpt 20 preloaded preset tones for this pedalboard-friendly mini. The presets are customizable, and it’s powered via 9V DC or a USB-C and runs at 120 mA. The dynamic range cruises up to 123 dB, there are ultra-low-noise 24-bit/192 kHz converters, and the library of 40,000 TONEX sounds can be accessed via USB. At less than 2" wide and 4 ” long, it is a mighty mite. The stomp ships in February and is tagged at $229.
Cream Guitars
<p>Cream Guitars, designed by company founder Luis Ortiz and based in Monterrey, Mexico, has come to the past three NAMM Shows displaying prototypes and models in development. This year Luis came ready to rock with a strong line of new instruments that will soon be available for preorder via Guitar Center. (Meanwhile, you can check out his guitars and basses at <a href="http://creeamguitars.com/" rel="noopener noreferrer" target="_blank">creeamguitars.com</a>.) Here’s a rundown of the standouts. The Voltage DaVinci is a tiger-toned stage guitar, with a multi-ply C-shaped neck, a roasted maple fretboard, and mahogany body, plus a Seymour Duncan ’59 PAF in the neck and a JB in the bridge. The Explorer-related body’s face also lights up and changes colors via a control set on the upper bout or Bluetooth. Other appointments include Graph Tech locking tuners and a TUSQ nut, a push-pull option for the neck pickup, 22 frets, a 3-way switch, CTS pots, and orange drop caps. All Cream instruments have a distinctive aluminum resonance plate that extends from the neck joint deep into the body, for sustain. Street price is set at $3,000.</p><p>The semi-hollow Maverick has the same scale and playability, and shares much of the setup, but a more naturalistic look, with an alder top and a red cedar body, and Seymour Duncan Red Devil pickups. Like all the Cream guitars we handled, the neck feels smooth and easy, and the well-finished medium jumbo frets were a pleasure. The Maverick also has a secret weapon: a multi-bender, which can be set for any two strings by sliding along a rail, and can be dialed in to bend a full or half step. The tag: $2,500.</p><p>The Calavera has yet another pickup configuration: a Duncan Phat Cat P-90 in the neck and a Pearly Gates in the bridge. Like the Voltage DaVinci and Maverick, it has a deep cutaway that allows access to all the frets. The neck is mahogany and the body is alder, and there’s a comfortable Bigsby-inspired whammy. It’s priced at $2,500 street. And it’s worth noting that Cream uses only sustainable woods.</p><p>The newest bass variation from Cream is the Revolver Deluxe, and it’s got a slew of sonic options via its eight independent pickups that can be reconfigured at sonic whim. Louis explains it all in our on-the-showroom floor video. There’s also a toggle that activates a piezo pickup for an acoustic tone. What else? A Seymour Duncan preamp and volume, blend, and tone controls.</p><p>Oh! And one more thing. Luis Ortiz is also interested in the literal art of the guitar, creating special instruments that are, at this point, for exhibition only and celebrate various Mexican traditions and culture. The Monarca is an especially beautiful example, with its body covered in a flowers-and-butterflies motif. Luis explains that the guitar was inspired by an incident from his childhood, when thousands of monarch butterflies, in their annual migration from all across North America to California and Mexico, descended on his grandmother’s garden. After spending time with Luis and his creations, one gets the impression that this designer is striving for sound, style, and soul.</p>
While creating her new solo record, Kim Deal was drawn to exploring the idea of failure.
Photo by Kristin Sollecito
While Kim Deal was making her new album, she was intrigued with the idea of failure. Deal found the work of Dutch artist Bas Jan Ader, who disappeared at sea in 1975 while attempting to sail by himself from the U.S. to England in a 13-foot sailboat. His boat was discovered wrecked off the southern coast of Ireland in April 1976, 10 months after Ader departed the Massachusetts coast. Ader’s wife took one of the last photos of him as he set off on the doomed journey from Chatham Harbor: Ader, wearing a blue tracksuit and a bright orange life jacket cinched around his neck, is beaming.
Deal isn’t smiling on the cover of Nobody Loves You More, her new album, but the art bears some similarities: Deal is floating on a platform in an expanse of gentle, dark blue waves, accompanied only by a few pastel-colored amps, her guitar, a stool, and a flamingo. It’s an unmistakably lonely image, but for Deal, failure doesn’t mean loneliness. It’s not even necessarily a bad thing.
“I mean, at least something magnificent was tried, you know?” says Deal. “At least there was something to fail. That’s an endearing thing. I think there’s a sweetness to seeing somebody get their ass kicked, because they were in it. It warms my heart to see that, just people getting out there. Maybe it gives me the courage and confidence to try something. It’s okay if I get my butt kicked. At least you’re trying something.”
“I think there’s a sweetness to seeing somebody get their fucking ass kicked, because they were fucking in it.”
Nobody Loves You More feels at least a little like Van Ader’s journey: an artistic project so long in the making and so precious to its creator that they’re willing to break from all conventions and face the abject terror of being judged by the world. That might seem like nothing new for Deal, who’s played music professionally for over 35 years, first with Pixies, then with the Breeders. But this LP marks her first proper solo album under her own name—a thought that mortified her for a long time. (“I like rock bands,” she says.) Even when she recorded and released what could be called “solo” music, she released it under a pseudonym. Initially, it was to be Tammy and the Amps. “I still was so uncomfortable, so I created Tammy and the Amps,” explains Deal. “I’m Tammy, who are my band? It’s the amplifiers downstairs in my basement. But the Tammy thing sort of got on my nerves so I just dropped it, so it was called the Amps.” She also assembled a band around that concept and released Pacer under the Amps’ name in 1995.
The cover art for Nobody Loves You More echoes the doomed last voyage of Dutch artist Bas Jan Ader.
This new record hums with the soft-loud energetic alchemy that defines much of Deal’s previous works. The opening title track is a slow, romantic strummer with string arrangements, while “Coast” is faintly ska-indebted with horns and a ragged Blondie chord progression. “Crystal Breath” gets weirder, with distorted drums, synthy bass, and a detuned, spidery guitar lead. “Disobedience” and “Big Ben Beat” continue the darker and heavier trajectories with fuzzy stompers interspersed with ambient, affective interlude tracks like “Bats in the Afternoon Sky.” It’s a patient, sensitive, and unmistakably scrappy record.
Some of the songs on Nobody Loves You More are as up-close and personal as solo records get. One in particular that’s drawn attention is “Are You Mine?,” a sleepy-eyed, lullaby ballad. At first listen, it could be taken for a love song. (In fact, Deal encourages this interpretation.) But it’s a song about her mother, for whom Deal cared in her home while she died from Alzheimer’s. The song title comes from a gut-wrenching moment.
“I was in the house, she doesn’t know my name,” explains Deal. “She’s still walking, she can form words, but she doesn’t know what a daughter is or anything. She passes me in the hallway, stops, grabs my arm and says, ‘Are you mine?’ She doesn’t know my name, she doesn’t know who I am, but there was a connection. I knew she was asking if I was her baby. I said, ‘Yeah, mama, I’m yours.’ I’m sure five seconds later, she forgot that conversation even happened. It was just a flicker, but it was so sweet. To have her not see me in so long, and then for one brief second, be recognized in some capacity…. She was such a sweet lady.”
Deal’s mother wasn’t the only loss that went into this collection of songs. Her father passed, too, after a prolonged illness. “My dad was this big bravado sort of personality and watching them get extinguished a little bit every day… I don’t know,” she says. “They both died at home. I’m very proud of that.” But writing “Are You Mine?” wasn’t painful for Deal; she says it was a comforting experience writing the gentle arpeggio on her Candelas nylon-string acoustic.
Deal assembled the bulk of Nobody Loves You More in her Dayton, Ohio, basement, recording with Pro Tools and a particularly pleasing Electrodyne microphone preamp. (Some of the songs date back more than a decade—versions of “Are You Mine?” and “Wish I Was” were initially recorded in 2011 and released as part of a series of 7" singles.) Deal recorded a good part of the record’s drums, bass, and guitar from home, but other contributions came in fits and spurts over the years, from old faces and new. Her Breeders bandmates, including Mando Lopez, Jim MacPherson, Britt Walford, and sister Kelley Deal, all pitched in, as did Fay Milton and Ayse Hassan from British post-punk band Savages, and the Raconteurs’ Jack Lawrence.
Kim Deal cared for her parents in their Dayton, Ohio, home until their passing, an experience that colors the music on her new solo record.
One day, ex-Red Hot Chili Peppers guitarist Josh Klinghoffer stopped by the studio to see what Deal was working on. He listened to “Wish I Was,” and scrambled together a lead idea. Deal kept the part and expanded it over time, leading to Klinghoffer’s writing credit on the record.
Deal used her trademark red ’90s Fender Stratocaster HSS along with a ’70s goldtop Gibson Les Paul for most of the electric work, pumped through either her long-time Marshall JCM900 or a tiny vintage Kalamazoo combo. Deal has never been a gearhead—at one point on our video call, she uses a tooth flosser as a pick to demonstrate some parts on her Candelas. “Kelley is a pedal person,” she says. “I’m not doing leads. I’m just doing a rhythm that needs to sound good.”
“I don’t think I’m taking it very well still, actually, or I’m a sociopath because I don’t even talk about [Steve Albini] in the past tense.”
Over the years, Deal’s sonic thumbprint has been tied up in the work of her good friend and frequent collaborator Steve Albini, the producer, engineer, and musician who died unexpectedly in May 2024. (Deal quips, “Steve’s the lead character in my own life.”) Albini and Deal began working together in 1988, on Pixies’ debut LP Surfer Rosa. Their friendship continued over decades—Deal even performed at Albini’s wedding in Hawaii, for which he gifted her a ukulele—and the final sessions for Nobody Loves You More were under Albini’s watch. His parting hasn’t been easy.
“I got a text: ‘Call me,’” remembers Deal. It was a mutual friend, telling Deal that Albini had passed. “He told me and I just said, ‘You’re absolutely wrong. That didn’t happen.’ I don’t think I’m taking it very well still, actually. I don’t even talk about him in the past tense. I say, ‘What he likes to do is this.’ I never think, ‘What Steve used to like to do.’ My head never goes there. I wanted to record a song that wasn’t working and I said, ‘I need to do it from top to bottom at Albini’s.’ That’s not going to happen.”
YouTube
Along with Rob Bochnik and Spencer Tweedy, Kim Deal plays two tracks from Nobody Loves You More for a holiday fundraiser in November 2024 in Chicago.
