HeadRush® has announced a major firmware update for its Prime™, Core™, and Flex Prime™ pedals, delivering native support for Neural Amp Modeler (NAM) captures and direct integration with TONE3000, the fast-growing platform for community-created guitar tone. The update transforms how musicians discover, download, and perform with premium tone, connecting players directly to a global ecosystem of players, producers, audio engineers, artists, and creators with no computer, conversion, or third-party software required.
Chris Cassone, a New York-born author, guitarist, photographer, and former recording engineer, has published Art of the Stomp Box: Celebrating the Visual Artistry of Guitar Effects Pedals, a premium hardcover coffee-table book that presents guitar effects pedals as miniature works of contemporary visual art.
Art of the Stomp Box features more than 300 full-color photographs from 60 pedal designers across 18 countries. The book includes a foreword by Josh Scott of JHS Pedals and a cover testimonial from the late Ace Frehley of KISS, with whom Cassone had a decades-long musical and personal connection.
The book looks beyond the usual conversation about guitar gear and circuitry to focus on the faceplates themselves: hand-painted boxes, psychedelic illustration, typography, industrial design, folk imagery, science fiction, pop surrealism, and the visual language of boutique pedal makers around the world.
“Most people think of guitar pedals as sound tools,” Cassone says. “But there is a hidden art gallery sitting on the floor at the feet of guitar players. I wanted to put that gallery on the page and give these designers the museum-wall treatment they deserve.”
Cassone’s background gives the project an unusual point of view. He is a lifelong guitarist, author, photographer, and former chief recording engineer who has worked in and around recording studios, musicians, and visual culture for decades. Rather than treating pedals only as equipment, he frames them as collectible objects, design statements, and small-scale canvases.
The book is aimed at guitar players, collectors, artists, designers, recording studios, music fans, and anyone interested in the intersection of music, art, and independent maker culture.
Art of the Stomp Box: Celebrating the Visual Artistry of Guitar Effects Pedals is available for $59.95 and can be purchased at www.chriscassone.com
During a recent episode of my podcast (The Earworm Podcast), a cringe-worthy word was mentioned: “impedance.” Most of the time, impedance is one of those words that makes musicians suddenly remember they have somewhere else to be. But have no fear, there’ll be no math in this article. I’m going to decode this word for you and give you ways to make sure your mics sound their best!
During a recent episode of my podcast (The Earworm Podcast), a cringe-worthy word was mentioned: “impedance.” Most of the time, impedance is one of those words that makes musicians suddenly remember they have somewhere else to be. But have no fear, there’ll be no math in this article. I’m going to decode this word for you and give you ways to make sure your mics sound their best!
A while back (the September 2022 issue, to be exact), I discussed mic level, instrument level, line level, and speaker level, and looked at why sending audio from a DAW through guitar pedals requires the right level and impedance translation.
What is impedance? Simply, it is how much a circuit resists, or “pushes back,” against an alternating-current audio signal. Your microphone(s) has an output impedance. Your preamp has an input impedance. The relationship between those two can affect level, frequency response, transient response, noise, and more.
With modern microphones and preamps, “matching impedance” usually does not mean making the two numbers identical. Far from it. This idea comes from a world where engineers were trying to transfer maximum electrical power. In the studio, we are usually trying to transfer voltage (a.k.a., your music) cleanly. So, we normally want a microphone with a low output impedance feeding a preamp with a much higher inputimpedance (10x or higher!).
“What is impedance? Simply, it is how much a circuit resists, or ‘pushes back,’ against an alternating-current audio signal.”
A common rule of thumb is that the preamp’s input impedance should be at least ten times higher than the microphone’s output impedance. If a mic’s outputimpedance is 150 ohms, you generally want the preamp’s input to present a load of at least 1.5 kΩ (1,500 ohms) to 3kΩ (3,000 ohms). Lower inputimpedance values force the microphone’s diaphragm (or ribbon, if a ribbon mic) to work harder, and results in a general loss of high and low frequencies. This can sometimes be used to create a more “vintage” feel, but generally there are better ways to achieve this—you want your mic to work at peak performance.
So where do you find these numbers? Start with the microphone’s spec sheet. Look for “output impedance,” “rated impedance,” “nominal impedance,” or “recommended load impedance.” Don’t skip past this section just because it looks like math class. It is telling you what kind of preamp input impedance the microphone expects.
Then check your preamp or audio interface specs. Many modern interface preamps sit around 1.5kΩ to 3kΩ ohms, which works well for condensers and dynamics. Some outboard preamps offer switchable or variable input impedance—300 ohms, 1.2 kΩ, 2.4 kΩ, 10 kΩ, and so on. These switches can change how a microphone behaves.
Again, remember that when the preamp input impedance is too low, the microphone is loaded down. The mic must work harder to drive the preamp. This can result in less output level, a duller top end, a thinner low end, softened transients, more distortion at higher levels, and more audible noise, because you’ll need to crank the gain—thus giving you a non-ideal signal to noise ratio.
This really shows up with passive ribbon mics (AEA, Cloud, and Royer). These mics greatly benefit from a high-input-impedance preamp with plenty of clean gain to let them bloom: wider lows, smoother highs, better transient response, and that big, dimensional ribbon character we love on guitar amps, brass, drums, and strings. Load them with too low an impedance, and the same mic can sound choked, woolly, noisy, or underwhelming—but that might be exactly what you’re after. There are variable-impedance boosters like the Cloudlifter CL-Z ($249 street) that are worth a look.
Condenser microphones and active ribbons are less preamp-dependent because internal buffer circuits keep their output impedance constant. Still, check the spec sheet—the goal is to let the mic speak in its natural voice before you decide whether to color it.
And that brings us to the fun part. Variable impedance can be used creatively. A higher setting often gives a more open, extended, professional recording. A lower setting can slightly darken the mic, reduce level, change the low end, or make transients feel more rounded. With the right source, that can be useful. With the wrong one, it can feel like someone threw a blanket over the microphone.
Here’s a simple Dojo experiment: Pick one dynamic mic and one ribbon, if you have them. Dedicate each on a guitar amp, acoustic guitar, or vocal. Record the same passage through every input impedance setting your preamp offers. Match the playback levels before judging. Once the levels are equal, listen for low-end weight, top-end openness, pick attack, sibilance, room detail, and noise. What do you hear?
Until next time, may your impedances be friendly, your noise floor low, and your tones full of life. Namaste.
Bad Cat Amplification proudly announces the Cub 15 Mod Shop Edition, a handcrafted, American-built amplifier that returns one of the company's most beloved designs to its original philosophy while incorporating refinements developed over more than two decades of amplifier building.
Available as either a 1×12 combo or head, the Cub 15 Mod Shop Edition traces its lineage directly back to the original 1999 Mark Sampson Cub. Rather than chasing higher gain or additional complexity, Bad Cat focused on refining what made the original amplifier exceptional: dynamic response, touch sensitivity, harmonic richness, and effortless musicality.
Powered by two EL84 output tubes delivering 15 watts, the Cub features a completely re-voiced EQ section engineered to more closely capture the character of the original Cub while expanding its versatility for modern players. A single-channel layout is paired with a Clean/Overdrive selector and dual foot-switchable master volumes, allowing players to move seamlessly between rhythm and lead settings without sacrificing simplicity.
"The Cub helped define who Bad Cat became," said Jon Bingham, Director of Sales at Bad Cat Amplification. "This wasn't about creating another version of the Cub—it was about rediscovering what made players fall in love with it in the first place. Every decision was made to preserve the feel, immediacy, and musical response that made the original amplifier so inspiring."
Built entirely in Costa Mesa, California, each Cub 15 Mod Shop Edition features Bad Cat's hand-wound transformers, a Baltic birch cabinet, a UK-made 12-inch Celestion Greenback speaker in the combo, buffered effects loop, studio-quality reverb, balanced line output, and a two-button footswitch included with every amplifier.
The Cub occupies a unique place in the Bad Cat lineup. While many amplifiers attempt to recreate classic British tones, the Cub builds upon that heritage with greater dynamic range, tighter low-end response, and the articulate, harmonically complex voice that has become synonymous with Bad Cat over the last twenty-five years. Whether played clean, pushed into edge-of-breakup, or driven into singing overdrive, the Cub responds naturally to the player's touch rather than relying on excessive preamp gain.
Key Features
15-watt EL84 power section
Re-voiced EQ inspired by the original 1999 Cub
Single-channel architecture
Clean/Overdrive selector
Two foot-switchable master volumes
Bass, Middle, Treble, and Global Presence controls
Studio-quality reverb
Buffered effects loop
Balanced line output
Hand-wound Bad Cat transformers
Baltic birch cabinet
UK-made 12" Celestion Greenback (combo)
Built by hand in Southern California
Five-year limited warranty
Pricing & Availability
The Cub 15 Mod Shop Edition Head carries a U.S. street price of $1,999.99, while the 1×12 Combo is priced at $2,199.99. Both models are available at all authorized Bad Cat dealers beginning July 30, 2026.
Solar Guitars, founded by renowned guitarist and online celebrity Ola Englund has launched a new shape type for the growing brand. The “ACS” Type is not only an exceptionally comfortable instrument with stealthy carved front and back, but also a full-on shredder guitar complete with 27 frets and Gotoh tremolos. Ola comments, “I wanted to create a fully carved front and back A style shape with our signature bevels for maximum comfort, so that’s what we did! It feels sleek and smooth and plays f**king awesome”. The first models of the series are a 6 string in Gloss White and a 7 String with striking Pink Sparkle Gloss finish. The company reports they have multiple more ACS models coming in 2026.