Rebecca Dirks graduated from the University of Iowa with degrees in journalism and art, and joined Premier Guitar as an intern in 2007. She lives in the Iowa City area with her husband, two giant dogs, and more cats than are appropriate to mention. When not petsitting, she enjoys challenging herself in the kitchen, watching the Packers dominate, and discovering new music or rediscovering old favorites.
"Maines, a Grammy Award-winning country producer and multi-instrumentalist, opts for a classic Gibson J-45 acoustic capoуd at the third fret for his set at Maggie Maeуs Gibson Room."
Let’s talk about the range of a pedal control knob—its potential versatility, perceived value, real-world implementation, and creative inspiration. That’s a lot of fancy words to impose upon a 300-degree rotating potentiometer with a knob affixed to it, but here we go!
I’ve had this topic in mind since starting my writing career, but it crystallized while I was watching a recent episode of That Pedal Show featuring a CopperSound-loaded pedalboard. Co-host Mick Taylor made a comment about amp control knobs, positing that a knob should live between 3 and 8. A lot of players can relate to this—the idea that the core sounds in this range cover almost everything needed, while still leaving headroom on either side of the dial. This ties into versatility. It feels like the designer tuned it properly.
I’d counter that if a knob does too much—like a digital single-knob EQ—the “usable” range feels diminished. Which circles back to the same idea: The designer needs to tune the control properly.
Let’s talk about first impressions. Whether it’s a demo video or an in-person audition, the first engagement with a pedal almost always starts with “everything at noon.” This feels like a natural, logical starting point, and it ties back to the philosophy that control knobs should be flexible at both ends of their range.
When designing products, manufacturers try to consider all types of rigs. While not everything will work for everyone, the goal is to create products that perform well across different scenarios and setups.
Now let’s consider the outermost ranges of a knob. A reasonable question: “Why do I have to max this knob?” When a control only works at its extreme setting, I immediately wonder if I’m doing something wrong or if the pedal is designed for a more specific application than I realized. Both are plausible.
Here’s a firsthand example. I won’t name the pedal, but there’s a particular dirt box I keep coming back to—it has a great overdrive sound, wide gain range, and a pretty unique circuit. Those qualities make it memorable. But so does its shortcoming: The tone knob always has to be maxed. Any other setting made it too dark. I should mention that I play Telecasters almost exclusively, so it’s not like my guitar was on the darker side of the spectrum.
“When a control only works at its extreme setting, I immediately wonder if I’m doing something wrong.”
Was the tone control an afterthought? Was it only tested with a super bright guitar and amp? What happened here? At this point, the knob may as well not have been there—or it could’ve been hardwired internally to the max position. It’s scenarios like this that call versatility into question.
To counter that—and circle back to the digital EQ knob I mentioned earlier—a knob can have too wide a range. Let’s say this EQ control sweeps from 500 Hz at minimum to 1 kHz at maximum. That’s a fairly wide range covering a prominent part of the guitar’s frequency spectrum. For this hypothetical, let’s assume the entire dial is usable.
Now, let’s say we want to expand the range and add value. What do we do? We make the knob sweep from 250 Hz to 2 kHz. Better, right?
Well … there’s technically a wider range that covers more ground, but two significant problems emerge. First, the extremes become less useful. The low end gets too bass-heavy and conflicts with the bass guitar, while the upper end becomes shrill and unpleasant. Okay, so we just avoid the outermost parts of the dial. Don’t we like having that range available? Sure—but we still want everything outside of 3 and 8 to be friendly and usable. If the first and last 20% of the knob are unusable, then by doubling the frequency range, we’ve actually cut the knob’s usability in half.
The second issue is how the knob feels. At 500 Hz to 1 kHz, there’s a 1.6 Hz difference per degree of rotation. But if we’re only using half the dial’s range, that becomes a 3.3 Hz difference per degree. This often makes the knob feel overly sensitive.
Do you agree, disagree, or find yourself somewhere in between? Try this: Go to your pedalboard and amplifier and count how many knobs you have at your disposal. Then, without turning them, note how many are currently set at maximum or minimum. Any of them?
Spector Bass, in collaboration with pioneering bassist Doug Wimbish, announces the Doug Wimbish Euro 4 Aged White Signature Bass, a new addition to the Doug Wimbish Euro line for 2026. Available worldwide through authorized Spector retailers and online, the new model continues Spector’s exploration of lightly aged instruments inspired by Wimbish’s personal collection, recreating one of his lesser-known vintage basses, his white NS-2, while delivering a familiar, broken-in feel and sound for modern players.
The Doug Wimbish Euro 4 Aged White Signature Model features a light aged white nitro finish, offering the look and feel of a well-loved instrument straight out of the case. The body is constructed with maple body wings and is paired with Spector’s slim Doug Wimbish neck carve. A narrow 1.5" nut width and 34" scale length contribute to a fast, comfortable playing experience. The rosewood fingerboard features mother-of-pearl crown inlays, completing the instrument’s classic Spector aesthetic.
Electronics on the DW Euro 4 Aged White Signature Bass reflect a unique configuration within the Euro line. The bass is loaded with EMG Jazz pickups, delivering a responsive and articulate tonal foundation. These pickups are paired with Spector’s Legacy onboard preamp, developed in collaboration with Darkglass Electronics, and designed around a classic, 1980s-inspired two-band EQ.
Additional features include gold Spector hardware, which complements the aged white finish and reinforces the instrument’s premium presentation. Together with its distinctive electronics package and historically inspired design, the Doug Wimbish Euro 4 Aged White Signature Bass represents a deeply personal chapter of Wimbish’s musical legacy brought forward for today’s players.
Reflecting on the instrument, Doug Wimbish states, “This bass is a piece of my history. The original 1987 Spector that helped shape my sound—now ready for the next generation.”
For more information about the Doug Wimbish Euro 4 Aged White Signature Bass and the full Spector lineup, visit NAMM Booth #6802 or online at www.spectorbass.com.
Aguilar has announced the Octamizer DLX, an expanded evolution of its long-running Octamizer bass octave pedal. Designed to preserve the musical feel and tone that made the original a staple for over a decade, the DLX adds new voices, enhanced performance, and greater flexibility for modern bass players.
Rather than reworking the Octamizer’s foundation, Aguilar focused on extending it. Powered by the company’s in-house DSP engine, the Octamizer DLX delivers faster, more natural tracking that responds directly to playing dynamics and remains stable even on extended-range basses.
“When we set out to design the Octamizer DLX, the goal wasn’t to fix the original Octamizer — it was already doing what bass players needed,” says Aguilar Amplification. “We wanted to keep that familiar feel intact while giving players more creative space, better tracking, and new voices they could access instantly in real musical situations.”
The octave-down section retains the familiar Octamizer control set—Octave Volume, Octave Filter, Clean Level, and Clean EQ—while introducing new flexibility. The clean signal can now be fully muted for pure sub-octave tones, and two distinct filter modes expand the sonic range. A Mode delivers the classic Octamizer sweep, from smooth and round to sharper, more synth-forward textures, while B Mode draws inspiration from vintage octave divider circuits, offering added grit and character.
For the first time in the Octamizer lineup, the DLX introduces a dedicated octave-up engine. Tuned specifically for bass, this new voice avoids the harshness and latency often associated with octave-up effects. Simple volume and filter controls allow players to shape tones ranging from subtle octave doubling to a more pronounced, guitar-like presence.
Three independent footswitches provide direct control over the clean signal, octave down, and octave up, allowing players to stack voices instantly without adjusting controls. This layout makes it easy to move between foundational octave tones, harmonic layering, and more synth-like textures in both live and studio settings.
For more information, visit NAMM Booth #6802 or online at www.aguilaramp.com
The Aguilar Octamizer DLX is available with a street price of $329.99.
Signal Chain Audio Labs, maker of professional tour-grade instrument and microphone cables, today announced a limited edition Tie-Dyed Braided Guitar Cable honoring the legacy of Bob Weir, legendary guitarist and founding member of the Grateful Dead, who passed away earlier this year.
All proceeds from the cable sales will go to the Furthur Foundation a non-profit founded by Bob Weir that provides funding for environmental and social change initiatives in the San Francisco Bay area and around the world. To learn more about the Furthur Foundation and the many programs it supports, visit https://furthur.org.
Each cable features a hand-dyed multifilament nylon overbraid in vibrant tie-dye patterns - no two are alike. Beneath the distinctive exterior lies tour-proven Mogami 2524 instrument cable terminated with G&H High Clarity Profile plugs and protected by SignalCoat®, the company's dielectric seal that guards against moisture and oxidation. Every cable is individually numbered and soldered and assembled by hand in Alexandria, VA. Only 500 cables will be produced for this series.
The cables are available in four colors options:
Spectrum: Blue, Purple, Red, Orange, Yellow
Red/Purple
Blue/Purple
Red/Blue
The cables are available in three different lengths and street prices:
10ft - $79.00 street price
15ft - $89.00 street price
20ft - $99.00 street price
"Bob Weir's artistry and innovation shaped generations of musicians," said Rob Haralson, Founder of Signal Chain Audio Labs. "Creating something as unique and handcrafted as his music felt like the right way to honor his legacy - and directing proceeds to the Furthur Foundation ensures this tribute supports the causes he championed throughout his life."
Haralson added, "We've engineered these cables to be as distinctive as the music that inspired them. Each one is truly one-of-a-kind and built with the same premium components our professional clients depend on. To our knowledge, this is the only hand-dyed professional guitar cable currently offered by any company. It's a functional work of art that musicians can actually use."
At NAMM 2026, Ashdown Engineering proudly announces Phase 2 of its return to UK manufacturing, following the successful September 2025 launch of the UK-built ABM EVO IV heads and UK-ABM and Classic cabinet ranges.
This next stage represents a continued, long-term commitment to British design, engineering, and production, building on the momentum established by Ashdown’s flagship UK-made products.
For NAMM 2026, Ashdown unveils five brand-new UK-built amplifier ranges, all scheduled to ship in 2026.
Every new model is designed, engineered, and handcrafted in Britain. These launches expand Ashdown’s renewed UK manufacturing focus into a complete, multi-tier amplifier ecosystem, delivering British-built solutions for musicians at every level.
UK-RBM
The UK-RBM Series is designed for professional bassists who demand maximum power, tonal control, and flexibility. Delivering Ashdown’s most recognisable sound in a modern, lightweight format, the range includes amplifier heads and newly designed UK-RBM cabinets, creating a complete, performance-ready system.
The UK-RBM amplifier heads combine powerful output with advanced tone-shaping tools to deliver deep, authoritative low end, articulate mids, and controlled high-frequency detail. Features such as Ashdown’s Sub-Harmonic Generator, onboard compression, valve-emulated overdrive, and Analogue Cab Sim allow players to shape everything from tight, punchy modern tones to rich, harmonically complex sounds with confidence.
The matching UK-RBM cabinets have been newly designed, tuned, sized, and ported to deliver optimal performance in lightweight plywood enclosures. Equipped with high-performance Italian Sica NEO speakers and adjustable high-frequency tweeters, they provide fast response, clarity, and controlled projection across a wide range of playing styles and stage environments.
Finished in a striking new heavy-duty Charcoal Tweed covering and custom grill cloth, the UK-RBM cabinets combine durability with a bold, modern aesthetic.
Handcrafted in the UK using premium components, the UK-RBM Series is built for demanding live stages, professional touring rigs, and bassists who want total command over their sound.
UK-OBM
The UK-OBM Series is designed for bassists who value clarity, simplicity, and reliability. Built in the UK, the range delivers clean, articulate tone with minimal fuss and maximum usability, making it ideal for players who want dependable performance without unnecessary complexity.
The UK-OBM lineup includes newly updated combo amplifiers featuring high-powered models and new Italian Sica NEO drivers, delivering improved efficiency, punch, and clarity. These combos are house in reengineered lightweight plywood cabinets, newly sized and optimised for balanced projection and portability.
Finished in Ice Blue and a new heavy-duty Charcoal Tweed covering with custom grill cloth, the UK-OBM combos combine durability with a modern, professional aesthetic.
With a refined features set and intuitive controls, the UK-OBM amplifiers are designed for musicians who want to plug in, dial in quickly, and get straight to playing. An open, balanced sound makes the series equally well suited to rehearsals, live performances, and studio work.
UK-SBM
The UK-SBM Series brings Ashdown’s studio-focused tonal philosophy into a range of compact, UK-built bass combo amplifiers. Designed for clarity, responsiveness, and musical transparency, the series prioritises clean tone and dynamic response in lightweight, portable enclosures.
Inspired by Ashdown’s Studio range, UK-SBM combos deliver a refined, natural sound that translates seamlessly in recording environments while remaining powerful enough for rehearsals and small live stages. Newly ported and structurally strengthened cabinets are engineered to handle higher power levels, ensuring confidence and control at increased volumes.
The cabinets are equipped with new, highly efficient Italian Sica NEO drivers, and articulate low-end performance. Finished in a heavy-duty Charcoal Tweed covering with custom grill cloth, the UK-SBM combos combine durability with a modern professional aesthetic.
Featuring DI outputs, FX loops, and onboard overdrive across the range, the UK-SBM Series offers practical versatility for practice, recording, songwriting, and intimate performance spaces.
UK-PBM
The UK-PBM Series is Ashdown’s answer to the modern bassist’s need for extreme portability without compromise. Designed and built in the UK, the range delivers genuine Ashdown tone in an ultra-compact, travel-friendly format.
Launching with the UK-PBM-200 “Pocket Bass Magnifier" AKA The ANT, the series delivers a surprising amount of real-world power from a palm-sized chassis. Despite its minimal footprint, its produces clean, articulate output with impressive low-end authority and ample headroom for rehearsals, smaller stages, and professional monitoring setups.
The UK-PBM is solidly built by design, retaining a touch of added weight to ensure stability and resonance. This robust construction helps generate real bass response while preventing excessive cabinet vibration, keeping amplifiers securely in place even when the low end is working hard.
With essential tone shaping, DI output, headphone out, line input, and auto-voltage operation, the UK-PBM Series is ideal for fly rigs, touring backups, studio use, IEM-based setups, and bassists who need reliable tone wherever they play.
UK-PEACMAKER
The UK-Peacemaker Series marks the return of one of Ashdown’s most iconic amplifier names, celebrating Dave Green’s formidable and widely respected valve amplifier design expertise. Handcrafted in the UK and refined for today’s players, the range revisits and updates legendary designs from Ashdown’s past.
Built for musicians who value feel, dynamics, and harmonic richness, the UK-Peacemaker delivers expressive British valve tone with depth, warmth, and authority. At its core, the series showcases Dave Green’s unmistakable valve amp philosophy, brought forward with modern reliability while preserving the character that made the originals so highly regarded.
The UK-Peacemaker Series is built using premium components throughout, included JJ valves, UK hand-wound transformers, and lightweight plywood cabinets loaded with UK-made Celestion Creamback speakers.
Hand-built in Essex, England, the UK-Peacemaker Series stands as a statement range - honouring Ashdown’s heritage while delivering timeless British valve tone for the modern guitarist.
From cabinets to flagship heads, and now a complete amplifier ecosystem, Ashdown’s UK manufacturing programme continues to grow with clarity and intent.
Every new range launching at NAMM 2026 is designed, engineered, and built in Britain.