Don't miss the latest and greatest gear finds for your acoustic!
Cole Clark Guitars CCFL2ECRDBL
The Cole Clark CCFL2ECRDBL Acoustic-Electric Guitar is designed for the guitarist who demands the highest standards in an instrument. The 2 Series FL Dreadnought guitar is the go-to choice for every player looking to have ultimate control of both the acoustic and plugged-in performance environments, with Cole Clark's signature 3-way pickup system and beautiful, sustainably-sourced, natural Redwood and Blackwood timbers.
Walden Guitars B1E Baritone
"I love this thing, I can't put it down. It's kind of like having a piano in your lap, you got all the low end for bass lines, and you got chords that you can strum on top, even alternating simple bass lines. There's all kinds of fun you can have with this thing!" ~ Sean Harkness, NYC
Typically tuned to B, the Baritone provides a clear low end response perfect for soloists, singer-songwriters, percussive finger-style players, or guitarists who crave a walking bass line while comping chords.
With its offset soundhole, side-port, and solid Sitka spruce top with innovative low-mass bracing, the Walden B1E sounds sonically excellent while incorporating the more comfortable Grand Auditorium body shape. A graphite reinforced Mahogany neck contribute to stability and its 27″ scale length and 1-13/16″ nut width contribute to the B1E Baritone's transparent playability.
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PRS SE P20E
The PRS SE P20E is a parlor-sized acoustic with a big voice. Features include all-mahogany construction and PRS hybrid "X"/Classical bracing, which allows the top to freely vibrate, the SE P20E projects with even, bold tone. Its smaller size makes playing for hours fun and comfortable and allows for more convenient transport.
Plug in the Fishman GT1 pickup system, and it delivers dynamic, organic tone. This electronics system features an undersaddle pickup and soundhole mounted preamp with easy-to-access volume and tone controls, which essentially transforms what some may consider a "couch guitar" into a workhorse stage instrument.
Available in three satin finishes with herringbone rosettes and accents. Other high-quality features include a solid mahogany top, ebony fretboard and bridge, and bone nut and saddle. Gig bag included.
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Tanglewood Guitars TWBBOE
Inspired by the guitars made in the 1930s, the Tanglewood Blackbird series evoke traditional values, yet offer the benefits a guitar manufactured in the modern era. These guitars feature hand-selected tone woods and a unique bracing pattern. The Blackbird Orchestra electro-acoustic guitar is carefully braced to environments, with Cole Clark's signature 3-way pickup system and beautiful, sustainably-sourced, natural Redwood and Blackwood timbers.
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Taylor Guitars GS Mini-e Koa Plus
Taylor's popular, compact GS Mini has brought countless hours of guitar-playing joy to musicians of all stripes, and the GS Mini-e Koa Plus takes the fun to a new level with elevated aesthetic details. Back and sides of layered Hawaiian koa pair with a solid koa top for a punchy, bold sound with surprising power and volume for a small-bodied guitar with a scale length of 23-½ inches, while the 1-11/16-inch nut width makes forming chords a breeze. A dusky edgeburst accentuates koa's natural grain and luster around the top, back and sides, while other notable features include nickel tuners, a three-ring rosette, and a genuine West African ebony fretboard. It includes onboard ES2 electronics and Taylor's new AeroCase®, a soft yet sturdy case with all the protection of a hardshell case at one-third the weight.
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Shubb CAPO ROYALE C1G
Adding to the company's line of premium capos, Shubb has introduced the new Capo Royale Series, featuring durable gold finishes that deliver long-lasting beauty.
Available in two lustrous finishes – Gold and Rose Gold – the Capo Royale Series brings a distinctive visual flair to Shubb's famed capo design, revered since 1980 for its ability to provide flawlessly clean fretting while keeping the instrument in tune.
For many years Shubb has received requests for a gold plated Shubb Capo. While gold is undeniably beautiful, it is not at all durable; it will wear off far too easily and quickly. It is also famously expensive. Now, Shubb has developed a high-tech technique for creating a gold-toned titanium finish. It possesses all the beauty of real gold, but is as durable as any metal finish in the world.
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Guild F-240E
Guild's most affordable jumbo yet! The F-240E is a tone cannon at a player's price. Built with a solid spruce top, mahogany sides, and an arched mahogany back, the full-bodied and powerful voice of this Guild Jumbo provides guitarists with historically-Guild acoustic tone and voicing. Guild's signature arched back design allows for enhanced volume and projection, long sustain, and a lush, full sound. The F-240E features Guild's Fishman-designed AP-1 electronics, a pau ferro fingerboard and bridge, bone nut and saddle, mother-of-pearl rosette, period-correct tortoiseshell pickguard, and a satin polyurethane finish.
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Blackstar Amplification ACOUSTIC:CORE30
The Blackstar ACOUSTIC:CORE 30 was designed to give singer/songwriters the ability to get a professional sound without any sound engineering expertise, then share it via live streaming or recording, or live performance. All in a compact easily portable combo with the option of battery power. This take-anywhere acoustic amp is designed for the way you play today: streaming, recording, practice or live.
Santa Cruz Guitar Company: A True Custom Shop
Santa Cruz Guitar Company has made it even easier to order the custom acoustic you've always wanted. They invite you to email them directly at scgc@santacruzguitar.com to be walked through the design process, where they will take the time needed to answer all your questions about models, tonewoods, structural options and aesthetics to ensure you will receive the heirloom acoustic that is right for you.
Levy's Hemp Vegan Guitar Straps
The New MH8P Series Vegan Hemp Series guitar straps by Levy's come in four new beautiful motifs and measure 2"/51mm in width. These organic straps are cruelty-free using sustainable materials and extend from 37"/940mm to 62"/1572mm via silver-colored tri-glide sliding adjustment. Natural hemp webbing and durable 2-ply cork ends safely support your instrument, along with pinhole stitching on both ends to prevent stretching. To address the issue of pick dropping encountered by almost every gigging guitarist, the MH8P Series comes equipped with a convenient 2.5"/64mm inside pocket to provide quick access to extra picks. Hand-crafted in Novia Scotia.
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LR Baggs Voiceprint DI
The product of nearly 3 years of intensive research and collaboration with a team of PhDs, LR Baggs is thrilled to introduce Voiceprint DI, the next breakthrough chapter in acoustic amplification. Voiceprint DI measures the acoustic response of your guitar by leveraging the processing power of your iPhone® to accurately capture your guitar's one-of-a-kind voice. A Voiceprint is created, transforming your pickup into the most authentic sound we have engineered in our 40+ years.
Henriksen Amps The Bud
Raise your hand if you only own one guitar… that's what we thought. But do you need a different amplifier for each one? The Bud from Henriksen is no ordinary amplifier; it sounds just as amazing with your acoustic guitars as it does with your electric guitars, regardless of style. The Bud is just 13 lbs and 9"x9"x9" but packs 120 watts of power and a pro-grade feature set that you can truly gig with, record, teach, or just practice.
Breedlove Guitars Jeff Bridges’ Signature Oregon Concerto Bourbon CE
Powerful and responsive like a dreadnought, tonally the acoustic electric Breedlove Jeff Bridges' Signature Model emphasizes the unique qualities of myrtlewood, with a deep rosewood-like bass, the fundamental clarity of mahogany and the enchanting shimmer of koa. The Breedlove Jeff Bridges signature "All in this Together" project benefits Amazon Conservation Team, which works in partnership with indigenous colleagues to protect rainforests.
NUX Stageman II (AC-80) Battery-Powered Acoustic Guitar Amplifier
NUX Stageman II Battery-Powered Acoustic Guitar Amplifier features a pure analog preamp with NUX's iconic Core-Image post-effects. It has specific EQ scenes for finger-style as well as strum-style in channel 1, and you can engage built-in Acoustic IRs with a dedicated mobile APP. Acoustic IR is the new trend to make your acoustic sound as natural as micing. Stageman II keeps Drum & Loop, you can control by the original NUX NMP-2 foot-controller. And the built-in rechargeable battery can let you busk on the street for 4 hours.
Highlights:
- 80-watt rich warm sound acoustic amp with 6.5" premium speaker and 1" tweeter
- Rechargeable battery for 4.5 hours outdoor performing
- Built-in Acoustic Impulse Response
- 2 independent channels with routing adjustable post-effects
- Mobile APP for editing and control
- Drum & Loop (60s phrase loop)
- Bluetooth Audio Stream
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Elliott Sharp is a dapper dude. Not a dandy, mind you, but an elegant gentleman.
The outside-the-box 6-string swami pays homage to the even-further-outside-the-box musician who’s played a formative role in the downtown Manhattan scene and continues to quietly—and almost compulsively—shape the worlds of experimental and roots music.
Often the most potent and iconoclastic artists generate extraordinary work for decades, yet seem to be relegated to the shadows, to a kind of perma-underground status. Certainly an artist like my friend Elliott Sharp fits this category. Yes, his work can be resolutely avant-garde. But perhaps the most challenging thing about trying to track this man is the utterly remarkable breadth of his work.
I am writing this piece for a guitar magazine, so, necessarily, I must serve up info that is guitar-centric. And I can do that, at least a little bit. But Elliott is also a noted composer, runs his own little record label, plays woodwinds proficiently, is a guitar builder/tinkerer, author, gracious supporter of other musicians’ efforts, family man, and killer blues player—a blues scholar, in fact. So where do we, the public, conditioned to needing categories, pigeonholes, and easy assessment signals, put Elliott Sharp—an artist with a powerful work ethic and a long, illustrious career of making mind-bending sounds and conceptual works? How about putting him in the pantheon of the maverick and the multifaceted? Surely this pantheon exists somewhere! In mind, in heart. To those for whom such things resonate and inspire, I bring you Elliott Sharp.
One can obviously go to the information superhighway to find info on Elliott, and to hear his music, so I won’t go into too many details about where he was born (Cleveland) and when (March 1, 1951; as of this writing, Elliott is 74), or what he is best known for (being a crucial figure in the downtown New York City scene from 1979 to the present). He is Berlin Prize winner and a Guggenheim Fellow (among other honors). And I have never asked him what strings and picks he uses, so maybe I have already blown it here. But I realize now, having taken on this assignment, that inherent in writing about and trying to explain Elliott Sharp is an implicit TMI factor. There is so much going on here, so much diverse information that could be imparted, that I would not be the least bit surprised if some readers eventually glaze over a bit and start thinking of their own life’s efforts and goals as rather paltry. I get that! Although you shouldn’t.
E# @NaturalHabitat
Here, now, is my portrait of Elliott, accompanied by what I imagine is a day in the life of Elliott when he’s at home in New York City.
Elliott Sharp is a dapper dude. Not a dandy, mind you, but an elegant gentleman. He, like so many in New York and in the world of music/art/guitar, favors dark-hued clothing (yeah, a preponderance of black) and is most often seen wearing a classic slouch hat of obvious quality. He relocated from Buffalo via Western Massachusetts to lower Manhattan in 1979 to a zone that was, back then, quite treacherously decrepit, in an apartment that offered only an hour or so of heat in the winter, etc., etc. It was cheap, and things were always happening, and, in fact, it was the 1950s domicile of William Burroughs, Allen Ginsberg, and Jack Kerouac.The area became the nexus of an ever-expanding circle of iconoclastic, experimental artists of many stripes.
Sharp plays what passes for a fairly staid instrument in his collection: a bass and guitar doubleneck, in 1992.
Elliott is still in that building in the East Village, though it is now only his workplace and not his living space. I am trying to remember exactly when I met Elliott, but it was probably about 25 years ago, and he still had only the one small, original apartment and a shared music space in the Garment District. I, like countless others before and after me, stayed in that East Village apartment whenever I needed a place to crash and Elliott was elsewhere, and eventually he was able to secure the next door apartment and expand his space. This is where Elliott Sharp works every day that he is not touring, pretty much 9 to 6. The place is a bit funky and dusty, and it is filled with instruments, amps (some classics, like a mid-’60s Princeton Reverb and a tweed Champ), and other tools accumulated over many decades—in spite of the many times that certain ones had to be sold to keep bread on the table.
When he’s not composing, scoring films, recording other artists, or gigging with the bands he has been in or led for the last several decades (Mofungo, Carbon/Orchestra Carbon, SysOrk, Terraplane, The Bootstrappers, Aggragat), Elliott tinkers with guitars, pedals, mandolins. Elliott is, to me, the king of guitar transformation, and his tinkering is stunningly Frankensteinian as he guts, rebuilds, and alters all kinds of stringed instruments, both electric and acoustic. He recently told me that in the ’60s he built fuzz boxes out of tobacco tins to make money. How cool would it be to have one of those now?? If one does a search on Elliott Sharp, many photos will reveal what I'm talking about: the handcrafted doubleneck he was most often seen playing in the ’80s (there was maybe more than one), 8-string guitars, modified Strat-type guitars with completely different pickups.. He also has a fancy guitar or two, such as his Koll fanned-fret 8-string, upon which he has played many a solo recital. During Covid time,, things were a little slow in the cash-flow department and, as a family man with twins, a little extra income was needed. So Elliott started building really cool-looking guitars out of cheap
ones and parts from wherever and refinishing them in hip and attractive ways and called them Mutantu. He sold them to friends and friends of friends. Yours truly basically only changes strings on his guitars, appealing helplessly to experts to do any kind of work on his guitars and amps, afraid of costly errors. The maverick and multifaceted among us, like Elliott, possess no such fear.
Even a leader in experimental 6-string gets a little guitar face now and then—especially when he’s playing blues.
Photo by Scott Friedlander
So, back to that promised day in the life of Elliott Sharp (as imagined, with some degree of knowledge, by me): It’s early morning, and there is family to contend with. No bohemian lollygagging! So it’s feed the kids breakfast, do what parents must do. Then it’s off to the office (his studio), so Elliott dons a fine gray shirt (is that silk?), dark trousers, coat, and hat, and walks north from the family apartment on nearly the lowest point of eastern Manhattan to the East Village. The traffic and endless refurbishing of the Williamsburg Bridge roars familiarly overhead, the East River flows, and eventually a river of another kind, Houston Street, is crossed. Up the stairs to the fifth floor and the studio door is unlocked. Espresso is made. (There will be more of this.) The computer is turned on. And then ... who knows? Anything could be on the docket, but some sort of work will ensue for a good eight hours. Maybe a new graphic score for a German symphony is in the works (some of these have become visual artworks, too), or maybe it's time to try another mix of that Terraplane track, the one with Elliott’s friend, hero, and inspiration Hubert Sumlin—the one Elliott recorded not long before the famed Howlin’ Wolf guitarist joined his ancestors in the Great Beyond. Or maybe he’s recording a variation on his trio ERR Guitar (where he was originally joined by Marc Ribot and Mary Halvorson), called ERE Guitar Today, with Sally Gates and Tashi Dorji. Could happen—and it did. You can see Elliott’s studio in the ERE Guitar CD booklet.
Or maybe it’s guitar tinkering/building time. Where’s that delightfully chunky neck from China that would be awesome on that fake Tele body that was just refitted with no-name humbuckers (“sounded good once I removed the pickup covers,” Elliott observes) and a resophonic guitar tailpiece? By 5 or 6 it’s time to go home, maybe cook dinner tonight. And then ... my little imagined epic ends with a tasteful cinematic cliché: the dissolve.
The E# Way
Elliott Sharp has techniques that, in some cases, are all his own. No stranger to open tunings, prepared guitar, and other extended techniques, he often utilizes rhythmic, two-hand tapping to create spiraling, hypnotic patterns. His composing over these many years has employed and embraced genetics, Fibonacci numbers, algorithms, and fractal geometry. Though a mathematics and physics know-nothing myself, I see and hear a relationship between these elements as he has applied them to his uncompromisingly avant-garde compositions and these tapping patterns often heard in his solo work. Once he kicks in signal processing, stand back! What one hears sounds like four people (or other species and life forms), and the sensation is exhilarating. Sure, there could also be evidence of (here it comes) skronk (I can't believe I used that word), but Elliott certainly does not reside permanently in that world. Enjoying all kinds of sounds, from the lonesome moan of a resonator guitar to the aleatoric sputterings and squeals of a tormented electric guitar, is something he and I share, after all. Take, for example, two of his latest recordings on his zOaR imprint, Mandorleand Mandocello, which document his solo work on the two instruments, respectively. Both recordings investigate the instruments’ acoustic characteristics before, about half-way through, switching suddenly to electric, ultra-processed sounds. It’s a bracing experience that explains a few things about this man and the breadth of his aesthetic sweep. The sounds bring up images of recombinant DNA (information on which he has also imbued into his work), roiling lava, and the ever-expanding universe. Recommended!
Sharp applies his wicked two-handed-tapping technique to his 8-string, fanned-fret guitar built by Saul Koll.
Photo by Scott Friedlander
So, this might fit into the aforementioned TMI category, but Elliott Sharp puts out a staggering amount of recordings. Every time I see him (which is not often enough), he has a little pile of compact discs for me, often on zOaR. I saw somewhere recently that he has released 165 recordings, but I think there are probably more than that. It’s hard for even the data lords to keep up! But it’s not always Elliott Sharp pieces or improvisation/collaborations on these albums. Other artists whom Elliott knows and respects can be represented, such as Spanish electric guitarist/conceptualizer A. L. Guillén, late bassist/producer Peter Freeman, Italian voice and guitar duo XIPE, or Hardenger fiddle player Agnese Amico—all articulate and singular musicians whom Elliott assists by releasing their music. I am grateful for this. It’s obviously more “work” for Elliott, and he accomplishes it, along with everything else he takes on or imagines doing, with elegant aplomb. Though obviously a nose-to-the-grindstone worker, Elliott is generally low-key and relaxed, even after those espressos.
The last thing I want to write about is Elliott's interpretations of the music of Thelonious Monk. Are you surprised, even after everything else you have just read, that something like that exists? In 2003, Elliott released a solo acoustic guitar recording called Sharp? Monk? Sharp! Monk!, and stunned the world (well, those few who pay attention to such things). However, my first exposure to Elliott's Monk interpretations was the more recent Monkulations, expertly recorded live in Vienna in 2007. (You can hear it on Bandcamp). These recordings are, justifiably I suppose, controversial in certain corners, because they do not adhere to Monk's exact written particulars note-for-note. Yet the mood, gestures, rhythmic wonders, and even the harmonic depth of Thelonious Monk often emerges, and frequently in astonishing ways. I understand why some would take issue with this approach because it departs significantly from the jazz tradition, but I find it remarkably fresh, bold, and so delightfully E#. They reveal an aspect of Elliott’s thinking and playing that is surprising in some ways, but also so him. It is clear to me that Elliott has seriously examined and internalized Monk’s repertoire.
Spring(s) in the garden: Sharp can use just about any tool in his improvisations.
Photo by Norman Westberg
Elliott is an artist who plays more than one instrument, plays them all in unique, startling, and often innovative ways, composes rigorous conceptual works from chamber music to operas, makes electronic music with no guitar, plays mean blues guitar like a swamp rat, authors books (I highly recommend his mostly memoir IrRational Music, and a second book is emerging this fall), builds and modifies guitars and other devices, is stunningly prolific, and is an elegant gentleman. The planet is a better place with him and his work in it. The maverick and multifaceted often have a rough road to tread, as we all know. So check out Elliott Sharp's vast world if any of this seems interesting to you. Thanks, Elliott!
YouTube
Watch Elliott Sharp and Marc Ribot deliver a masterclass in free improvisation at Manhattan’s Cornelia Street Café in 2010—Sharp’s two-handed tapping and slide playing included.
Elliott Sharp’s Favorite Gear
This doubleneck guitar accompanied Sharp on many of his ’80s performances and is one of his earlier experimental instruments, as is this 8-string.
Road
Guitars
• Strandberg 8-string Boden
• 1996 Henderson-Greco 8-string
Amp
• Fender Deluxe Reverb or black-panel Twin Reverb (depending on size of venue)
• Trace-Elliot bass amp w 4x10 cabinet
(live rig uses both amps, run in stereo)
Effects
• Eventide H90 w/ Sonicake expression pedal
• Sonicake Fuzz
• Hotone Komp
• Hotone Blues
• TC Electronic Flashback 2
• VSN Twin Looper
Accessories
• Slides, EBows, springs, metal rods and strips, small wooden and ceramic square plates
Home
Guitars
• 1946 Martin OO-18 acoustic guitar
• 2006 Squier 51 (Sharp explains: “On New Year's Day 2007, I took the twins down to the East River in their stroller. They were 15 months old and knew a few words. As we rolled along, they started shouting “guitar, guitar,” and, sure enough, sticking out of a garbage can was a black Squier 51 that someone had attempted to ritually sacrifice. Brought it home and cleaned it, and it’s become a favorite couch guitar.”)
Obviously, any sound that emerges from the Triple-Course Bass Pantar is likelly to be interesting.
Studio
Guitars and stringed instruments
• Fender 1994 ’50s Telecaster built from a Fender-offered kit
• Mutantum lime green metalflake Strat w/Seymour Duncan Little ’59 pickups
• Mutantum solidbody “manouche” Strat w/classical neck
• Saul Koll custom 8-string
• Rick Turner Renaissance Baritone
• 1966 Epiphone Howard Roberts
• 1965 Harmony Bobkat
• 1984/’96 Heer-Henderson Doubleneck
• 1956 Gibson CF-100 acoustic guitar
• 1968 Hagstrom H8 8-string bass
• Mutantum Norma fretless electric
• Godin Multiac Steel Duet
• 2001 Dell’Arte Grande Bouche
• 1958 Fender Stringmaster 8-string console steel guitar
• 1936 Rickenbacker B6 lap steel
• 1950s Framus Nevada Mandolinetto
• Mutantum Electric Mandocello
• Arches H-Line
• Triple-Course Bass Pantar
Amps
• 1966 Fender black-panel Princeton Reverb
• 1980 Fender 75 (Per Sharp: “Cut down to a head and modded by Matt Wells into a Dumble-ish monster! For recording, it plugs into a 1x10 cab with a Jensen speaker or a Hartke Transporter 2x10 cab
• 1970 Fender Bronco
• 1960 Fender tweed Champ modded by Matt Wells
Effects and Electronics
• Vintage EHX 16-Second Delay w/foot controller
• Eventide H3000
• Eventide PitchFactor
• Lexicon PCM42
• ZVEX Fuzz Factory
• Summit DCL-200 Compressor Limiter
• SSL SiX desktop
• Prescription Electronics Experience
• Zoom Ultra Fuzz
• Korg MS-20 analog synthesizer
• Korg Volca Modular synthesizer
• Make Noise 0-Coast synthesizer
• Moog Moogerfooger Ring Modulator
• Moog Moogerfooger Low-Pass Filter
• Softscience Optical Compressor (for DI recording, custom made by Kevin Hilbiber)
Strings
• Ernie Ball Regular Slinky (.010–.046) or Power Slinky (.011–.048), for conventional guitar.
Growing up in Australia, guitarist Jedd Hughes tells us he dreamed of playing in Vince Gill’s band as far back as elementary school. Now, he lives in Nashville and stands next to the man himself on stage night after night. We’ve invited Jedd to join us on this episode of 100 Guitarists to talk about just what makes Vince’s playing so special.
Jedd tells us how his dream came true and how he first started playing with Vince. We dig deep into how everybody’s favorite country guitarist raises the bar every time he picks up the guitar, how he gets his amazing clean tone, and we take time to appreciate all aspects of his solos—including how he builds them and how he plays such clean bends. As for why his concerts are so long? “He loves to play.”
In our current listening segment, we’re covering the Black Crowes and Jimmy Page’s Live at the Greek box set and a live recording from Burlington, Vermont’s Breathwork.
This episode is sponsored by EMG Pickups.
PG contributor Tom Butwin digs into seven very different boost options, from classic clean boosts to tone-sculpting EQ beasts. Whether you're chasing midrange magic, vintage character, or gig-saving utility, there's something here for every board.
VOX Amplification Tone Sculptor
The VOX Tone Sculptor graphic EQ delivers tube-driven tone shaping that adds warm distortion as you raise the level, infusing your sound with rich tube harmonics and natural compression.
$219 street
voxamps.com
SoloDallas SVDS Boost
This pedal recreates the legendary 1975 signal boost from the Schaffer-Vega Diversity System, which provided up to 30 dB of boost, shaping the tones of Angus Young, David Gilmour, and others. Unlike typical clean boosts, it enhances vintage coloration and harmonics. Built with high-quality components, it’s designed for both studio and stage reliability.
$129 street
solodallas.com
Seymour Duncan Pickup Booster Mini
The Pickup Booster Mini delivers the perfect boost and features a resonance switch for multiple tonal characteristics without taking up space on your board.
$99 street
seymourduncan.com
J. Rockett Audio Designs Archer Clean
The Archer Clean is a recreation of the clean boost found in a Klon Centaur. Go from beautiful cleans to slamming the front end of your amp instantly!
$229 street
rockettpedals.com
VOX Amplification Power Burst
The VOX Power Burst offers the rich tone of a genuine tube boost, designed to enhance your tone with natural compression and tube saturation.
$199 street
voxamps.com
Rock N’ Roll Relics Stinger Boost
Not your typical boost. This single-transistor midrange booster lets you switch between a punchy silicon transistor and a warm, vintage NOS Germanium transistor. Whether placed before or after other drives, it delivers the signature midrange growl that defines classic rock ’n’ roll. Each pedal is aged to perfection.
$279 street
rocknrollrelics.net
MXR Micro Amp
The MXR Micro Amp slams your amp to the brink—up to +26dB—while adding just a touch of honey to your tone with the twist of a single knob.
$99 street
jimdunlop.com
Learn More about these pedals:
https://voxamps.com/
https://rockettpedals.com/
https://rocknrollrelics.com/
https://www.seymourduncan.com/
https://solodallas.com/
https://www.jimdunlop.com/products/electronics/mxr/