Looking for more great gear for the guitar player in your life (yourself included!)? Check out this year's Holiday Gear Finds!
Gibson Les Paul Standard 50s Faded
The new Gibson Les Paul™ Standard 50s Faded returns to the classic design that made it relevant, played, and loved -- shaping sound across generations and genres of music. It pays tribute to Gibson's Golden Era of innovation and brings authenticity back to life. The Les Paul Standard 50s features a satin nitrocellulose lacquer finish that gives it the look and feel of a long-treasured musical companion. It has a solid mahogany body with an AA figured maple top and a rounded 50s-style mahogany neck with a rosewood fingerboard and trapezoid inlays. It's equipped with an ABR-1 Tune-O-Matic bridge, an aluminum Stop Bar tailpiece, Vintage Deluxe tuners with Keystone buttons, and gold Top Hat knobs with dial pointers. The open-coil Burstbucker™ 1 (neck) and Burstbucker 2 (bridge) pickups are hand-wired to audio taper potentiometers and Orange Drop® capacitors.
SE Standard 24-08
The PRS SE Standard 24-08 is a mahogany-body workhorse guitar with powerful humbucking and true single-coil tones in one instrument. Its PRS TCI “S” pickups are paired with a 3-way toggle switch and two mini-toggle coil split switches that individually split the humbuckers into true single coils for a total of eight pickup configurations. Players can enjoy two full octaves thanks to the 24-fret, 25” scale length rosewood fretboard and wide thin maple neck, and the PRS patented, molded tremolo gives players added flexibility and control over their playing. With sonic range and rock-solid reliability, the PRS SE Standard 24-08 will keep you playing without compromise.
Kaepo
Explore new guitar voicings and open tunings with the new Kaepo™, Gruv Gear's creative tuning guitar capo! Removable fretting pads can be set to any combination for nearly unlimited possibilities. Move the Kaepo quickly up and down the fretboard like a regular capo, without any tedious clamping or setup. Adjust the 7 individual fretting pads without any tools. Kaepo is also compatible with Gruv Gear's new Twistune™ rechargeable color tuner, for quick and convenient tuning on-the-fly. Works with most 6- and 7-string acoustic and electric guitars.
The Gruv Gear Kaepo is available on its own or bundled with the new Twistune tuner. Combine two or more Kaepos to open up even more tuning creativity!
MONO FlyBy Ultra Backpack
The FlyBy Ultra comes packed with sleek upgrades while keeping the break-away laptop bag design of the original FlyBy. New features include an ultra-tough 1680D Ballistic Nylon exterior, reflective trim for visibility, waterproof zipper tape and new, larger compartments. The FlyBy Ultra also brings ergonomics to the next level with a luggage pass-through, and upgraded straps.
This is the tour pack that DJs and digital creators around the world carry and swear by. Get ready for the ultimate creator experience.
JBL 3 Series Studio Monitors
JBL 3 Series MKII powered studio monitors make JBL performance available to every studio. The JBL Image Control Waveguide and refined transducers offer stunning detail, precise imaging, a wide sweet-spot and dynamic range that enhances the capabilities of any workspace. Featuring patented technologies derived from the JBL 7 Series and M2 Master Reference Monitors and, sporting a sleek, modern design, JBL 3 Series delivers outstanding performance and an enjoyable mix experience at an accessible price. Special sale pricing begins Thanksgiving day with the 305PMKII at $109 EA, 306PMKII at $149 EA, 308PMKII at $199 EA, and the LSR310S subwoofer at $299.
Guitar Tech Screwdriver Set
Oh no! Stripped a tiny screw on your favorite guitar? Or even worse, scratched your guitar when the wrong screwdriver slipped? Never have that awful feeling again. StewMac has put together the ULTIMATE screwdriver set for every guitar owner. They tracked down all of those tiny specialty and hard to find bits—and we added a few of their favorite problem solvers. The StewMac Guitar Tech Screwdriver Set replaces a whole drawer full of bulky tools with exactly what you need. The set includes 36 essential bits for guitars, basses, and more, plus an easy-grip handle and extender. The included compact hard case is spill-proof and easily fits in your toolbox or guitar case (it’s a must-have for gigs). You won't find this at any hardware store—it’s only at StewMac.
Xvive U2, U3 and U4 Wireless Systems
Xvive’s U2, U3 and U4 wireless systems make going wireless easy, reliable and affordable, all with high-fidelity 24-bit/48kHz sound! They all recharge with any 5V USB power source, broadcast over a range of up to 90 feet, and have an imperceptible 5 ms of latency.
U2 Guitar Wireless System is the go-to plug-and-play solution for guitarists and bassists, giving you five hours of trouble-free wireless freedom on a single charge.
The U3 Microphone Wireless System turns any dynamic microphone into a wireless mic, in seconds. It can also be used to replace an XLR cable in other applications—for example between a mixer and a powered speaker cabinet!
The U4 In-Ear Monitor Wireless System gives you a beltpack receiver for your in-ears or earphones and a transmitter to connect to the mixer; up to six musicians can use the system at a time, even with separate monitor mixes.
For more info on these and other Xvive products, visit www.xvive.com and Play Free!
Elixir® Strings Acoustic Phosphor Bronze with NANOWEB® Coating
Engineered for great tone and long life, our proprietary, featherweight coating keeps strings sounding and feeling new for longer. Tone-killing elements like corrosion, dirt, oil, and sweat are no match for Elixir® Strings.
Our Phosphor Bronze with NANOWEB® Coating is rich and full-bodied with sparkling high-end clarity and a smooth feel.
See a line up of all of our acoustic guitar strings here - https://www.elixirstrings.com/guitar-strings#acoustic
Elephant Foot Risers and Frames
Revolutionary Design and Features:
Optimize your pedalboard layout with durable, snug fitting, strong and lightweight risers. Tailor your pedalboard to fit your stompbox collection and your style of playing!
Space Saving, Easy Wire Routing:
Our riser footprint is virtually the same as the pedal for which it was designed. Whether it's Boss, Wampler, Strymon, MXR, Ibanez, Electro Harmonix, Walrus, Earthquaker Devices, TC Electronic, JHS or any of the popular pedals, our risers take up no more space than the pedal itself. An added benefit of the Elephant Foot design is the ease with which you can route signal and power cables. There's plenty of space under each riser and multiple attachment points for tie-wraps.
Unique Features of Elephant Foot Risers
• Strong yet lightweight
• Versatile
• Cables route easily underneath
• Anchor point for tie wraps
• Hidden screw holes for a super-strong connection to either wood or metal pedalboards
• Works with hook & loop, cloth cable ties or tie wraps
• Unique Pedal "Frames" for your first row of pedals
• Risers can be customized
• 3D printed from eco-friendly PLA
Available in seven standard colors and custom colors available on request.
Benefits of Elephant Foot Risers
• No more accidental pedal stomps
• No annoying pedal wobble when stomping
• No more sloppy pedalboards
• Optimized Pedalboard layouts
• Easy, neat cable routing
• Custom riser sizes available in multiple colors
• Preserve resale value of pedals
D'Addario XPND Pedalboard
XPND is the pedalboard that adapts to you. With XPND's patented telescoping technology, you can easily adjust the length of the board to add, subtract, and rearrange pedals how you want, when you want.
Cloudlifter CL-1
The original Cloudlifter® Mic Activator® adds tons of ultra-clean gain to dynamic and ribbon microphones and are the perfect stocking-friendly gift for any musician (or yourself)! Made in the USA. Get Lifted. Get Gifted!
Caparison Horus-WB-FX MF
The Horus-WB-FX is the latest model to be developed within the popular Caparison Horus range.
This newly designed fixed bridge version features a carefully considered body construction featuring a Walnut top and an Australian Blackwood back. This unique fusion produces a full rounded tone with a sweet emphasis on the upper mids ensuring clarity, focus and a distinct separation of notes, even with the most extreme gain-saturated down tunings.
When combined with an upgraded Caparison designed, sustain rich, high mass bridge (which effortlessly copes with a myriad of acute tunings and string gauges) Jescar jumbo stainless steel Frets and a specifically designed set of Caparison pickups, the Horus-WB-FX is more than capable of producing arena filling rock tones or creating more subdued, distinctively rich and bell like cleans.
The Horus-WB-FX plays like an absolute dream and features all of the beautiful aesthetic qualities that you have come to expect from Caparison Guitars. The striking body design is complimented by three stunning new finishes and also comes with a choice of either an Ebony or Maple fret board..
The Woman Tone
The Woman Tone is Aclam’s tribute to Eric Clapton’s amazing sound during his Cream era. The sound that turned him into a god. An accurate approach to the unique tone he attained with a simple yet effective combination of a P.A.F equipped Gibson and 100W Marshall stacks all the way up.
- Eric Clapton's Cream Sound in a box:
Aclam has distilled and bottled in a stompbox the key elements that shaped Eric’s rig. Reproduce his unique rhythmic and solo tones, fine-tuned using both live and studio recordings of Cream.
- Artwork by The Fool's Guitar artist: Marijke koger:
Responsible for the psychedelic decoration of Clapton’s Gibson SG nicknamed “The Fool”, Marijke has created a unique artistic interpretation of the Woman Tone that looks stunning!
- Custom humbucker pickup simulation circuit & tone control:
A pickup simulation circuit emulating the tonal characteristics of a P.A.F style pickup has been incorporated to reproduce the “Woman Tone”. With its buffered input, the guitar signal won’t be affected. Use compressors, fuzzes or whatever effect you want in front of the Woman Tone, and it will retain its tonal characteristics.
- Touch sensitive plexi-inspired overdrive using discrete components:
Inspired by Clapton’s 100W full stacks it results in a powerful overdrive with a great British character! Designed having blues-rock in mind, it will perfectly suit any guitar player seeking a vintage tone!
Templo Devices Holiday Specials
A hot new gear company from Canada, Templo Devices jumped on the scene with their flagship lithium-battery powered amp aimed at electric guitarists.
Focused on creating problem-solving products with tonal excellence, they've since released several small-batch pedals with wide appeal. Including SPLYCE, a versatile mini-mixer for using a microphone with a guitar rig, the atmospheric TRIPLO modulation pedal and the REEL DEAL tape preamp, as well as their exciting upcoming release, the Pocket Studio Compressor. There is always something exciting coming from this northern innovator.
With plenty of great deals for the holiday season, they have a little something for everyone.
Taylors Guitars GS Mini
Meet the Taylor GS Mini, one of the world's most popular acoustic guitars: a smaller body and a compact feel with a big, bold tone that punches far above its size. Based on a scaled-down version of our Grand Symphony body shape, GS Mini guitars boast solid tops and a variety of tonewood options serving up different flavors of vibrant acoustic tone. The GS Mini family is also home to the GS Mini Bass, a super-compact four-string acoustic bass with a slinky feel and a punchy response. Whether you're looking for a campfire guitar, a songwriting tool or just a great-sounding acoustic that's up for anything, the GS Mini has you covered.
DR-05X Stereo Handheld Recorder
The TASCAM DR-05X stereo handheld recorder is a great-sounding portable recording solution with helpful workflow options. Use the TASCAM DR-05X's built-in omnidirectional condenser microphones to capture vibrant stereo recordings anywhere, anytime. Use Auto Recording mode to automatically engage recording when audio signals reach a certain level. Use the Overwrite function to make easy punch-in audio replacements. Or use the TASCAM DR-05X as a 2-input/2-output USB audio interface with your Mac or PC. Whatever your portable 2-channel recording needs are, the TASCAM DR-05X has you covered. It's a fantastic and easy way to record your ideas, rehearsals, or gigs. Simply remove the SD card and pop it into your computer and send your song ideas to bandmates or collaborators. It's small enough to take with you everywhere and fits easily in a guitar case or small bag.
Sennheiser MD 421
Jaclyn Slimm
MD 421-II
The cardioid MD 421 has been one of Sennheiser’s most popular dynamic microphones for decades. The large-diaphragm, dynamic capsule handles high sound pressure levels, making it a natural for recording guitars and drums. The MD 421's full-bodied cardioid pattern and five-position bass control make it an excellent choice for most instruments, as well as group vocals or radio broadcast announcers. One listen and you'll know why it’s a classic.
EARTHBOARD Pedalboard
Every once in a while, a product comes out that makes you go “Wait… WHAT?!?!”. Well, those words are music to our ears! This game-changing pedalboard allows you to power all your pedals, including pedals that need isolation and different voltages, with a single power source. Yep, either our rechargeable battery or AC adapter fires up all your pedals without additional power bricks. No more Velcro carpet to rip pedals off! You can literally change pedals on the fly. But the flexibility of EARTHBOARD doesn’t end there – Our Lifeline Tether carries power off the board to connect a WAH, or daisy-chain multiple EARTHBOARDs together. EARTHBOARD comes in 2 sizes: double row (holds 12 standard size pedals) and single row (holds 6 standard size pedals). They are available as Complete Pedalboard Systems (includes all necessary components to play) or as a Build-a-Board and "ala cart" accessories!
See video: https://www.youtube.com/watch?v=S3iwDgLnN6w&t=8s
Nobels ODR-1(bc)
The Nobels ODR-1(bc) has bass cut, 9-18 volt input, and glow-in-the-dark knobs. The ODR-1 is rated the best overdrive by Nashville studio guitarists and creates a natural, tube-amp style overdrive that is versatile, amp-like, and affordable. The ODR-1 has been on the market for over 30 years and remains the number one choice. Creates crunchy rock and blues sounds or extra boost for soloing without smothering the natural character of your guitar's tone. The Spectrum controls optimizes tones from single coil chime to powerful humbucker rock. When adjusting the Spectrum control up or down the circuit ensures you have plenty of clarity and full dynamic range.
Features
Bass cut switch
Spectrum Control
Glow-in-the-dark knobs
Solid metal chassis
Nobel's remote control jack switching system
German Engineering. Made in China.
Click here for Audio Clips
Orangewood Guitars Oliver Jr.
Modeled after Orangewood’s full-size Oliver guitar, the Oliver Jr. is a scaled-down version of Orangewood’s best-selling grand concert model. But don’t let the small body fool you. Sporting a beautiful, woodsy solid mahogany top, this junior guitar sings a bold and bright tone that’s easy to love. Whether you’re looking for your new travel companion or simply want a compact guitar to live near your couch, you can’t go wrong with this perfect-sized guitar.
Prefer a full-size model? This holiday season, every Orangewood guitar includes a professional set up and free shipping right to your door with a premium gig bag included. Plus, get extended holiday returns until January 31st. That’s over 60 days of commitment-free playing, so you can gift a guitar that they’re sure to love.
Marshall CODE 50 Digital Combo Amp
Jump straight in and explore 100 presets, the CODE50 has all you need to start performing and recording with. 50W of power that’s portable enough for you to practice at home or in the garage. Sync with your phone or online so it’s always with you for those creative moments. This fully digital amp is loaded with 14 MST preamps, 4 MST power amps and 8 MST speaker cabinets for you to create sounds that suit you. Using the Gateway App you can connect via Bluetooth to control CODE and stream music from your iOS or Android device. MyMarshall has a global library of user presets that you can upload to and download.
Line 6 Catalyst 100
Catalyst® 100 is a 100-watt, dual-channel 1x12 combo amplifier that performs like a traditional guitar amp—while providing the increased versatility of a modern amp. Catalyst 100 offers six Original Amp Designs—ranging from pristine clean to modern high-gain—crafted using our renowned HX® sound design techniques to ensure exceptional tone and feel. Ideal for stage or studio.
• 100-watt, dual-channel 1x12 combo amp (with optional LFS2 footswitch)
• Catalyst 100 operates like a traditional amp—but provides increased versatility
• 6 Original Amp Designs—pristine clean to modern high-gain
• Dedicated Boost and Reverb sections (6 reverb types), 18 Effects (3 types)
• Power attenuator (half power, 0.5 watts, Mute) for reduced volume
• XLR line output for pro connection to P.A. or recording devices
• Effects loop and Power Amp input for integrating external devices
• MIDI In via DIN connector
LR Baggs Venue DI
Every Tool You Need in One Acoustic Pedal
We created the Venue DI so you can travel light, set up fast, and sound incredible anywhere you plug in. The Venue DI gives you complete control by combining a full-isolation DI output, 5-band EQ with adjustable low & hi-mid bands, variable clean boost, and chromatic tuner all in one acoustic pedal. With its all-discrete signal path, hi-graded semiconductors, and exclusive use of audiophile grade film capacitors, the Venue DI is on par with the world’s elite preamps and provides a studio quality sound for the stage.
Kali Audio LP-6 V2
The LP-6 V2 is Kali's best-selling studio monitor, and it's made its mark in studios across the globe ranging from humble home setups to state-of-the-art recording facilities.
Kali's innovative 3-D imaging waveguides create a crystal-clear stereo image, and also help the speakers to perform their best in challenging acoustic spaces. Kali-programmed boundary EQs take this a step further, tailoring the sound of the speaker for its placement on stands, on a desk, or close to walls.
With accuracy and translation at the forefront, the LP-6 delivers transparent, full sound that gives you a complete picture of your mix. Whatever you mix on the LP-6, you can be sure that it will translate nicely to other speakers, earbuds and headphones, car systems, or whatever else your listeners are using for playback.
Eventide H90 Harmonizer®
The H90 Harmonizer® is Eventide's next-generation multi-effects pedal. Whether you want high-quality bread and butter effects or experimental sounds unheard, the H90 has everything you need to inspire your creativity with an intuitive UI designed with players in mind. Discover why top artists and producers have chosen Eventide through the years with 62 effect algorithms and hundreds of Program combinations curated for a variety of instruments and genres. With its comprehensive I/O and flexible routing options, the H90 is designed to be the heart of your rig.
Wilkinson R Series Trev Wilkinson Signature Pickups
Wilkinson's R series range of pickups are the result of Trev Wilkinson's years of creating and listening to thousands of pickups. Time spent with legendary and iconic individuals such as Seth Lover and Leo Fender, with whom Trev questioned about all aspects of sound, construction materials and production methods. All this combined knowledge has been the template for the R Series range of pickups, a pickup range Trev is proud to place his signature on, and say " These are the finest pickups Wilkinson has produced in the history of the company".
Featuring Single Coil's for both S and T style guitars, P90 and Humbucker models, the R Series has era specific models to capture the tone and vibe of the time and the players that influenced generations of players and Hybrid designs to influence future players.
Hercules Stands Five-Piece Guitar Rack with Two Free Expansion Packs
For a limited time only, get two FREE expansion packs with the purchase of a five-piece guitar rack. Showcase your collection while safely and securely storing seven to ten guitars. The Hercules GS525BP-HA205 is covered with Specially Formulated Foam rubber at all contact points and features a one-piece design that sets up and tears down easily. The guitar yoke is designed for acoustic, electric, and bass guitars with four pick slots on each yoke. This special pack comes with a total of seven guitar yokes leaving room to expand to ten. Available while supplies last.
ISP Hum Extractor Pedal
Ultimate DSP 2 channel noise reduction pedal. Patented technology that will remove the 50Hz or 60Hz and all associated hum harmonic components with total transparency. Combined with the patented Decimator G technology and dynamic sliding low pass filter, the Hum Extractor is the pinnacle of noise reduction technology. The Hum Extractor technology is dynamic in operation which compares the level of the audio signal to the hum harmonic components. Dynamically removes hum components when they become dominant. Made in the USA.
Click here for video
LAVA ME 3
With the multi-touch display integrated with HILAVA OS, the LAVA ME 3 provides easy access to play and customize tons of built-in effects and loops.
Wampler Metaverse
Comprising eleven of Brian Wampler’s favorite delays, the Wampler Metaverse is a full-featured, small-footprint multi delay stomp box that is fully programmable, preset capable, has stereo inputs and outputs, allows full MIDI control, and has an expression input that you can assign to ANY of the parameters. The Metaverse also comes with a software version of the pedal via a set of 11 AU and VST3 plugins compatible with most popular DAWs - FREE to all customers that register their Metaverse online.
• Studio quality conversion 48 kHz Sampling rate with 24-bit audio
• Full 20Hz to 20kHz frequency response
• 11 Studio-quality vintage and modern delay effects
• Simple user interface
• All parameters controllable via an outboard expression pedal
• 8 onboard preset locations to save your favorite patches, 128 total via MIDI
• Full MIDI control with CC and PC commands
• Stereo or Mono I/O
Gator Cases Transit Guitar Gig Bags
Gator's Transit Series acoustic gig bags provide rugged case-like protection without sacrificing the lightweight portability of a bag. The red soft-lined interior and thick foam padding safeguard your guitar from drops and bumps, just like a regular case. A weather-resistant blended fabric exterior protects against the elements and features backpack straps, each with a concealable zipper pocket to switch between backpacking and briefcase carry modes. So for the gear you love the most, Guard it with Gator.
Fralin'Tron
Experience exceptional clarity and articulation in a Filter’Tron format with Lindy’s unique Fralin’Tron design. Featuring a focused single-coil vibe with a rich, warm midrange and crisp attack, you’ll wonder where this pickup has been all your life. When Lindy started designing the Fralin’Tron, he did so with a particular goal: to get as much clarity and articulation as possible out of this design.We’re thrilled with the result! Our Fralin’Tron features a scooped midrange and defined bass and highs. In addition, you can expect more nuance out of the wound strings, unlike the original design. Furthermore, the treble strings have a round, warm quality, making our Fralin’Tron perfect for all styles of music – from clean to dirty. Lastly, this pickup features a dynamic and punchy attack that gives you back what you put into it.
DeLoach Guitars DL-225
The DL-225 is handcrafted exclusively from all mahogany, producing a warm and brilliant sound. The soundboard of the DL-225 features a vintage bracing pattern resulting in outstanding projection and tone with brilliant highs, strong midrange and subtle but full bass. The DL-225 has an extremely bright and dynamic sound. This guitar has the sound of a large body guitar. In a fingerpicking demonstration comparison we did with a name brand dreadnought the DL-225 was +3 dB louder.
Its smaller size and depth make the DL-225 a very comfortable guitar to play.
Click here for video and audio examples
Wampler Pedals Ratsbane
If you are looking for a single pedal solution with multiple degrees of gain from light overdrive to full out saturated fuzz tones, then you’ll surely love the Ratsbane. The Ratsbane is based on a true benchmark sound amongst guitarists that has been heard on thousands of famous recordings.
In typical Wampler fashion, Brian improved the circuit’s flexibility by adding two new switches. The Gain switch offers three distinct choices. In the middle gives you the “stock” gain for this pedal. The left position offers a firm, yet smooth boost in gain, whereas the right delivers an insane level of creamy distortion. The Voice switch subtly alters the compression and clipping of this pedal. It tightens the distortion to be more manageable with greater levels of gain, while rolling back some of the fuzz qualities, to deliver a modern, high gain distortion.
Click here for video clips
The durable but often maligned overdrive has thrived for more than 30 years. And not just on shredders’ pedalboards. Here’s why.
With over a million produced, the MT-2 Metal Zone is Boss’s second-most-popular overdrive ever—a significant accomplishment, considering Boss pedals have been ubiquitous for decades. I’ve got two Metal Zones. But, much like the late Rodney Dangerfield, the Metal Zone often “don’t get no respect.”
My first Metal Zone was simply abandoned at a guitar camp I taught at. Despite efforts to find its owner, it was never reclaimed. The second one was part of a package deal where the seller must have been getting rid of what he considered his undesirables: a Boss BF-2 with a faulty power-supply jack that only works with batteries, a Boss BCB-60 pedalboard with foam that stinks and is filled with irremovable allergens or something that always makes me itchy, and a perfect-condition Metal Zone—all for a mere 35 bucks.
But somehow, over the decades, the Metal Zone got a bad rap. The endless hordes of preteens that butchered “Crazy Train” through a Metal Zone at their local Guitar Center probably didn’t help. Even with a new Waza Craft edition in Boss’s lineup, things haven’t changed much. If you read an internet discussion of the Metal Zone, you’re guaranteed to find someone boldly commenting that it sounds like “buzzing bees.”
Likewise, if you search “Boss Metal Zone” on YouTube, the first thing that comes up is Ola Englund’s “Boss Metal Zone—Worst Distortion Pedal Ever?” video, which currently has over 3.5 million views. You’ll also see “What’s the Worst Pedal Ever? Boss Metal Zone Pedal, Demo” by Marty Schwartz, a famed YouTuber with over four million subscribers. And there are many more videos along the same lines. But if you dig deeper, you’ll find that despite those derisive, clickbait titles, many Metal Zone videos actually praise the little demon. And with good reason!“What immediately grabs my attention is its ridiculous sustain; for soloing, the pedal makes legato licks feel fluid and easy to play.”
When the Metal Zone first came out in 1991, it was literally the hottest piece of gear in the guitar world. It was the undisputed star of a stompbox shootout of 29 pedals in the October 1992 Guitar Player. The magazine’s editors proclaimed: “We knew the Metal Zone was a hot item when we couldn’t keep our test sample long enough to photograph it. The store we borrowed it from had sold it and was back-ordered 50 units.” The story was followed by comments like, “This thing starts off where others leave off,” “Mind-blowing. Never heard so much bass,” “Definitely a must-have,” and “Totally sick!” The shootout concluded with “The Boss Metal Zone easily grabbed top metal honors. Its absolutely fierce sounds make the $139.50 price tag [editor’s note: list price] seem like a deal.”
If you’ve used one before, you’ll likely agree—this silicon-driven, two-stage-clipping circuit is a really badass pedal! What immediately grabs my attention is its ridiculous sustain; for soloing, the pedal makes legato licks feel fluid and easy to play. For sharp and percussive metal rhythms, the Metal Zone also kills. With its massive bottom end, it has given me heavier sounds than I’ve gotten with more expensive pedals or high-gain amps.
The Metal Zone has more tone-shaping options than many other dirt pedals. There are six controls crammed into the space of four. In addition to the level and distortion knobs, the EQ dials are dual-function concentric—high and low, and mid freq and middle, which boosts or cuts the frequency you have the mid freq set to. Some players enjoy using the Metal Zone as a preamp, straight into the effects loop. Others put it between the guitar and amp. However you fire it up, if you invest time into fine-tuning the settings for your needs, you’ll be greatly rewarded.
If you’re a hard-rock or metal player, the Metal Zone is a no-brainer. Pro players like Biffy Clyro’s Simon Neil and Megadeth’s Dave Mustaine have used the Metal Zone. But it’s also surprisingly versatile—even Prince used one! Despite its name, it can convincingly get into mid-gain overdrive territory, and with the distortion knob around 9 o’clock, it’s pretty touch sensitive.
At only $99 new—$50 more for the Waza version—and, if you’re lucky, maybe $20 or so used, the Metal Zone is incredibly undervalued. I wouldn’t be surprised if the Metal Zone makes its way back to the top of the pedal pyramid some day. Guitar players are notoriously fickle and tend to be very impressionable. It just takes something as simple as one artist association and the tide can turn for any piece of gear. The Marshall ShredMaster became a cult classic simply because it was used by Jonny Greenwood of Radiohead. Maybe if John Mayer uses a Metal Zone the next time he covers “Panama,” it will again reign supreme.
With MIDI programmable features, all-tube high-voltage preamp, and included Friedman Editor software, the IR-D delivers classic tube tone with modern control.
Friedman Amplification has introduced the IR-D dual-channel tube preamp, an entire Friedman rig in a compact pedalboard-friendly package. The IR-D boasts two fully independent identical foot-switchable channels which are based on Dave Friedman’s legendary Dirty Shirley/Twin Sister designs. This Dave-modded JTM45circuit delivers the signature British tone that Friedman is known for.
Powered by two high-voltage 12AX7 preamp tubes, each channel delivers the harmonic richness and touch response of Dave Friedman's finest designs. DSP IR cabinet/power amp simulation sends a studio-quality mic'd-up tone to your DAWor Front-of-House. The IR-D provides easy-to-use controls without complex menus and 100-page manuals.
IR-D isn't simulating a Friedman tube preamp. It is one. While many available preamp pedals utilize tubes to 'warm up' their digital or solid-state circuit, two glowing hot 12AX7 preamp tubes, running at the proper high voltage, are this pedal's beating heart. A genuine preamp in every way, IR-D delivers all the tone, response, gain characteristics, and harmonic complexity you expect from a Friedman design. Both channels feature their own independent and highly tweakable Boost circuits. This essentially gives you four channels, accessible with the tap of your toe.
All great tube amps need a great speaker cabinet, and whether sending your signal straight to the board or silently playing through the onboard headphone output. IR-D gives you a selection of Dave Friedman’s favorite IRs. Select the IRper channel using the 3-way mini toggle switches or load your own quickly and easily via Friedman’s editing software. You can even disengage the onboard IRs entirely to use IR-D’s tube preamp with another IR loader.
The Friedman Editor software includes 13 free Friedman IRs to choose from. The first three listed below are the ones which are factory set to the hardware.
1. 6402 57 121
Dave Friedman's favorite 4x12 cab in bare wood. This is Dave's primary workshop cab and has been used to voice his amplifiers since the very beginning. It's fitted with four 6402 Greenback speakers and was captured with an SM57 and R-121 for a nice balance of cut and body.
2. 1960 GREEN 5757121
This cabinet IR is the classic 1960B cabinet from the 80's. Fitted with 20w British Greenbacks. It has a distinctive sonic signature that sings 80's to modern rock tones. Captured with a pair of SM57 on two speakers, along with a R-121 to help fill out the body of the sound. These were fed into a set of API preamps with a touch of EQ to enhance the presence.
3. DS112 57 1973
The Friedman Dirty Shirley 1x12 open-back speaker cabinet with a G12-50GL features a detailed top end with an airy bass and mid response. A perfect choice for clean tones or if you’re looking for a more bluesy sound. Captured with an SM57 and a Soyuz 1973 into API preamps.
The IR-D’s transparent effects loop allows you to easily integrate your favorite effects with everything from the most straightforward setups to the most complex digitally controlled rigs. IR-D is MIDI-capable. Whether pulling up presets with a pedalboard controller or switching channels with the laptop running your entire show, IR-D is ready for the job. It truly is the perfect marriage of modern control and classic tube tone.
IR-D gives you broad tonal control, but its included Friedman Editor software takes it to a new level. With it, you can tweak each channel’s power amp simulation via the Thump and Presence controls, load your favorite IRs, activate the Boost Lock feature, select loop ON/OFF, and save it all to 128 MIDI presets.
IR-D Features
- All-tube HIGH-VOLTAGE preamp – DI
- 2 x 12AX7 preamp tubes Two independent identical channels + boost
- Based on Friedman’s legendary Dirty Shirley/Twin Sister designs
- MIDI programmable features:
- Channel select / Boost
- IR select
- Thump and Presence – three-way switch per channel
- Effects loop ON/OFF
- Boost Lock
- Power amp simulation with software editable Presence and Thump (per channel)
- Low latency Impulse Response cabinet simulation (bypassable)
- Three-position CAB/IR select switch per channel (programmable via software)
- 13 free Friedman IRs or load your own Boost Volume and Gain controls (per channel)
- Volume and Gain controls (per channel)
- Full EQ consisting of Bass, Middle, and Treble (per channel)
- 2-way Bright switch (Per Channel)
- 3-way Structure switch (Per Channel)
- Three multi-function foot switches
- Ultra-transparent series FX loop (bypassable)
- TRS balanced output, Headphone output
- MIDI 5-pin standard connector and USB MIDI
- USB software editor – powered by SYNERGY
- Universal 12V Power Supply Included
The Friedman IR-D carries a street price of $499.99.
For more information, please visit friedmanamplification.com.
Friedman Ir-D Dual-Tube Preamp Di+Ir Dual-Channel 12Ax7 Tubes Effects Pedal Black And Silver
From walls of 4x12s to modern modeling tech, heavy tones have come a long way since the age of Iommi.
No style of amp is so definitively a part of a musical genre and culture as high-gain amplifiers. In the modern amp market, there’s a wide range of amps that can achieve a heavy tone, from hulking stacks to lunchbox heads, but their objective unites them. High-gain amps are a cornerstone of electric guitar, and their aggression is heard in every style of music under the sun.
The debate about where high-gain started rages on, but there’s a strong consensus that Tony Iommi and Black Sabbath had more than a little to do with it.
“The first record that really had an impact on me, with regards to that aspect of tone, was Sabbath Bloody Sabbath,” says Sweetwater hard content creator and former Grim Reaper guitarist Nick Bowcott. “It was a brutal sounding record. Iommi was so ahead of his game.”
Keep in mind that there were no high-gain amps when Iommi got his start. Instead, Bowcott explains, “He was doing his thing with a modded Dallas Rangemaster (treble booster) and running into a (Laney) Supergroup while often tuning down to C#. That’s how far ahead of the curve he was.”
Iommi’s tone and Sabbath’s influence were so dramatic that guitarists worldwide adopted it while honing it into a faster, more streamlined style. It was the beginning of heavy metal, and even the world’s biggest rockers claim it’s still unmatched. “Rob Zombie said, ‘The reason there aren't any more good heavy metal riffs today is because Iommi wrote them all,’” Bowcott adds. “It reminds you of how brilliant those songs are.”
The Marshall JCM800
Introduced in 1981, the Marshall JCM800 series kicked open the doors to the high-gain amp market.
Like Iommi’s Laneys, the tube amplifiers of the time didn’t offer the quick response, tight low end, and increased distortion those players required. The closest thing on the market was Marshall’s 1959 Super Lead, aka the plexi. While definitely distorted, these amps only gave up their saturated tones when played much too loud for most performances.
Guitarists begged for an amp that gave them the tones of Van Halen, Randy Rhoads, and the New Wave of British Heavy Metal, while still being something they could use. Over in England, Jim Marshall responded. In 1981, he released one of the most iconic electric guitar amplifiers of all time, the master-volume-equipped Marshall JCM800 2203.
“To me, the (JCM)800 is a foundational piece with regard to high gain. They owned the ’80s.” —Nick Bowcott
For the first time, the famous Marshall kerrang could be had at gig-appropriate volumes. The amp was a hit, and the JCM800 quickly laid the foundation for what would come. “To me, the 800 is a foundational piece with regard to high gain,” remarks Bowcott. “They owned the ’80s.”
The Mesa Engineering Mark Series
The first Boogies were created when Mesa’s Randall Smith “boosted the daylights out of a little (Fender) Princeton.”
However, Marshall wasn’t the only one pushing overdrive into the modern era. Randall Smith and Mesa Engineering’s first amps—hot-rodded Fender-style combos which Smith called “Boogies”—also marked the transition between vintage and modern with a high-gain voice of their own.
“Early on, I boosted the daylights out of a little [Fender] Princeton,” Smith notes. “It was 80 times the gain of the normal amp! It had this amazing crunch. Power chords and single-note riffs had that vocal, singing thing that made Carlos (Santana) so famous. You could go from the biggest, most amazing Fender clean sound to this level of distortion that nobody had ever heard before.”
Those first Boogies launched one of the most respected names in guitar amplification. Now known as the Mark I, Smith’s amps were soon a favorite of plenty of well-known guitarists.
The Boogie has had multiple variations and feature sets over the years. Each one was given a numeral to differentiate its designs, and the Mark II, with its tighter, more aggressive tone, is where the heavy metal world took notice.
One band, in particular, would launch themselves and the amps to incredible heights after stopping by Smith’s shop in the 1980s.
“Metallica, I remember them coming up,” laughs Smith. “They were young guys. They came up to the factory and grabbed some IIC+s. That was it. That was what they were looking for sonically. They said, ‘Okay, this is what we’ve been hearing in our heads.’”
Smith never considered his Boogie to be a heavy metal guitar amplifier,, but the enormous Mark IIC+-fueled success of Ride the Lightning and Master of Puppets changed that forever.The Amp Modding Craze
Together, the JCM800 and Mesa’s Mark series kicked off a new era in guitar amplification. But, as is always the case, players still wanted more. Many players even modified their amps in search of new, heavier tones.
Before long, the amp-modding community had grown into its own industry with famed amp techs such as José Arredondo, Lee Jackson, and César Díaz squeezing the most tone and gain from the circuits as possible. Those modded amps were the go-to high-gain rigs for everyone from Steve Vai and Paul Gilbert to Alice In Chains’ Jerry Cantrell.
The modification game became so popular, and the modders so well respected, that many began producing their own amp designs. Brands like Bogner, Friedman, and Rivera are just a few that owe a lot of their early success to the mod craze. Even Mike Soldano got in on it.
“I did Marshall mods just like all those other guys,” he admits. “As I started gaining notoriety around L.A., people would bring me their Marshalls and say, ‘Hey, can you make my Marshall sound like this?’”
The Soldano SLO-100
Mike Soldano says he built his first high-gain amp for himself, but soon learned that other players wanted one too.
Soldano’s notoriety was well-earned. As the father of the Soldano Super Lead Overdrive (SLO) 100, many credit him for starting the modern high-end, high-gain tube-amp market.
As a young guitarist, he had faced the same gain-to-volume dilemma that plagued all aspiring rockers of the time. An early adopter of Mesa’s Boogie amps, he thought he had solved the issue, but while the Boogie had a high level of gain, it wasn’t a “high-gain amp.” Unsatisfied with the Mesa and wanting to avoid wrestling with a non-master volume Marshall, he built his own.
“I already knew what I wanted my guitar to sound like,” he says. “I heard it on records, but I knew they were getting that with post-effects and using plexis and big, giant rooms with the volume cranked to 11. I was determined to create an amp that would give me that sound at any volume, at any time, in any place.
“I got a bunch of old radio manuals from the ’40s and ’50s, and every night when I’d come home from work, I’d sit in my room and tinker around, build circuits, and try different things out.”
Soldano was excited about his new creation, but it was other guitarists’ reactions to the amp that told him he was onto something special.
“In order to crank the thing up, I needed to take it down to my friend’s rehearsal space. Every time I did, everybody in the place would start flocking to the room, and they’d be like, ‘What are you guys playing in there? I want to try it!’ I realized then that that sound wasn’t just the sound I wanted. There were other people who wanted it, too.”
“I already knew what I wanted my guitar to sound like…. I was determined to create an amp that would give me that sound at any volume, at any time, in any place.” —Mike Soldano
It took a while, but eventually, Soldano’s new amp started turning the heads of all the right people. “When I first got to L.A., I met Howard Leese,” he remembers. “The next morning, I shot out to meet him at Rumbo Recorders and took my amp with me. He plugs it in, plays about two notes, and he’s like, ‘This is awesome, I'm buying this.’ Then, this guy Tony managed to get an amp in front of Steve Lukather, and Steve went nuts for the thing. Then, I was checking my message machine one day, and there were calls from Lou Reed, from Vivian Campbell, and from Michael Landau. They all were asking about that SLO!”
If the JCM800 started high-gain amps, the SLO-100 was the first tube amp designed for the job. It completely changed the amp industry, and, like Leo Fender’s Telecaster, it remains an industry standard that's largely unchanged today.
The German High-Gain Explosion
Inspired by the SLO’s searing gain, sustain, and versatile volume control, manufacturers began cranking up their amps’ performance worldwide. Builders were finally delivering all the gain and control players wanted.
German makers like ENGL, Diezel, Hughes & Kettner, and L.A.-based Bogner made names for themselves with legendary high-gain heads like their Savage, VH4, TRIAMP, and Uberschall. For European metal guitarists, this was the dawn of a new era.
“The ENGL Savage was my main live amplifier for maybe seven years,” says Haunted guitarist, YouTube personality, and Solar Guitars owner Ola Englund. “Not too many other brands at that time could give you this insanely tight, modern metal sound without using a boost. You just hook up your guitar, and it sounds incredible.”The Mesa Rectifier Series
“The Dual Rectifier just completely proliferated all of the grunge years,” says Mike Soldano.
Between the Marshalls, Mesas, a flood of modded amps, and the amps coming out of Germany, the late ’80s and 1990s had a lot of high-gain to offer. Still, a new amp from a familiar face defined the next couple of decades.
“The (Mesa) Rectifier was the one in the ’90s,” Bowcott says, point blank. “The ’80s were the JCM800, and the ’90s were the Rectifiers.”
“The Dual Rectifier just completely proliferated all of the grunge years,” echoes Soldano. “There wasn’t a band out there that wasn’t playing a Rectifier.”
“We had no expectation that the Rectifiers would end up being so popular.” —Randall Smith
Today, Randall Smith’s Mesa Rectifiers are definitive high-gain amps. Everyone from Metallica and Korn to Soundgarden and Cannibal Corpse uses them to create the heaviest tones in rock history. So it’s surprising they were designed by someone more Santana than Sepultura. According to Smith, he was as surprised as anyone.
“We had no expectation that the Rectifiers would end up being so popular,” he said. “It was to the point that we had to fight that image. Players are like, ‘Mesa, those are the high-gain metal guys. I’m not interested in that.’ But it was only one product! (Laughs)”
The Peavey 5150 And Beyond
The Peavey 6505 and EVH 5150 are both descendants of the original Peavey 5150 designed by Eddie Van Halen and amp designer James Brown.
While Mesa’s Rectifiers had no equal in terms of popularity, one amp did give it a run for its money in impact and aggression: the Peavey 5150. Created by amp designer James Brown and Eddie Van Halen—who had been playing SLO-100s—the 5150 quickly transcended classic-rock heroics and laid the foundation for a new breed of extreme high-gain tone.
Machine Head’s Burn My Eyes was arguably the first release to put the amp on the metal map, while producer/engineer Andy Sneap’s legendary use on countless records cemented it in place. Bands like In Flames, Killswitch Engage, and Arch Enemy also used the amps to great effect.
“The 5150 was probably the most aggressive amplifier out there,” says Englund. “I remember it was either the 5150 or the Rectifier, (those were) the ’90s choices right there. If you played in a serious metal band, it’s one of these.”
Like the Rectifier, the 5150 has seen multiple tweaks and changes since its inception. The most notable came when Eddie took his 5150 trademark to Fender to launch EVH and the 5150 III amp line. Not wanting to drop one of the most popular high-gain amps ever, Peavey gave theirs a facelift and renamed it the 6505. The world lost a hero when Eddie passed away in 2020, but he left us with two amp lines that will go down in high-gain history.
Solid-State High Gain and Dimebag Darrell
The ’90s and 2000s were all about high-gain tube heads. But a handful of solid-state and hybrid amps also drove some of the era’s most intense music. The most famous of these amps was the Marshall Valvestate 8100. While many players denounced its cold, toothy voice, Bowcott says others built a career around it.
“Marshall came out with Valvestate in the early ’90s, and people like (Prong guitarist and singer) Tommy Victor adopted that amp. It was his sound on ‘Snap Your Fingers, Snap Your Neck.’”
Victor wasn’t the only one using the 8100; it’s also the sound of Static-X's Wisconsin Death Trip and, reportedly, shaped the sound of early Meshuggah. No other 8100 player, however, is credited with having the influence and savagery of Death’s Chuck Schuldiner. Plugging into his 8100, he’s widely regarded as creating death metal.
Of course, there was one other high-gain hero who more than deserves a mention when it comes to ’90s solid-state. Pantera’s Dimebag Darrell and his Randall RG100 and Century 200 amps sounded so heavy, singular, and next-level that few have even tried to cop his sound.
“Dimebag had the most distinctive metal tone, and I don’t think anyone has managed to break that,” comments Englund. “It was his and no one else’s. He would just overdrive it to hell and back and add all these doublers and flight flangers and stuff. That was a solid-state tone right there.”
The Rise of Digital Modeling
The legacy of the Line 6 Pod lives on, elevated to stages everywhere, in the Helix.
How guitarists get their high-gain tones has changed drastically over the years, and that’s never been more true than in the last couple of decades. Instead of walls of amps and 4x12 cabinets, these days, we get remarkably similar sounds from compact digital rack and floor processors. Evolving from the original Line 6 POD, digital modeling now defines this era of guitar.
Initially relegated to practice tools for home use, starting in the late 2000s, bands like Periphery and Animals As Leaders have increasingly embraced modeling units like the Fractal AXE-FX, the Kemper Profiler, the Neural QuadCortex, and Line 6’s flagship Helix. The bands’ pristine tones, impressive musicianship, and pummeling riffs opened the floodgates of high-gain for a new generation. They’ve established modeling as a legitimate tone tool for professionals and even won over old-school rockers like Bowcott. “There’s some amazing stuff out there,” he says. “You can argue that there’s never been a better time to be a guitar player, apart from maybe decision paralysis.”
The impact of digital amp modeling can’t be overstated. Whether a physical unit or the countless inexpensive software amp sims, they all sound realistic, respond remarkably well, and open a world of routing and control options. They’re so prevalent that many younger guitarists have never even owned a tube amp.
Tube Amps and Impulse Responses
The Revv G20 is one of a growing number of modern lunchbox-style heads with IR capabilities combining portability and high-gain tone.
So, will digital modeling actually kill high-gain amplifiers? The consensus is probably not, but tube amps do have to evolve. The answer may lie in impulse responses (IRs).
Impulse responses are digital snapshots of real speaker cabinets and microphones loaded onto a modeler or computer. They let you hear a well-recorded cab without plugging into an actual speaker.
More and more brands are adding IR capabilities to smaller, lunchbox-style tube amps. Heads like the Revv G20 and ENGL Ironball Special Edition are pioneering this approach and striking the perfect balance of tradition and convenience. Randall Smith is a fan, and Soldano even joined the party with his Astro-20.
“I think it’s a great evolutionary step. That’s ultimate if you ask me,” says Smith. “The important thing is that you have your tube amp. You’re not sacrificing that in order to get the virtues of digital and modeling.”
Soldano echoes Smith’s enthusiasm, saying, “I think for home recording, it’s going to completely take over. It’s a perfect recording amp. You can set this thing on your desktop. You don’t even have to plug in a speaker cabinet. You can run it straight into your digital mixing world, and you can bring up these different IRs. You can do amazing stuff without even a single dB of sound in the room.”
Long Live High-Gain Tube Amps
Hybrid tube designs are helping ensure a bright future for high-gain tube amps. Still, Soldano, Smith, Englund, and Bowcott agree that tube rigs weren’t going anywhere anyway.
“On any Friday night, in any bar in any town, you’re still going to see some guy up there or some gal with a 50-watt half stack rocking it out,” says Soldano.
“The metal community, they still want moving air,” adds Englund. “That's something that can’t be modeled. You can’t explain it, but when you stand in front of an amplifier, it’s so easy to justify.”
Bowcott also agrees but says the experience extends beyond plugging in. “I remember, back in the day, going to see Diamond Head and Judas Priest. They had that huge wall (of amps) that, before they played a note, you’re like, ‘This is going to be cool!’ There was something visually visceral.”
High-gain tone has taken many forms over the decades. From Iommi’s influence to the tech-death insanity of bands like Archspire, it’s forever part of the electric guitar lexicon. As it evolves, so do the tools we use to achieve it.
Nothing will replace the physical interaction of a cranked tube head. At the same time, nothing today matches the convenience and possibilities of digital modeling. Then again, maybe the hybrid approach is the future. Whatever's next for our favorite heavy sounds, there are still plenty of legendary builders, technological innovators, and boundary-pushing players working hard to ensure high-gain guitar tone is here to stay.