Looking for this year's hottest guitar gifts? Look no further than the 2021 Holiday Gift Guide!
Premier Bedford SH
The Bedford SH—previously only offered as a Deluxe Limited Edition model—is now available in the Premier Series. Featuring a sleek, modern f-hole design on the upper bout, the Bedford SH integrates a warm acoustic element into a three-pickup electronics configuration that offers a bold variety of tones. The combination of two Duncan Designed single-coils in the neck and middle positions followed by a Duncan Designed mini-humbucker in the bridge creates a uniquely bold, but familiarly spanky tonal palette while a 5-way blade makes tone selection simple. Available in Oxblood, Black Flake and Sky Blue with a six-point tremolo.
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D'Addario XS
D'Addario XS Acoustic Phosphor Bronze strings combine our most popular acoustic alloy with our most advanced string coating technology, resulting in clear tone, smooth feel, and superior tuning stability – all with the longest possible string life. With its ultra-thin film coating on every wound string and a unique polymer treatment on the plain steels, XS offers our highest level of protection for maximum life. XS also features NY Steel high carbon core and plain string wire, and our exclusive Fusion Twist, for incomparable break strength and tuning stability.
MicroPitch Delay
MicroPitch Delay is the 'secret sauce' heard on countless hit records. The pedal features dual pitch-shifters with fine-resolution de-tuning and modulation combined with delay in a delicious red package. Popularized in the H3000 Harmonizer®, MicroPitch Delay allows musicians to achieve subtle tone fattening, lush stereo widening, rich detuned delays, thick modulation, and tempo-synced special effects. It also features onboard tone controls with mono or stereo operation, MIDI, preset storing, and most importantly a new compact, easy-to-use interface.
Soul Press II
Soul Press II is a next-gen product in the Hotone Press series pedal line. It's new-designed upgrade based on the popular concepts of both the Soul Press and Vow Press. It integrates up to four function modes (volume, wah, volume/wah, expression), taking playability to new heights. The pedal position indicator shows the pedal position in real time. The TONE mode selection and Q value adjustment represent an absolute improvement in tone and functionality. Multiple I/O options provide more diverse access. The reimagined pedal size maintains portability while delivering an optimal ergonomic experience. Soul Press II is a truly versatile wah pedal.
Blackstar Dept. 10 Pedals
Dept. 10 is the Blackstar R&D team responsible for blue sky innovation and design; they have developed the world's most advanced valve pedals. Dept. 10 pedals all use an ECC83 triode valve at their heart, running at more than 200V internally which allows them to deliver organic tone, dynamics and break up. Innovative design, premium components and our advanced Cab Rig D.I. technology, create the ultimate valve pedals. The Dept. 10 Dual Drive and Dual Distortion pedals both offer two channels, each with two available voices, as well as important features for modern guitarists such as USB audio out for direct recording. And the Dept. 10 Boost's built-in buffer / line driver is perfect for preserving your tone when using long cables, or large pedalboards, or for pushing your amp into further saturation.
Floating Guitar Stand
PRS Guitars floating guitar stand is the perfect way to display your favorite guitar. Its sleek, minimalist design lets the stand disappear allowing your favorite guitar to take center stage!
Our Engineers have carefully helped in the design of this stand to make sure it is stable and safe for your favorite instrument.
Design features:
• Heavy Duty Construction
• Fits most acoustic and electric guitars
• Heavy weighted base ensures the stand will not tip over
• Three-pointed base engineered for maximum stability
• Nitro-friendly foam head stock cradle
Compadre
Compadre is a studio-quality analog compressor pedal, capable of shaping the tone of your guitar or bass in subtle or extreme ways. Two distinct voices provide you with either smooth and transparent compression or vintage squeeze, and both have independent dry signal control for retaining natural attack. For those times you need just a bit 'more', simply hit the Boost switch to add a variable clean or soft-clipped dirty boost, with 3 EQ choices for added tonal flexibility. With 300 presets and full control of each function via TRS MIDI, Compadre is like no other compressor pedal on the planet.
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GS Mini-e Koa Plus
Taylor's portable, reduced-scale GS Mini acoustic guitars have long been popular with guitarists for their inspiring blend of playability and rich tone. With a much bigger voice than its small size would suggest, the GS Mini-e Koa Plus might be the most enticing GS Mini Taylor has ever built, thanks to a solid Hawaiian koa top and layered koa back and sides. The solid top brings projection and articulation that balances warmth with clarity, resulting in a bold response that's more than capable of handling everything from at-home practice to jam sessions with friends and more. A gorgeous dark stain with a subtle matte finish draws out koa's natural beauty, while the built-in ES2 electronics make it easy to plug in and play anywhere there's an amp. The GS Mini-e Koa Plus ships with a super-durable Aerocase that offers all the protection of a hardshell case at one-third the weight.
TAD 6L6GCM-STR REDBASE™ PREMIUM Selected
As the first tube of the new TAD REDBASE™ series, the TAD 6L6GCM-STR REDBASE™ has a powerful but always well-defined bass range, with clear, silky and transparent highs - offering plenty of headroom.
In every setting, the TAD 6L6GCM-STR REDBASE™ responds directly and with great dynamics, from soft and warm to punchy and powerful, without ever losing detail or depth.
An effective upgrade
The TAD 6L6GCM-STR REDBASE™ is the recommendation for lively clean sounds as well as powerful broadband multi-channel amps. This makes the TAD 6L6GCM-STR REDBASE™ an effective upgrade for virtually any amp that uses 6L6GC or 5881 tubes.
Amonito Guitar Amplifier
Amonito is a guitar amplification system that brings together boutique guitar effects, an incredible sounding tube analog circuit, instant switching between presets, and a quality loud sound monitoring system all in one extremely light package.
At the heart of Amonito is the main analog circuit, a combination of 12AX7 and 12AU7 tubes and MOSFETS all running on 300 V for ultimate dynamic range and feel. A powerful DSP gives you effects like reverb, delay, chorus and tremolo. For ultimate versatility, DSP is also placed before the tube circuit, and dozens of relays transform it into one of the most versatile tube circuits on the market.
Given how complex the system is, it is remarkably simple to use. Amonito features a custom user interface that offers versatility and programmability without the need to read the manual.
A new concept of guitar speaker placement gets you incredible sound on stage, and with dedicated outputs for the PA, the audience will enjoy great sound too. Carbon fiber or aluminum cabinet and one of the best 8inch speakers on the market make heavy amps a thing of the past.
You no longer need to choose between the quality, warmth, and ease of use of a tube amplifier and the versatility and lightness of modern guitar systems. With Amonito, you get an all-in-one system that not only makes your pains go away, but lets you enjoy your instrument the way you should – with an amazing sound.
G7th Performance 3 Capo
The G7th Performance 3 Capo is the culmination of years of designing, tweaking, and improving - but most importantly, listening to guitarists and their views on what a capo SHOULD do. Now, coupling our Unique Tension Control system with the groundbreaking ART string pad mechanism gives a near-perfect capo experience.
Adaptive Radius Technology
The Performance 3 capos are outfitted with the patented Adaptive Radius Technology (ART) string pad — a feature found exclusively in G7th capos. The string pad adapts to the curvature of the radius, letting you enjoy unparalleled tuning stability on virtually any guitar. With ART, a single capo gives you the confidence to play without string buzz or tuning issues. But you should still probably get one for every guitar case.
Unique Tension Control
The patented Unique Tension Control system has won the praise of guitarists since the launch of the first Performance capo in 2004. Easy and intuitive, you simply squeeze with minimum pressure to attach the capo and squeeze the lever to release the capo. And you'll only find this exclusive feature on the G7th Performance capo line.
And to back all of this up, every G7th capo is covered by a Free Lifetime Warranty.
"...the Performance 3 is one of the rare capos that makes me forget I'm even using a capo—which is kinda the point, right?"
Jason Shadrick, August 2, 2019. Premier Guitar Gold Gear Award
That's why we say – G7th is The Future of Capos.
ICON Gig Bag By Gator Gases
The new Gator Cases ICON gig bag provides the protection you need in a beautifully sleek form that travels easily and comes packed with everything you need.
Equipped with a highly durable, semi-rigid construction, the ICON bags can withstand extreme pressure and mishandling and have endured multiple stress tests.
These feature-packed showstopper bags come fitted with multiple layers of protection and plenty of accessory pockets, handles, and adjustable, stowaway backpack straps to ensure comfortable transport. Every detail has been thought through, from the hidden secret pocket for your travel documents to the custom-fit rain cover and a convenient bottle opener where you need it most. This bag is your ultimate travel companion.
Inside the bag, you'll find adjustable neck and body blocks to keep your instrument safe during movement and a QR code for quick product registration and tracking so it won't get lost.
Give your guitar the protection it deserves with the ICON Series by Gator.
OverDrive II
In the quest for great musical tone there is always the potential to create something great. Here at Greedtone the mission is to make the best sounding equipment.
The Greedtone Overdrive II is different to the millions of other overdrives on the market because it's designed around the professionally trained ears of Greg Williamson, a sound engineer for some of the worlds largest bands (Foo Fighters, Sunny Day Real Estate).
This pedal has plenty of volume on tap (4 Volts) in order to push your amp into its natural happy place. This is one of the loudest overdrives ever made.
The gain stage is designed to not just clip the signal giving great rock through to metal tones, it's also designed to bring out the sparkle and harmonics of your guitars natural tone. This is due, in part, to the extremely high end hi-fi audio components used.
The "Greed" control is where things start becoming crazy, this beast of a control begins feeding extra bass into the gain section of the pedal. This essentially allows you to shape which frequencies receive more attention from the gain stage.
The results are so extremely wide ranging as turned right down you have yourself a great rocking overdrive pedal BUT when you start diming this knob into an overdriving amp you enter a world of Sludge and Doom as yet unheard of.
With the MORE switch a second stage of distortion is at your disposal. The Greedtone OD is considered a double drive pedal.
Island Instruments
Celebrate 10 years of Island Instruments with luthier Nic Delisle and the commemorative Decade Edition Forty-Four. This limited edition of 5 instruments recalls the spirit and aesthetics of the initial run of guitars that launched the company. Built from domestic and reclaimed woods, and with a powerhouse of a blade P90 custom-wound by Mojo Pickups UK. This time it's on the flagship Forty Four model, featuring a compact comfortable body and a beefy flamed maple neck with buttery feeling hybrid soft V-C carve. Subtle details like custom-machined raw brass hardware, brass nut, EVO frets and ivoroid binding complete the package. Island Instruments is a one-man operation and you can get in touch with Nic directly via his website, Facebook or Instagram to inquire about the remaining guitars or for all your custom-crafted desires.
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Voice DC30 Guitar Amplifier Plugin
Voice DC30 Custom Valve Guitar Amplifier plugin is modelled after a vintage VOX AC30 Top Boost Reverb characterised by its "jangly" high-end sound that's become widely recognized by British musicians and others.
Voice DC30 Custom Valve is capable of both enchanting clean and raucous overdriven sounds, the signature chime of the Voice DC30 Custom Valve pairs seamlessly with the intricacies of your playing style, resulting in a sound that is truly your own.
The Voice DC30 has a separate brilliant channel. This has been achieved by adding a gain stage and a 'cathode follower´ stage, thereby dropping the impedance and bringing up the current and adding Bass/Treble controls to this channel.
The brilliant channel with optional top boost is placed after the volume control section and before the phase inverter. This means you can shape the sound after the distortion.
The Vib-Trem channel offers a choice between vibrato (wavering pitch) and tremolo (wavering amplitude). A rotary, three position Speed switch adjusts modulation rate.
The String Sling
The String Sling not only protects your guitar strings, but it also turns into a comfy guitar strap in seconds!
Reinforced loopholes and top of the line fabric provide stable and secure attachment to your guitar when used as a strap.
Our capo pouch is measured to snuggly hold all standard guitar capos, whether in the strap or protection configuration.
Premium Japanese elastic adds that extra sling that makes this strap stand out while offering the best strength on the market.
Triple fastening layers under the featured button, lock the strap attachment firmly into place.
Extra-wide Velcro® allows for a tight wrap around all standard guitar necks. We suggest keeping it tight to prevent the oxidation of your strings. You'll be able to see how well it protects your strings after taking it off for the first time and seeing the outlines.
String Sling's premium microfiber cloth, used by companies like Fender, are used not only because they are made for this but because it's so versatile. We just happened to find one more use – perhaps its best!
That same microfiber cloth that makes up String Sling's belly, can be used to wipe down and dust off your guitar. It's the perfect buffing cloth you'll never lose or need to replace.
The hidden pick pouch is both sturdy and large enough to hold your picks, yet tight enough that you're not digging.
Pursuit Exotic S Concertina Tiger’s Eye CE
Myrtlewood, while native to Oregon's Pacific coast, might just be the most 'exotic' of all tonewoods, capturing the deep bass of rosewood, the pure warmth of mahogany and the sweet, glassy treble of maple in one exquisite, visually enchanting package—here under an equally captivating tortoise-bound Tiger's Eye gloss finish. This sustainable acoustic-electric Pursuit Exotic S Concertina has all the charm of a vintage short-scale 12-fret parlor guitar, but with a full, punchy modern sound and maximum playing comfort. A fast, slim neck and soft cutaway access to every fret let your fingers, and your heart, have their say. Sound better than ever with Breedlove's earth-conscious, sonically superior EcoTonewood technology. Get fierce with a Tiger's Eye!
ACS1 Amp + Cab Simulator
The [ACS1]™ is an amplifier and speaker cab simulator delivering the sound and feel of world-class amplifiers, complimentary speaker cabinets, and controllable room size. With the ACS1, players have expansive options to deliver their tone whether it's on stage, in the studio, or practicing at home. Simple controls, stereo in and out, onboard presets, and MIDI support make the ACS1 an immeasurable tool in a guitarist's arsenal.
The ACS1 models three vintage amp styles crucial to music industry history designated by their places of origin. When running the ACS1 in stereo, one amp can be used through both channels or mix and match amps and cabinets on the left and right channels with the L + R switch.
Players can also load in their own IRs and update firmware at walrusaudio.io
Foxy Tone Box
What do the guitar stylings of Billy Gibbons, Peter Frampton, Adrian Belew, and Beck all have in common? A small but mighty fuzz pedal that goes from mellow to mayhem real quick. The Warm Audio Foxy Tone Box is the most accurate reintroduction of one of the most sought after and beloved fuzz pedals of all time. Covered in thick velvet just like the vintage pedal, the Warm Audio Foxy Tone Box faithfully recreates the vintage circuit and brings you the huge tone, octave-up sounds and look of the original plus true bypass for the purest signal flow on modern boards. Foxy Tone Box uses NOS2 N3565 Fairchild Transistors, carbon resistors, Germanium 1N34A diodes, and premium film capacitors to bring the fury of the vintage pedal to the present day. Foxy Tone Box houses a very workable fuzz circuit with controls for volume, sustain, and "fuzz" (tone) which runs from mellow to brite. The tone control makes it easy to switch from single coil to humbucking pickups without missing a beat. The sustain control turns your solos from choppy bitcrushing madness to liquid metal that would make Tony Iommi proud. To get the full experience of Foxy Tone Box, engage the octave effect and channel your inner Hendrix to wake up the neighbors and melt faces. Electric guitar is the obvious application, but try it on synthesizers, drum machines, bass, acoustic/electric, and more. Get or give the gift of fuzz this holiday.
Jet Phaser
Are you ready for a roaring call back to an earlier time where one pedal delivered fuzz, phaser, and a jet-engine swirl together in perfect harmony? Countless performances from people named Gilmour, Van Halen, and Isely plus iconic recordings from Kool and the Gang, Steely Dan, and Herbie Hancock put this pedal sound on the map. The Warm Audio Jet Phaser is a true reproduction of this famous pedal. This six-mode pedal gives you phaser, fuzz, and boost - all in one enclosure with true bypass. Use "phase" modes 1 or 2 to get traditional phase sounds with depth controls. For the bold, use "Jet" modes 1-4 to add fuzz, with bright and dark fuzz controls combined with deep and shallow controls for phase. This faithful recreation uses premium components throughout, including carbon film resistors and film capacitors. Living up to the sonic legacy, Jet Phaser delivers the infamous 'Jet' phase sound resembling a jet engine during takeoff. Your solos will have your band mates, fans, and engineers asking - "who's that pedal?" If you've ever chased this mythical sound for stage or studio, there's only one way to get there this holiday - the Warm Audio Jet Phaser.
Mod Electronics Seismic Shift
The Seismic / Shift is a JFET boost based on one of the earliest effects to ever be used on stage. This pedal adds subtle color to a guitar's sound while maintaining the natural tone of the guitar. It packs a serious punch that can cut through any mix when soloing or whenever some extra "umph" is required. The Seismic Shift pairs nicely with amps and other pedals. Place it ahead of tubes, preamps, overdrives, distortions, and fuzz pedals to shift your gear onto a new level.
The Seismic / Shift pedal kit is the introduction to the Nexus Series from Mod® Electronics. This series features a PCB base rather than the Mod® Electronics' traditional point-to-point wiring kits to offer builders an even wider variety of effects to build. The Seismic Shift kit is designed for all skill sets and is the perfect first build for those unfamiliar with PCB construction.
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Volt Power Supply
Don't step on stage without the Ernie Ball Volt Power Supply. For musicians on the move, this ultra-compact, road-ready unit puts a complete powering solution in the palm of your hand. Connect all your favorite digital and analog pedals to multiple high-current DC outputs for clean, regulated power. Relax and rely on thermally protected, short-circuit-proof design with ultra-low noise operation. When the road calls, the Volt demands a place on your pedalboard.
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Lindy Fralin's Customizable Prewired Pickguard
Don't just settle for some one-size-fits-all generic pickguard. Instead, design your own! Lindy Fralin's Prewired Strat Pickguard line features the highest quality parts - and pickups - in the industry. Built to order and wired by hand by experienced craftsmen, these Prewired Pickguards are available in SSS and HSS combinations. In addition, each pickguard is fully customizable - from appearance to pickups to the wiring. With hundreds of options available, you can fully customize your tone - from our award-winning pickups to cutting-edge push-pull mods. So treat your Strat® to something special this holiday season with a Lindy Fralin Prewired Pickguard - exclusively available at fralinpickups.com.
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Guitar Slip No More
Guitar Slip No More, GSNM is the new electric and bass guitar accessory designed for the seated guitarist. GSNM is form fit to the bottom rail of your guitar and prevents the guitar from slipping and improves guitar balance. Anytime a guitar is in your lap is the right time for a GSNM! Buy yours today!
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Kingston Super and Kingston Z
For the discerning player in search of a handmade look and sound, we have the MTD Super and Z Series, which incorporates many of the superior design elements present in MTD Handmade instruments, into a production model. Powerful electronics, premium finishes, and a sleek carved body, make the Kingston Super and Z models the perfect combination of beauty, brawn, and tonal flexibility.
Kingston Z5(Tobacco Sunburst): $1800, Kingston Super5(Dr.Brown's Burst or Matte Black): $1525
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Oliver Mahogany Jr.
Looking for your next travel guitar? With a comfortable, ¾ size grand concert body, the Oliver Jr. is the perfect accompaniment for your next big adventure. Oliver Jr. sports a solid mahogany top with layered mahogany back & sides for a warm, balanced tone. Every Orangewood comes professionally set up before delivery, so your guitar is ready to play right out of the gift box. Plus, the Oliver Jr. includes a premium gig bag, so you can play anywhere inspiration strikes.
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Echo
With an iconic dreadnought acoustic shape, Echo's resonant voice is the perfect gift for your favorite singer-songwriter. Topped with a solid Sitka spruce top for a bold, crisp sound that delivers on stage, the Echo also features a natural gloss finish and stunning abalone detailing for a sophisticated aesthetic. The Echo Live comes equipped with a Fishman Flex Plus-T EQ System, featuring a built-in tuner and onboard volume/tone controls, to round out this acoustic-electric model that's perfect for performance. Plus, a premium gig bag and professional setup come included.
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Shubb Capo Royale Pāua Pearl C1P for steel string guitar
Shubb's latest endeavor is a continuation of their Capo Royale Series, utilizing their titanium-based PVD finish. Pāua is the Maori (native New Zealand) name for a species of abalone whose shells are the most beautiful and colorful. Luthiers often use Pāua shells for the inlays on their most special guitars. Fine jewelry crafted from the shells are known as Pāua Pearls.
When the R & D Department at Shubb came up with this new finish, its dazzling iridescence reminded them of Pāua pearls, and so that became its name. It uses the same durable titanium process as their other Capo Royale models, so its eye-popping, color-shifting
beauty will last practically forever. The renowned and reputable Shubb cam lever capo design has gotten a good dose of peacocking just in time for the holidays !
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i5 Professional Dynamic Instrument Microphone
You owe it to yourself — and your tone — to use a mic that will faithfully capture your guitar amp's sound. The Audix i5 Professional Dynamic Instrument Microphone is the perfect mic for guitar cabinets — on stage or in the studio.
Designed with a smooth cardioid pickup pattern for isolation and feedback control, the i5 microphone features a VLM™ diaphragm for natural, accurate sound reproduction. Sturdy, compact, and easy to position, the i5 has a wide frequency response of 50 Hz – 16 kHz. Clearly capture your sound without having to rely on EQ.
Take it up a notch by adding an optional CabGrabber™ mic clamp. The CabGrabber allows you to position the i5 easily and exactly where you want it on your cabinet.
Designed, assembled, and tested by Audix in the USA.
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Vidami Blue
The Vidami Blue is a revolutionary multi-modal tool that gives you hands-free control of today's most popular music and education technology. We've combined everything our customers love about the original Vidami with Bluetooth technology and iOS Safari 15 compatibility to give you hands-free, wireless control. Experience the freedom to learn and create at home, in the studio, or on the go.
Video Mode
Effortlessly Loop and Slow Down songs and riffs on more than *35 compatible Online Video learning platforms including: YouTube, FenderPlay, TrueFire, MartyMusic, Pickup Music and more.
Page Turning/TAB Mode
Easily Turn Pages, Scroll Tabs, Lyrics, and other functions on your favorite Digital Sheet Music apps and Tab sites like: OnSong, Ultimate Guitar Tabs, forScore, and others.
DAW Mode
Free your creative spirit as you Record, Loop, Add Tracks, Set Markers, and more on today's most popular Digital Audio Workstations including: GarageBand, Logic Pro, Reaper, Pro Tools, Studio One, Cubase & Ableton Live.
The Vidami Blue is currently compatible with iPhone and iPad on iOS 15 and Desktop Computers, Laptops & ChromeBooks
Tone Weal EG/EB-Series Guitar/Bass Amp
EG10
EG10 is compact, small, and loud, with a simple-to-use practice amplifier. It delivers great
tone for electric guitar with 10 watts RMS power and 5” speakers. Classic preamp circuit
and 2-band EQ with a clean tone and drive switch to add great overdrive sound.
Professional headphone socket for private practice.
EG15
EG15 is a compact, simple-to-use practice amplifier delivering great tone for electric guitar, with 15
watts RMS power and 6.5” speakers. Classic preamp circuit and 3-band EQ with
a clean tone and drive switch to add great overdrive sound.
The mini-jack AUX input allows for connection of a playback device such as
MP3/iPod/CD for jamming backing tracks, the headphone socket for private practice.
EB10
EB10 bass amp is astoundingly compact, portable, and lightweight, with great bass tone for
home studio and travel. The diminutive EB10 delivers 10 watts of pure bass tone. Small
and loud, its features include Tone Weal amp design with classic 5" speaker and three-band EQ,
making it a great practice amp.
EB20
The EB20 bass amp is ideal for practice or home studio play, with its great fat and warm tone, and
ease-to-use controls. The 20W bass amp features a 1x8" speaker and includes an aux. input,
headphone output, and three-band EQ in addition to standard volume and EQ controls. This unique
bass power amplifier is lightweight and easy to carry, suitable for small performances with 20W of
power.
EG10 $89 USD
EG15 $129 USD
EB10 $108 USD
EB20 $165 USD
JFX Pedals unveils the Mesquerfresquer, a 12-stage Phaser reminiscent of the classic Moogerfooger unit.
The Mesquerfresquer is designed to offer subtle tonal coloration or extremely deep phasing and contains multiple CV/Expression Pedal inputs and outputs. This allows each parameter to be manipulated and controlled simultaneously, while also providing modular interconnectivity between other Moogerfooger analog effects.
Pedalboard friendly: the Mesquerfresquer comes in a light and compact enclosure that is 35%smaller than the original! It maintains top-mounted jacks and is powered by a standard 9V(center-negative) adapter.
Each pedal is assembled by hand and tested personally by the Jordan Fresque himself.
The Mesquerfresquer 12-Stage Phaser features include:
- DRIVE: Adjusts audio input gain with three-color level LED
- BYPASS: On/Bypass switch with two-color LED indicator
- RESONANCE: Determines the height and sharpness of the peaks in the phaser frequency response
- RATE: Varies the LFO frequency from 0.01Hz - 250Hz with indicator LED
- LO/HI: Selects between the low LFO range (0.01Hz-2.5Hz) and the high LFO range(1.0Hz-250Hz)
- AMOUNT: Determines how much the LFO modulates the phaser sweep parameter
- SWEEP: Shifts the phaser frequency response over a six-octave range
- 6-STAGE/12-STAGE: Select between 6-stage and 12-stage phaser modes
- 1/4” CV/EXPRESSION PEDAL INPUTS: Rate, Amount, Resonance and Sweep
- 1/4” CV OUTPUTS: LFO
- Beautifully designed Japanese TAKACHI enclosures with quality hardware
- Made in Canada
JFX Pedals 12-Stage Phaser is now available for pre-order.
For more information, please visit jfxpedals.com.
JFX Revives the Moogerfooger 12-Stage Phaser | *GIVEAWAY*
These old-soul musicians smother their classy Fender and Gibson guitars with tasty tremolo and splashy reverb, creating a reverential sound that bridges smooth Motown and slick modernity.
In just seven years since meeting based on a recommendation, Eric Burton and Adrian Quesada formed the Black Pumas, released two albums, and have already been nominated for seven Grammys. However, this fruitful friendship was almost never developed.
Quesada was enrolled at the University of Texas but flunking out due to his dedication to guitar over textbooks. His parents gave him a proposition: Either stay home in Laredo, or return to Austin without a guitar in hand to focus on studying. He went with option B and headed back for school in Austin—or so his parents thought. Quesada took his remaining book money (about $200) and headed to Ray Hennig’s Heart of Texas, where he snagged a Squier Telecaster Thinline. His parents eventually figured out the switcheroo, but Quesada was determined and hasn’t looked back. (Side note: The family obviously sees and supports his musical talents, and attended Black Pumas’ Ryman show the night before the filming of this Rig Rundown.)
That matador move pulled off by Quesada allowed him to become a longtime fixture in the Austin music scene with bands Brownout, Ocote Soul Sound, Spanish Gold, Echocentrics, and Grupo Fantasma (with whom he played for over 15 years, earning a 2011 Grammy for Best Latin Rock or Alternative Album). He started to explore new ideas that didn’t fit the mold for Grupo, and needed someone to narrate his musical vistas. A friend recommended he link up with Austin newcomer Eric Burton, who traded his busking spot on the Santa Monica pier for the bright lights of Sixth Street. The duo met up, and as the results prove, the rest is history.
Before the Black Pumas’ second headlining show at the Ryman Auditorium in downtown Nashville, bandleader Adrian Quesada, bassist Brendan Bond, and band tech Bryan Wilkinson invited PG’s Chris Kies into the hallowed grounds for a chill conversation about their tonal tools. During our time with the Black Pumas, we learned about Quesada’s love for tremolo (he even included it as a secret weapon in a semi-hollow Jazzmaster), Bond’s fateful trip to the Wilco Loft in Chicago, and why a ’59 ES-125 is Wilkinson’s perfect pairing with Burton’s expressive and emotive voice.Brought to you by D'Addario:
https://ddar.io/wykyk-rr
https://www.daddario.com/XPNDRR
The Custom Shop Cracks the Code
Black Pumas’ 2019 self-titled debut was like a drug—it soothed, it hypnotized, it recalled the past, it burned slow, and it was an addictive listen. It helped the band tally four Grammy nominations. But in addition to all that attention, it caught the collective ear of the Fender Custom Shop squad, who wore it out for months—so much so, that the team built the above Telecaster. Their aim was to create a guitar that nailed Quesada’s tones on the album, and they surprised the Texan with it. He’s been in love ever since, and mentioned that he’s collaborated on two other Teles—having some input on specs and design—but neither sound as stellar as this one. This one-off Tele is a pairing of a ’60s-style T (sunburst finish with a maple fretboard, standard-sized headstock, small pickguard, and barrel knobs), and a ’72 Telecaster Custom (single-coil-and-humbucker pickup configuration). Since acquiring it, this Tele has been Quesada’s main guitar onstage. He puts D’Addario EXL125 XLs (.009 –.046) on all his guitars, and uses Dunlop Tortex picks with custom printed Black Pumas graphics.
Lucky Loaner
The guitar that Quesada used the most prior to Black Pumas was a Gibson ES-446 that marries a 335 with a Les Paul. He loved its woody core tone and its humbuckers’ ability to lasso fuzz in a musical way. He’s retired the steed to the sanctuary of the studio, but stills requires sinewy sounds, so he checked in with Gibson to borrow a 335. They didn’t have one available but gave him this 345, which has proven a dependable sidekick punching in for time onstage and in the studio. Quesada mentions that the Varitone switch is useful for the studio, but he leaves it in position one (bypass) for Black Pumas’ sets.
A Puma and Jaguar Walk Into the Ryman...
And they sell it out two nights in a row! This fresh feline is the result of another partnership between Quesada and the Fender Custom Shop. He wanted another thinline instrument, but already designed a Tele, so he gravitated to the popular offset body style. The alder body with a natural finish is a nod to his first Squier Tele. The pickups are a custom gold-foil (adorned with a coy puma hood) in the bridge and a covered ShawBucker. It features a Fender American Vintage Jazzmaster bridge and tremolo. A striking bound rosewood fretboard with block inlays sits atop a maple neck that is capped with a blacked-out headstock. The 4-bolt neck plate honors Quesada’s Electric Deluxe with the recording space’s logo.
The real magic in this cunning cat is where the Jazzmaster’s rhythm circuit is supposed to reside. In its place is a tremolo circuit because Quesada cooks his tone in that effect like it’s salt and pepper. In 2022, he confessed to PG, “I love everything with tremolo. I put tremolo on everything,” so we should’ve seen this coming. The rocker switch toggles the tremolo on and off, and the two rollers control speed and depth.You're My Boy, Blue!
Adrian adores Fender amps. His Austin-based recording studio is loaded with noteworthy models from the company’s golden years, yet he proudly tours with a Fender Limited Edition Electric Blue ’68 Custom Deluxe Reverb reissue. (It’s worth stating that a proper ’72 silver-panel Deluxe Reverb was in a road case.) The bright tolex covers an otherwise standard circuit, however the stock combo did have a Celestion Creamback in it. But when Quesada’s tech Bryan Wilkinson found and landed the score for his boss off Craigslist, it had been modded with an Electro Voice SRO Alnico 12" speaker. Adrian loved how it sounded, so it stayed in, and he’s been using the combo on tour ever since.
Adrian Quesada's Pedalboard
We’ve established that Quesada lays on some tremolo any time his guitar is plugged in, but another stompbox spice he rarely avoids is reverb. He does acknowledge that amp reverb, especially from Fender combos, is tasty, but having it in a pedal format allows fine-tuning from gig to gig and room to room. Doing the heavy lifting for both effects is the Strymon Flint. (Adrian mentions that he turned Alejandro and Estevan of Hermanos Gutiérrez onto this staple, found on both of their boards.)
The other stomp stalwart has been the Electro-Harmonix Holy Grail that provides a healthy dose of spring reverb. Both ’verbs are engaged for drippy songs like “Fire.” He has a pair of delays: a Line 6 Echo Park used for its tap tempo function, and a Catalinbread Echorec for longer, dreamier repeats. The Boss GE-7 Equalizer works to match the different outputs between his three main instruments. A Catalinbread Belle Epoch preamp/buffer pedal replaced an Xotic EP Booster because it has a second knob for preamp for more detailed contouring.
Any growl or sizzle Quesada needs for his Tele and Jazzmaster, the EarthQuaker Devices Park Fuzz handles it. The Fulltone Clyde Wah Deluxe has stepped in for a different filter sweeper because Adrian digs its full-sounding throw that stays warm from heel to toe. A Jam Pedals Ripple two-stage phaser gets used on a track from Chronicles of a Diamond, and a TC Electronic PolyTune2 Noir keeps his guitars in check.
His second board (bottom) bypasses the amp and was specifically built to play roughly with Quesada’s 345, recreating a guitar-into-console overdrive sound that gets pumped into the onstage monitors and PA. To capture that crackly goodness, he runs the 345 into a combination of pedals including a JHS 3 Series Delay, a JHS Crayon, and an Electro-Harmonix Nano POG. Utility boxes on here—Strymon Ojai, JHS Mini A/B, and TC Electronic PolyTune—handle switching, tuning, and power.
P for B
Black Pumas bassist Brendan Bond had the good fortune to hang out at the Wilco Loft in the Irving Park neighborhood of Chicago. He quickly bonded with an old P bass that preoccupied most of his time in the space. Up to that point, his fingers have mostly danced around newer basses, so the allure of vintage gear never tempted him. That all instantly changed (“It was like I was playing a different instrument,” he commented), and when he landed back in Austin, Texas, he took a car right to Austin Vintage Guitars, where he landed this 1974 Fender Precision bass. It’s been his main sweetheart ever since. He puts D’Addario ECB81 Chromes Flatwounds (.045 –.100) on it, and always plays with his fingers in Black Pumas.
Tube Time
Bond has toured with lightweight, class-D bass amps, but now given the opportunity that his own back doesn’t have to lug the gear, he’s bringing out the big guns in the shape of an all-tube, 6550-powered Fender Super Bassman that hits a matching Bassman 410 Neo cab.
Brendan Bond's Pedalboard
Three pedals get the job done for Bond: an Acme Audio Motown D.I. WB-3 Passive D.I., a JHS Colour Box, and a Boss TU-3 Chromatic Tuner.
A '59, But Not That '59
Black Pumas’ singer/guitarist Eric Burton started his career busking in Santa Monica. He’s always accompanied himself with an acoustic guitar, but as the Black Pumas formed and took off, he needed something louder, which pushed him into the hollowbody and semi-hollowbody realm. His main collaborator has been this 1959 ES-125 that is all original and still has its purring P-90. He uses it for the Pumas’ songs “Colors,” “Stay Gold,” “Fast Car,” and “Tomorrow.” Burton’s guitars take D’Addario NYXL1149 Nickel Wounds (.011 –.049).
Stealth Cat
For songs needing more gas and go, Burton will dance with this stock ES-335.
Regal Prince
This prototype was born from conversations with the Fender Custom Shop, who took inspiration from Eric’s connection with hollow and semi-hollow instruments. The Telecaster Thinline has a few special appointments, including a sparkle-purple finish offset with gold hardware and an anodized gold pickguard, conjuring thoughts of the president of Paisley Park. The other interesting bit is the hot P-90 in the neck position.
Mighty Mate
Burton plugs all his guitars into an off-the-shelf Fender ’65 Princeton Reverb.
Eric Burton's Pedalboard
Burton is the band’s lone wireless member. To accommodate his onstage prowling, tech Bryan Wilkinson uses a Radial JDI passive direct box that takes in the XLR from the audio subsnake wireless rackmount and routes it into the first pedal Boss TU-3 Chromatic Tuner. From there, Burton only has a couple pedals—a DigiTech Mosaic to mimic a 12-string for “OCT 33” and a JHS Colour Box for any required heat. A Strymon Ojai turns everything on.
Shop Black Pumas' Rig
Gibson ES-345
Fender ’68 Custom Deluxe Reverb
Strymon Flint
EHX Holy Grail
Catalinbread Echorec
Boss GE-7 Equalizer
Catalinbread Belle Epoch
EarthQuaker Devices Park Fuzz
Fulltone Clyde Deluxe Wah Pedal
JHS 3 Series Delay
JHS Crayon
Electro-Harmonix Nano POG
Strymon Ojai
JHS Mini A/B
TC Electronic PolyTune
TC Electronic PolyTune 3 Noir Mini Polyphonic Tuning Pedal
D’Addario EXL125 XLs (.009 –.046)
D’Addario ECB81 Chromes Flatwounds (.045 –.100)
Fender Super Bassman
Bassman 410 Neo Cab
Acme Audio Motown DI WB-3 Passive DI Box
JHS Colour Box
Boss TU-3
D’Addario NYXL1149 NYXLs (.011 –.049)
Gibson ES-335
Fender Telecaster Thinline
Fender ’65 Princeton Reverb
Radial JDI Passive Direct Box
DigiTech Mosaic
The composer and co-creator of the Allman Brothers’ guitar legacy dies at 80, leaving behind 55 years of recording, performing, and legendary tales.
Magic happened when Dickey Betts and Duane Allman played together. Their sinuous, twined, harmonized guitar lines—inspired in part by Western swing and Miles Davis—were like nothing else in rock when the Allman Brothers Band’s debut album was released in 1969. And their Les Paul and SG partnership led the way in creating the Band’s reputation as the finest rock ensemble players of their day. Although that partnership was short-lived, due to Duane’s fatal motorcycle accident in 1971, that transcendent dual-guitar sound, best captured in the heroic performances on the live At Fillmore East double-album, continued throughout the band’s career and became a hallmark of Southern rock, largely thanks to Betts. And it will endure as one of the most recognizable dialects of electrified guitar-based music.
Betts soldiered on with the Allman Brothers Band until 2000, living in the shadow of Duane, whose early death cemented his legendary status. But Betts’ playing was equally commanding—the yin to Duane’s fat-toned, slide-driven yang. As a composer, he minted melodies and riffs that endure. “Jessica,” “Blue Sky,” “Ramblin’ Man,” and “In Memory of Elizabeth Reed” are Betts’ work. As a player, he was unerringly melodic, with a Gibson and Marshall tone that blended clarity and heft with the tang of distortion. He played loud. Really loud. But that volume fueled his expressive dynamic touch and his supremely articulate 6-string language was always worth hearing.
“The band was so good we thought we’d never make it. It was so amazing I don’t even know how to put it into words—even now.”
Dickey Betts died on April 18, reportedly from cancer and chronic obstructive pulmonary disease. He’d been sidelined since 2018, when he had a mild stroke which was followed by an accident at his home, which necessitated surgery to relieve swelling of the brain. He was 80 years old.
Like the Allman Brothers over the decades, Betts’ own career had its hills and valleys, but his musical character and abilities remained intact until recent years. When I spoke with him a decade ago at Nashville’s Hutton Hotel, the then-70-year-old observed, “I’m amazed that at my age I’m still effective. I have a formidable band together and I write new songs, although mainly we just do renditions of things like ‘Jessica’ and other hits.
Those are fun to play and people enjoy those songs. I’ve got a full catalog of instrumentals that I could play all night if I wanted to. A rock ’n’ roll career is supposed to last about as long as a professional football player’s—five years and you’re done. But I’m still out there swinging, filling theaters, and playing festivals.”
Passing the torch: Betts onstage with his son, Duane Betts, who leads his own band today. Here, they recreate the dual-guitar sound first cast in bronze by Betts and Duane Allman in 1969.
Photo by Jordi Vidal
Betts was in Music City on that occasion to celebrate the launch of the Gibson Custom Shop’s Southern Rock Tribute 1959 Les Paul, based on an instrument he owned, and was about to embark on one of his annual summer tours with his band Great Southern, which he’d been leading in various configurations since 1977. He also had his Dickey Betts Band, which he started in 1988 and included Warren Haynes, whom Betts drafted into the Allmans when the Brothers reformed in 1990 after a near-decade hiatus. I’d been warned by Betts’ handlers that he could be difficult, and Allman Brothers Band lore contains enough stories of his wicked temper and edge-of-violence outbursts to serve as warning. He was arrested for assaulting a police officer in 1993, and reportedly held a knife behind his back during a band argument shortly before he was dismissed from the Allmans. But, sipping a glass of wine while wearing a sleeveless white tee shirt, a straw cowboy hat, and a necklace of alligator’s teeth, he was cordial, funny, and thoughtful.
He reflected on his role in bringing jazz influences to the early Allman Brothers, which tapered well with Duane and Gregg Allman’s blues sensibilities. “I got that, initially, from Western swing,” he recalled. “My dad did play fiddle, but we didn’t call it bluegrass. It was called string music and he also played Irish reels and things. So, I think I got my sense of melody from Western swing and my dad.
“I also got my sense of tone from my dad. I saw how my dad would pay attention to his fiddle sound. He knew how to tune a fiddle by putting a tone post in, to push the top of the fiddle up. He would move that post around until he had just the right tone. So, I think that search for tone is just in my disposition. I always wanted my guitar to have a little edge on it, but with a clear sound. I experimented with different speaker combinations until I found it. Part of your tone is in your hand, too.”
After playing in a series of bands from his native Florida into the Midwest, including an outfit called the Jokers that Rick Derringer name-checked in his hit “Rock and Roll, Hoochie Koo,” Betts was recruited for the Allmans by Duane in 1969. “We didn’t do it consciously,” Betts said of their conflagrant dual-guitar sound. “We knew that when we started improvising, things fit, and we didn’t analyze it. Duane was more real militaristic into urban blues. And then I had a Western swing lilt to my rock playing, and it fit together beautifully. A lot of older folks said they thought we sounded like Benny Goodman, and it made sense to me later on when I listened to Goodman. He was pretty hip for his day, and would interweave his instruments together, too. We also listened to Miles Davis, who we thought was one of the greatest composers and bandleaders.
“Right from the beginning, we knew what we had,” Betts continued. “The band was so good we thought we’d never make it. It was so amazing I don’t even know how to put it into words—even now. With Duane, Berry Oakley, Greg and me as the songwriters, with everybody’s musicianship … it developed like a Polaroid picture. Nobody knew what it was going to be. They tried it at first as a trio, with Duane, Berry [Oakley, bass] and Jaimoe [Johnson, drums], and they cut some demos that were okay but they knew it wasn’t the Cream or Jimi Hendrix. And Berry told Duane the magic was happening when Betts was around, jamming, and from there we just grew into a six-piece naturally.
“We were elated with our sound, but every record company in the country turned us down. ‘All the songs sound the same.’ ‘They don’t have a frontman’… all this corny junk. So, we just started to travel around the country playing for free. In Boston, I remember we moved into a condemned building and ran an extension cord from the next building. We played in the park there. We’d get some hippies together and build a stage.”
While ’69’s The Allman Brothers Band sold poorly at first, it received critical acclaim, and the band’s grassroots mentality and love for playing—often relayed live via extended versions of their songs with plenty of improvisation—took hold in the potent American youth culture. The follow-up, Idlewild South, fared a bit better commercially, but At Fillmore East became their breakthrough. Sadly, Duane died just three months after its release.
“When we started getting killed off, well, there was nothing we could do about that,” Betts reflected. “It was tough times after we lost Duane and then we lost Berry. But then we had our biggest record [Eat a Peach, from 1972]. We figured. ‘Why quit when you’re losing?,’ and it worked out.
“And then, of course, the whole thing came apart,” Betts said of his 2000 ouster from the band. He was removed by the other charter members for the transgressions he was notorious for: drug and alcohol abuse, aggressive behavior. “But the Allman Brothers weren’t like the Rolling Stones, where we toured every five years. We were a working band. Thirty years is a long haul—especially when you’re doing something where your emotions are on your shirtsleeve all the time. The social dynamics just blew apart.”
Regarding the Southern rock mantle, Betts said, “We didn’t like it at first. It was kind of a reckless business label put on us by record companies. We thought of ourselves as progressive rock. We wanted to be more sophisticated than Southern rock sounds. We also didn’t think Southern bands sound that much alike, so why categorize them that way? As I get older I understand it was about record company marketing, but the difference between Marshall Tucker and the Allman Brothers Band is vast. They were more Western and we had a lot more jazz and blues, and improvising. My favorite was Molly Hatchet.”
Until his stroke and other illnesses waylaid him, Betts settled into his own music, seemingly content to be out of the heavy cycle of touring and recording required by a major band, settled into his life on Florida’s Gulf Coast. “I like fishing,” he said. “We live on the water and I’ve got a boat. I’m an archer. I can shoot stuff out of the air. We hunt wild hogs on the islands. It’s good to have something to do when you go home besides take dope [laughs]. I’d always get in trouble. On the road you’re busy; you go home and you don’t know what to do. Now I have some other good ways to apply myself.” Betts is survived by his wife, Donna, and four children: Kimberly, Christy, Jessica, and Duane, a skillful guitarist and bandleader in his own right.