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.
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 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 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.
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.
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
Zelzah is a multidimensional phaser capable of conjuring up everything from classic vintage phaser tones to authentic lush chorusing, flanging, and vibrato. The dual layout gives you individual 4- and 6-stage phasers that can be used on their own or combined for added flexibility, and the phaser circuits are handcrafted to sound great at any setting, so dialing in tones is easy. Full control over all functions and up to 300 presets via MIDI make this the last phaser you'll ever need!
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.
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 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.
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
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.
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.
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.
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 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.
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!
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
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.
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.
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.
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.
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.
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!
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.
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.
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.
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 !
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.
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
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.
Derek Trucks On the Best Amp Ever | Wong Notes Podcast
Rig Rundown - Tedeschi Trucks Band
PG’s John Bohlinger caught up Derek Trucks, Susan Tedeschi, and Tim Lefebvre of the Tedeschi Trucks Band before their 3-show residency at the Ryman in Nashville. While this might not be a gear-heavy band, there’s plenty of soul, groove, and vibe.
In their corner, from left to right: Wilco’s Pat Sansone (guitars, keys, and more), drummer Glenn Kotche, Jeff Tweedy, bassist John Stirratt, guitarist Nels Cline, and keyboardist Mikael Jorgensen.
Photo by Annabel Merhen
How Jeff Tweedy, Nels Cline, and Pat Sansone parlayed a songwriting hot streak, collective arrangements, live ensemble recording, and twangy tradition into the band’s new “American music album about America.”
Every artist who’s enjoyed some level of fame has had to deal with the parasocial effect—where audiences feel an overly intimate connection to an artist just from listening to their music. It can lead some listeners to believe they even have a personal relationship with the artist. I asked Jeff Tweedy what it feels like to be on the receiving end of that.
“It’s definitely weird having people know you that you don’t know,” he replied. “There’s a level of intimacy that some people feel they’ve had with you because you’ve reached them in intimate moments—your voice has, at least.” But rather than off-putting, he sees beauty in it: “I try to be really respectful of that, ’cause it’s ultimately really sweet. It’s flattering to be a companion to somebody that you don’t know. It’s one of the more beautiful things about doing what I do, in that it has the potential to be difference-making for somebody in a dark moment.”
With the release of Wilco’s 12th studio album, Cruel Country, Tweedy and the band are offering 21 new songs to connect with. And as its title suggests, Wilco sinks into a country vibe more than ever before. Tweedy speculates that fans have always assumed that Wilco is in some way a country band, and although he’s not sure he agrees, he decided to lean into that on Cruel Country.
I Am My Mother
Although Wilco’s members worked on Jeff Tweedy’s latest group of songs apart, the final architecture of the arrangements was completed together, live in their Chicago studio and practice space, the Loft.
Cruel Country has a concept behind it but isn’t necessarily a concept recording. Tweedy sees it as an “American music album about America.” The songwriter says he’s struggled with what American identity means for decades. “Going back as far as Yankee Hotel Foxtrot, that’s sort of a running theme through a lot of things I’ve written. I would call it an affection or a connection where I can’t really choose. Just like the soft spot you have for your family or the people that you wish knew better but just can’t help themselves, that you have been shown kindness from in other ways. I think that you can be critical of something, believe that its flaws are intolerable, and actually have love for the same person or the same thing. In this case, your country.” Of course, with its twangy riffs, bent-note solos, and other classic sonic signatures, the album can easily be heard as a loving homage to country music. Regardless, this new entry in Wilco’s catalog seems the next right step in the band’s career.
“It all becomes a part of the thing that you can’t fake—ensemble-based playing.”—Jeff Tweedy
The album blends Wilco’s classic sound with that twang and small doses of unconventional arrangements. It refamiliarizes us with Tweedy’s unassuming, mutedly sad, and at times droll lyrics. “Once, just by chance / I made a friend in an ambulance / I was half man, half broken glass,” he sings on “Ambulance.” In the single “Falling Apart (Right Now),” he reflects on the pervasive stress of modern life with the couplet, “Now don’t you lose your mind / While I’m looking for mine.” And in keeping with Wilco’s wilder moments, the band explores abstract effects on the nearly eight-minute “Many Worlds” and ventures into an extended jam for the second half of “Bird Without a Tail/ Base of My Skull.”
Cruel Country started back in 2020, when, after having to cancel a tour with Sleater-Kinney, Tweedy started sending the band songs to work on remotely. They got back on the road in 2021, and during those two years, Tweedy met occasionally with individual members at their Chicago recording and practice space, the Loft, to hash out material. But it wasn’t until January 2022 that all the members were able to meet at the space for the first time since before the pandemic.
Jeff Tweedy’s Gear
Jeff Tweedy used three acoustic guitars on Wilco’s latest, including his faithful Martin D-28. He praises Bob Dylan and Buck Owens as models for his own country-flavored acoustic rhythm playing.
Photo by Jordi Vidal
Guitars
1944 Martin D-28 named “Hank”
1933 Martin OM-18
1931 Martin OM-28
Strings & Picks
D’Addario Phosphor Bronze EJ16 (.012–.053)
D’Addario Phosphor Bronze EJ17 (.013–.056)
Herco Flex 50
Herco Flex 75
Snarling Dogs Brain Picks, green, .53 mm
In the days leading up to that, Tweedy was writing more prolifically and continued to forward his rough demos to his bandmates. “The songs started coming very easily and felt very urgent, and it felt good to have a new song to sing each day,” he says.
Guitarist Nels Cline, Wilco’s sonic not-so-secret weapon, notes, “At one point last year, Jeff decided he wanted to send us a song a day that he would record on his smartphone, playing guitar and singing. As I recall, he wrote 51 songs in 52 days. And unlike a lot of his songwriting that we’ve experienced, a lot of these songs had finished lyrics and choruses and everything. Some were so absolutely classic in the style that I would loosely call country songs or folk songs that I didn’t know that they were Wilco songs.”
Multi-instrumentalist Pat Sansone adds, “But when we looked at the material that we had in the works, we saw that we had a lot that was in this style, and decided, ‘Why don’t we lean into these songs to make a body of work?’ I think it’s natural for us to do something like this. It’s always been a part of our vocabulary.”
“I’ve always loved that [B-Bender] sound and I certainly admire the great players. Clarence White was a genius and one of my favorite guitarists. And I’m a big fan of Marty Stuart’s guitar playing.”—Pat Sansone
When Wilco was able to meet, putting together the arrangements for Tweedy’s already fleshed-out ideas came easily. “We actually made the first disc of this record in January in two weeks,” Tweedy says. “And then we got together for two weeks in February and thought initially that we’d just be seeing if we could make anything that would beat the things that are on the first record. We ended up starting to feel like, well, this is kind of making itself a double record. The songs kind of inform each other.” Except for a few overdubs, the album was recorded live—just the six members playing in the studio together. Essentially, the two discs were recorded and released in five months.
When asked what they might have learned about themselves or the band in the making of Cruel Country, all three guitarists say—in some variation—that they discovered Sansone’s skills on the B-Bender Telecaster. “I’ve never seen that before [from him]; it was pretty mind-blowing,” Tweedy laughs.
Cline continues, “A lot of the really twangy, cool-sounding country-style guitar that you hear on this record is Pat. I don’t think he even deigned to add the B-Bender to the record until Jeff asked him at one point, ‘Do you have a B-Bender Telecaster?’ And it was so successful. He’s such a natural at it that Jeff asked him for it again and again on song after song.”
Nels Cline’s Gear
Nels Cline wiggles the vibrato arm on his main guitar, a 1960 Fender Jazzmaster that he’s dubbed “the Watt.”
Photo by Jim Bennett
Guitars
1930s National square-neck resonator Duesenberg lap steel (with B- and G-Bender levers) 1940s National resonator with Bakelite neck Early ’50s Epiphone Electar Mule Resonators “The Mavis” electric resonator 1960 Jazzmaster aka “The Watt” Neptune 12-string Fano SP6 by Dennis Fano, with custom-designed Duneland Labs hum-canceling pickups
Amp
Milkman Creamer with 50W Jupiter 12" speaker
Effects
Moyo Volume pedal
Boss CS-3 Compression Sustainer
Walrus Audio Voyager overdrive
Vintage MXR Phase 45
EarthQuaker Devices Disaster Transport delay
EarthQuaker Devices Aqueduct vibrato
Big Foot FX Magnavibe
Strings, Picks & Cables
GHS Boomers (.012 sets; “The Mavis” has flatwounds)
Dunlop Ultex 1.14 mm
Bluebird picks borrowed from Pat
Divine Noise cables
“I’ve always loved that sound,” says Sansone, “and I certainly admire the great players. Clarence White was a genius and one of my favorite guitarists. And I’m a big fan of Marty Stuart’s guitar playing. It’s something that I learned that I really like to play, and it’s something that I definitely want to get better at.”
Of all the songs on the record, Sansone names “Mystery Binds,” a dreamy folk-rock ballad with plenty of texture, as one of his favorites. “That’s the song that Jeff had sent to us in the dark days of the pandemic when we were still working remotely. I immediately took to that song. I thought it had a really unique and beautiful mood and was something a bit different than anything I’d heard Jeff send us. ‘Many Worlds’ is another favorite. That was Nels and I playing together and kind of playing off each other, and that’s always a thrill—to be able to do that with him.”
Cline and Sansone say that “Many Worlds,” despite how kaleidoscopic its sonic architecture might seem given the abundance of effects and instrumentation, was recorded live like the rest of the album. Sansone actually got up in the middle of the song to switch from piano to guitar. “[We wanted to] see if we could play it live,” Tweedy shares. “We tried it, and you can hear us moving around on the track. But it all becomes a part of the thing that you can’t fake—ensemble-based playing.”
“One friend of my wife’s and mine who’s French once compared my lead guitar playing to the voice of Edith Piaf.”—Nels Cline
The three guitarists in the band have found their own ways to complement each other. Cline is often thought of as the lead guitarist, with Sansone typically alternating between back-up guitar and keys. Tweedy sets the tone at the front, either with rhythm strumming or fingerpicking. On Cruel Country, however, Cline comments that Sansone took the role of lead guitar on many songs with his B-Bender, and Tweedy says that his primary goal was to be a solid country strummer.
“One person I think is really good at that, oddly enough, is Bob Dylan. I like the drive that he has on his records when he’s playing acoustic guitar,” Tweedy opines. “I like Buck Owens and country recordings where it’s not even a specific player—it’s just a style of playing where the guitar becomes part of the rhythm section, almost like a tambourine or something.” The guitars Tweedy used on the album were all Martins, including his 1944 D-28, 1933 OM-18, and 1931 OM-28.
The axes Cline played on the album include a 1930s National square-neck resonator, a Duesenberg lap steel, a Neptune electric 12-string, and his main guitar, the 1960 Jazzmaster known as “the Watt.” Cline, whose background includes experimental and avant-garde jazz, names Electric Ladyland by the Jimi Hendrix Experience, Meditations by John Coltrane, and Solstice by Ralph Towner as three of his top albums. He also mentions that since age 10 he’s been fascinated and inspired by Indian classical music, and that among his many, many influences on the guitar is Peter Frampton—one he says journalists tend to leave out.
Pat Sansone’s Gear
Pat Sansone’s B-Bender-equipped Telecaster became an essential part of the new Wilco record, helping to put the steel-guitar sound of country into the new Cruel Country.
Photo by Jordi Vidal
Guitars
Tokai Telecaster with B-Bender 1963 Epiphone Casino 1988 Rickenbacker Roger McGuinn 370/12 12-string
Amp
Vintage Fender Deluxe
Effects
’70s Ibanez Phase Tone II
Strings, Picks & Cables
Assorted D’Addario sets
Bluebird picks (made from 1930s Argentinian poker chips by Pat’s brother-in-law)
Divine Noise cables
Cline describes himself as versatile and isn’t sure his jazz roots influence what he records with Wilco. “I try to change what I play based on what I think the song is asking for, or quite often what Jeff specifically asked for. I don’t know that I have any voice that I could zero in on. I’m many voices.One friend of my wife’s and mine who’s French once compared my lead guitar playing to the voice of Edith Piaf. I think it’s because of what I call the wiggle—my fast vibrato which is inspired by John Cipollina from Quicksilver Messenger Service and Tom Verlaine from Television.”
Sansone—whose favorite albums include Revolver, Odessey and Oracleby the Zombies, and Third/Sister Lovers by Big Star—describes his approach: “I have a tendency to go toward melodic figures, finding places where counter-melodies can support the arrangement, or melodic bits on the guitar that help connect different parts of the song. That’s probably where my style and my sensibilities are maybe most unique in the group.” The B-Bender-equipped instrument he used on the album was a Tokai Telecaster. He also played a 1963 Epiphone Casino and a 1988 reissue Roger McGuinn 12-string Rickenbacker. In the studio, he prefers using a Swart Atomic Space Tone amp. “It’s just a small amp, low voltage, one 10" speaker, but it has a beautiful tone. It takes pedals very well, so it’s easy to get a range of tones at low volume.”
Wilco’s songs have always begun with Tweedy. He has some methods of writing that help him along the path of fine-tuning his work, including sharing his ideas with the band. “When I play my songs for the rest of the band, I start to hear them with other people’s ears. It kind of provides at least a little moment of objectivity, ’cause I can hear ’em and forget that I made them up,” he shares. His songwriting is defined by the simple notion that he can’t not be himself while composing. “And at some point, you try to be yourself on purpose,” he elaborates. “I can’t really extract myself from it anymore. It’s just a thing that I do, and it results in a thing that has some ‘me-ness’ to it. Like some ‘Jeff-ness.’
“When I play my songs for the rest of the band, I start to hear them with other people’s ears.”—Jeff Tweedy
“I like reading a lot, I like listening to records, and I generally do both until I can’t take it anymore and I feel like I need to do something of my own,” he continues. “I need to answer that call to add my own voice to the [mix]. It’s just inspiring when you spend time with other people’s consciousnesses.”
In the nearly 40 years he’s been performing as a professional recording artist, Tweedy’s ambitions haven’t really changed. “All the decisions I feel have been mostly centered around, ‘What path do we take that will allow us to do this tomorrow?’ I mean, first, if you can’t picture it, it can’t happen. Even ‘I want to be a songwriter,’ to me, is a little bit more intangible than ‘I want to write a song.’ That’s a manageable goal, and all your big dreams are built on those manageable goals. Because if you don’t do those, other things don’t happen.”
YouTube It
Pat Sansone lays down some heavy twang with his Fender Telecaster in this three-guitar-frontline performance of “Falling Apart (Right Now),” from Wilco’s new Cruel Country, at the band’s Solid Sound festival 2022 in North Adams, Massachusetts.
Equipped with noise reduction and noise gate modes, the Integrated Gate has a signal monitoring function that constantly monitors the input signal.
In order to solve the unnaturalness at the time of sound interruption, which was a problem of conventional noise gates, it is equipped with a signal monitoring function that constantly monitors the input signal, such as peaking and attenuation of the input signal, by using a CPU. The optimum output level is controlled while monitoring the waveform. Even with the Integrated Gate connected, the sound quality does not change, and in order to convey the original sound of the guitar or bass to a device connected after this unit, the circuit through which the audio signal passes is completely analog. Free The Tone took extra time to study the sound quality and complete the design. You can feel the fundamental difference from the sound quality of conventional noise reduction and noise gates.
Features
Equipped with Noise Reduction and Noise Gate modes. You can select the operation to suit your purpose.
Equipped with input impedance select switch (Hi-Z/Lo-Z).
Control by MIDI signal (Control Change Number) is possible (effect on/off only).
Equipped with Free The Tone’s original HTS (Holistic Tonal Solution) circuit.
Integrated Gate carries a suggested retail price of $228.00, and is available now through our North American dealers listed at: www.freethetone.com.
