Check out the ALL-NEW PRS Pedals and more in this edition of our Stompbox Gear Finds!
Horsemeat - Transparent Overdrive
The PRS Horsemeat transparent overdrive pedal is designed to enhance your sound without coloring your tone. Horsemeat adds harmonic midrange richness and overdrives without cutting out your high notes – all while giving you more available headroom. It features a robust EQ section so you can dial in your tone and has a wide range of gain on tap. Depending on the setting, Horsemeat can be used as a clean boost, straight overdrive, or even enhance your amplifier’s distortion by slightly pushing the front end of the amplifier’s preamp section.PRS pedals were created to be high-end pieces of audio gear. Designed by PRS Guitars in Stevensville, MD, USA. Made in the USA.
Ranger Overdrive
Inspired by the overdriven tones of some of the world’s most cherished vintage tube amps, the Ranger is a modern, all-analog overdrive pedal featuring a Mode toggle switch that provides two different tonalities; a warm, expressive, amp-like overdrive and a second tonality that’s slightly cleaner and exceptionally touch-sensitive; it blends in some of the clean signal and is a great choice for use as an “always on” effect that can be controlled with your pick attack and your guitar’s volume control. The Ranger’s classic 3-knob layout provides
intuitive adjustment of Gain (amount of overdrive), Tone, and output Level, with plenty of volume on tap to go well beyond unity gain. You can easily use the Ranger Overdrive as a boost to hit the input of your tube amp harder for even more grit and dirt.
Tech 21 SansAmp Character Plus Series
The SansAmp Character Plus Series celebrates the unique chemistry between specific historic amplifiers and specific historic pedals, and cleverly unites them together in single packages:
- Screaming Blonde = Fender-style + Tube Screamer-style
- English Muffy = HiWatt-style + Big Muff-style
- Fuzzy Brit = Marshall-style + Fuzz Face-style
- Mop Top Liverpool = Vox-style + Rangemaster Booster-style
Each of the individually-voiced Character controls sweep through an entire spectrum of eras within their particular amp style. Screaming Blonde tones range from the ‘50s Fullerton to blackface and silverface. The English Muffy spans from classic UK rock to prog rock. Fuzzy Brit goes from classic hard rock to all current rock genres. The Mop Top Liverpool embodies the British invasion through “Bohemian” rock.
These 2-channel multi-function pedals are each like having a stompbox within a stompbox. You can use the SansAmp amplifier emulation on its own or just the effect on its own. The all-analog SansAmps Character Plus Series pedals can be used as stand-alone pre-amps to drive a power amp, a studio mixer, or a PA system, or to complement your existing amp. Other features include built-in speaker simulation individually tuned to match each of the speaker/cabinet configurations associated with each amplifier type; 3-band active EQ, XLR Output, included 9V DC Power Supply. Rugged all-metal housing measures 7.75”l x 2.5”w x 1.25”h and weighs just 12 oz.
EARTHBOARD Pedalboard System
Never before has an effects pedalboard been so effortless to build and painless to change or rearrange on the fly - So you can Focus on the Music, Not the Set-Up!
Our game-changing design incorporates Rare Earth Magnets ("cupped" so there is no risk to your pedals!) and a long-lasting Battery to give you the neatest, cleanest sounding and looking rig! All of the hassles of using a traditional board are gone. No more messy cobweb of cords and cables. No need to look for outlets and extension cords. No need to deal with dirty noise at gigs. Increase voltage and isolate those "picky" pedals without adding more mess and expense of separate power bricks and adapters. NO MORE SOUND OF RIPPING VELCRO!!!
Here's what's possible with EARTHBOARD:
- Your choice to use our Battery or AC Adapter
- Jacks are on both sides to accommodate YOUR style and the unknowns of the gig space
- All of our power supplies have built in circuit protection to safeguard your pedals
- Built-in cross board audio patch cable saves you money and the hassle of finding the right length cable to connect your top and bottom rows of pedals
- Ability to power large pedals off the board to maximize board real estate - make room for one more pedal!
- The built-in, under mounted, Blue LED lights enhance visibility and the "cool factor"
- Daisy-chain multiple boards and power them all with a single battery
- Rearrange or add pedals on the fly, between sets, in a matter of seconds
Gator Cases G-TOUR Large Pedal Board with Wheels
Large tour grade pedal board and flight case for 10-14 pedals with removable 24″x11″ pedal board surface and inline wheels
Features:
Pro-grade shock absorbing EVA foam interior
Removable pedal board surface 24" x 11"
Two (2) rubber-gripped handles for easy lifting in and out of the case
3M Dual Lock» hook and loop fastener for pedal installation
Cable and accessory storage under the removable pedal board
Retractable tow-handle and inline wheels
Plywood construction with aluminum edging to create a secure closure between lid and base
Protective ball corners at vulnerable points
Commercial grade Gator red signature hardware
Lockable latches
Spring-loaded rubber gripped handles
George L's Effects Cable Kits
George L's Effects Cable KitsEnhance the tone and clarity of your pedalboard with award winning sound.
The George L’s effects kit.
The kit comes with 10’ of cable, 10 right angle plugs and 10 stress relief jackets.
Available in black, vintage red and purple.
As easy as 1, 2, 3 no soldering!
Cut, poke and screw your way to 47 years of sound excellence.
This vintage electric hollowbody has some unusual components—such as a Rezo-Tube bridge—that would make it a fascinating addition to any collector’s vault.
Many guitar fans obsess over the “classics,” but I’ve always been more drawn to the obscure underdogs, especially those designed by England’s James Ormston Burns. Sometimes called the “British Leo Fender,” Burns’ success was comparatively minimal, but he left behind many interesting, if often quirky, instruments. The original Burns London company started in 1959, was bought out by the American Baldwin Company in late 1965, and shut down just a few years later. Few guitars with the Burns logo ever made it to the U.S., but many of his models were available here, branded Ampeg (1962–’64) and Baldwin (1965–’69).
This Virginian is one of the rarest, and oddest. Appearing at first glance to be an amplified (possibly hideously modified) flattop acoustic, it is actually a purpose-built electric. Introduced in 1965, it was one of Jim Burns’ final designs for his original company. This early 1965 example came over to me from the original owner’s family in the U.K., who taped the case shut, slapped on a label, and gave it to Parcelforce, hopefully with a nice “Cheerio!” Amazingly, it arrived in one piece and remains in excellent condition, except for an added string retainer on the headstock.
The Virginian evolved from an earlier Burns semi-acoustic, the GB65. That model used the same laminated mahogany body and flamed sycamore top, with eccentric twin f-holes and a trapeze tailpiece. Compared to the GB65, Burns substituted on the Virginian a decorative, round central soundhole—but the primary difference between the two designs is the patented Rezo-Tube bridge, developed as the vibrato system for the 1964 Hank Marvin solidbody. Each string terminates in an individual tube, hence the name, inside a cavity in the body isolated completely from the wood. Burns claimed that it “gives the string tone a new degree of resonance and sostenuto” (i.e., sustain).
The Virginian is built with Burns’ patented Rezo-Tube bridge, designed for the ’64 Hank Marvin solidbody, where each string terminates in an individual tube inside a cavity in the body.
Photos by George Aslaender
Burns was so pleased with the Rezo-Tube that the Virginian was designed around it, but here, the concept seems a bit counterintuitive. A large solid block under the bridge has a central opening; six strings in individual metal tubes hang down therein. The bridge is spring-suspended on a knife-edge pivot but not intended to move, having no vibrato arm. To top it off, decorative rosewood pieces are mounted either side, mimicking a flattop bridge. Despite a (mostly) hollow body, the Virginian has minimal acoustic sound, thanks to solid blocking around the Rezo-Tube. The natural-finished, bolt-on maple neck has a 24 3/4"-scale rosewood fretboard and the “scroll” headstock—also designed for Hank Marvin. As with most Burns designs, adjustment for the geared truss rod is hidden under the neck plate.
“The Virginian usually inspires a ‘huh?’ reaction—or at least a raised eyebrow—from any player that sees it.”
The Virginian featured Jim Burns’ newest 1965 Bar-O-Matic pickups. The wiring rig sports a major innovation Burns called the “density” knob. The knob blends in the lower coil of a stacked humbucker in the neck position, an original and early use of this concept. The simple-looking controls often baffle a first-time user; the forward knob is volume, with density in the middle and tone at the rear, which also works only on the neck pickup. There are effectively two tone controls for the neck pickup, none for the bridge, and a 3-way switch.
The guitar’s scroll headstock, seen here, was also designed for Marvin.
Photos by George Aslaender
Jim Burns seemed especially proud of this design, the initial ad touting, “Controlled Resonance technology … incorporates the Burns Rezo-Tube bridge/tailpiece developed for the Shadows.” The 1965 U.K. list price was £134, in the same range as many imported Fenders and Gibsons. Despite Burns’ gung ho, the Virginian seems a bit like a guitar in search of a mission. The name implies country Western, but the publicity highlighted “true jazz guitar tone! A real thick, full sound that explodes without ‘woolly’ trimmings with the unique density control.” It’s unlikely much serious jazz got played on Virginians, but one did appear with Lenny Breau in the 1960s. It also was played by a few 1965 U.K. chart acts: Unit 4 + 2, Pinkerton’s Assorted Colours, and even the Troggs.
The Virginian became Baldwin’s Model 550, listed at the rather non-bargain price of $495 (plus a $55 case). They reasoned that if you’re going to put in a vibrato, you should give folks an arm to shake—so later Virginians do have a whammy bar, along with other small changes. Baldwin had a Nashville operation tied in with Sho-Bud, so a few country stars, including a young Johnny Paycheck, got one. Baldwin Virginians were sold from 1966–’69, but first-generation 1965 Burns examples are rare—even in England. The Virginian usually inspires a “huh?” reaction—or at least a raised eyebrow—from any player that sees it. There’s something endearingly goofy about its hybrid appearance, but this is a solid player, handling well with a bright, clear sound for a full-size hollowbody. Jim Burns re-engineered the concept in the ’70s into the Steer model (a favorite of Billy Bragg), but the original Virginian remains unique, and has never been reissued.
Designed Michael Keene of The Faceless, this guitar features a GOTOH tremolo system, Fishman Fluence pickups, and a custom “Keene Green” finish.
Designed in collaboration with metal titan Michael Keene of The Faceless, this signature guitar has appropriately been dubbed “The Keene Machine”. Perhaps its most notable feature is the integration of a GOTOH 1996T tremolo system, allowing you to raise or lower the pitch with intensity and accuracy. Another key feature is the installation of two Fishman Fluence pickups, which are complemented by a push/pull pot that allows two unique voices between the Fluences and can be expanded upon with the 5-way super switch. Aesthetically, the Alder body is finished with a custom “Keene Green” high gloss finish. The ebony fingerboard is crafted with Vola Eye of Life inlays as well as a signature “Chaos Star” inlay on the 12th fret.
Features Include
- Country of Origin: Handmade in Japan
- Construction: Bolt-on neck with new contour heel
- Body: Alder
- Fingerboard: Ebony
- Neck: 3 piece hard rock maple with Vola MC Neck shape and 3x3 Vola angled headstock
- Nut: Floyd locking nut R2
- Frets: 24 Medium Jumbo Nickel Frets/ 25.5" scale
- Inlay: Luminlay Green Vola Eye of Life inlay + custom 12th fret inlay “Chaos Star”
- Radius: 16" Radius
- Pickups: Fishman Fluence set
- Electronics: 1 Volume(Push/Pull), 5-way Super switch
- Bridge: Gotoh 1996T tremolo
- Tuners: Gotoh Locking tuners
- Strings: D'addario XL120 09-42
- Case: Vola Custom Series Gig Bag (included)
This Guitar is Super Strat PERFECTION! - VOLA OZ!
The Vola OZ KEENE MACHINE J1 is the culmination of Vola’s dedication to designing top quality instruments for demanding players, without sacrificing the beauty that invites a closer look. Visit their website or your local Vola dealer for a closer look at the OZ KEENE MACHINE J1..The Vola OZ KEENEMACHINE J1 has a street price of $1,749. Vola Guitars now sells direct!
For more information, please visit volaguitars.com.
Managing your instrument’s humidity and temperature are important pieces of a year-round maintenance regimen.
Here in Nazareth, Pennsylvania, we’re going from the dry, cold conditions of winter to the warmer, humid conditions of spring. As you probably know, these fluctuations can impact the well-being of your beloved instruments. So, here are some tips from our team on how to effectively care for your acoustic guitars during these seasonal shifts.
Before delving into specific tips, it's crucial to understand how seasonal changes affect acoustic guitars. Wood, the primary material in our guitars, is highly responsive to variations in temperature and humidity. When exposed to dry and cold conditions, wood tends to contract, leading to potential issues like cracking and changes in playability. Warm and humid conditions can cause the wood to expand, resulting in swelling, warping, or changes in tone.
Combating Dryness
As winter transitions to spring, the first challenge guitar owners face is the lingering dryness from the colder months. Low humidity levels can pose a threat to your acoustic's health, making it crucial to take preventive measures. One option is using a room humidifier to maintain an optimal humidity level for your instrument. Aim for a relative humidity of around 45 to 55 percent, as this range is ideal for preserving the integrity of the wood.
Regularly monitoring the humidity in the guitar’s environment is essential. Hygrometers, inexpensive devices that measure humidity levels, can also be placed in the guitar case or the room where it's stored. This allows you to make necessary adjustments promptly. In extremely dry conditions, consider using a guitar humidifier inside the case to provide localized moisture, preventing the wood from drying out.
Guitars that use alternative materials like high-pressure laminate (HPL) are better equipped to handle many of the issues that arise with seasonal changes. Our recently reconfigured X Series includes different models with HPL backs, sides, and tops in various wood grain patterns. They’re durable, reliable, affordable, and still maintain that classic Martin tone, while not being affected by changes in temperature and humidity.
Gradual Acclimation
And as the temperatures rise during the transition to spring, it’s important to acclimate your guitar gradually. Sudden changes in temperature can lead to stress on the instrument. When out playing live, give your guitar time to adjust to the changing environment by keeping it in its case as long as possible. This gradual acclimation helps prevent the wood from expanding too rapidly, reducing the risk of structural issues.
Humidity Control
While spring brings warmer temperatures, it also introduces higher humidity levels. We suggest using dehumidifiers or air conditioning to maintain a balanced humidity level. In addition to controlling the overall humidity in your home, storing your guitar in a hardshell case with moisture-absorbing packets can provide an extra layer of protection against excessive moisture.
Regularly inspecting your guitar for any signs of damage, like cracks or loose braces from swelling wood, and changes in playability, like unusually high or low action, is crucial during the warmer seasons. Addressing issues promptly, by taking the steps mentioned above, can prevent long-term damage and ensure the longevity of your instrument.
Year-Round Maintenance
Regardless of the season, regular maintenance is key to preserving your acoustic guitar’s health. Keeping your instrument clean and well-hydrated is important. Using high-quality guitar polishes, cleaners, protectants, and detailers can help maintain the wood's moisture and protect it from environmental factors. It’s crucial to choose products specifically designed for acoustic guitars to avoid any adverse effects. By following this advice, you can ensure that your instrument remains in optimal condition despite the changing seasons. If you’re a Martin owner, you can also visit our website to find an authorized Martin service center near you to help you with routine maintenance and repairs for your guitars.
Whether it’s combating dryness with humidifiers, gradually acclimating to warmer temperatures, or controlling humidity during the spring, these tips will help you safeguard your acoustic guitar and enjoy its beautiful tones for years to come.